piece, the chorus comments on Francis' spiritual journey. The first three scenes include a commentary on the preceding plot action with a "moral." For example, after Francis' conversation with Leo on "perfect joy", the chorus sings the text "He who would walk in my steps, let him renounce himself, take up his Cross and follow me." One could say that this text carries a double purpose—the moral is not only sung, but comes from the mouth of Christ. In the latter scenes of the opera, especially The Stigmata, the chorus perpetuates its image as Christ speaking directly to Francis as He bestows the wounds onto the saint. Messiaen's choral writing, especially the violent, wordless chants during The Stigmata, suggests a mystical, otherworldly presence. Color Messiaen's synesthesia caused a perception of colors associated with particular harmonies or musical scale degrees. For instance, when hearing a C-natural on the piano, the composer saw "white" before his eyes. In the opera, Messiaen underscores the final moments (Francis' death and ascent into heaven) on a C major chord structure, providing a musical burst of white light. It is unclear whether this final chord structure was coincidental or intentional. Messiaen's other research Messiaen traveled to Italy not merely for birdcall research. In Assisi, he visited the Basilica of Saint Francis to study the Giotto frescoes. During rehearsal for the premiere production, the composer coached baritone José van Dam (creator of the title role) in some of the gestures and attitudes evoked on the Giotto masterpieces. Messiaen also made a side trip to Florence. While in the monastery of San Marco, he found inspiration for the Angel's costume in one of several paintings of the Annunciation by Fra Angelico. As a result, the libretto includes a costume note on the exact shade of the Angel's robe (as dictated by the original artwork): a pinkish mauve between lilac and salmon. Recordings and broadcasts Four recordings of the opera exist, three of which are complete: Ozawa (1983): Conductor Seiji Ozawa recorded the world première production with the orchestra and chorus of the Théâtre national de l'Opéra de Paris. Cast members included José van Dam in the title role with soprano Christiane Eda-Pierre as the Angel. Released on the Cybélia label (then Assai Classics), this was the first complete recording of the opera. Zagrosek (1985): The Salzburg Festival of 1985 included performances of the opera under the baton of