Breaking the Waves has one more performance at the Festival Theatre, Adelaide Festival Centre on March 15. Director Tom Morris writes: “The opera is a kind of Passion: a tragedy of cross-purposes in which the community can see Bess’ profound compassion but cannot prevent itself from contributing to her destruction.”. Co-produced by Opera Ventures, Scottish Opera, Houston Grand Opera and Théâtre national de l’Opéra Comique in association with Adelaide Festival.
A coming-of-age dance contest with a massive dose of teenage angst.

The role of Bess is filled – brilliantly – by America rising star soprano Sydney Mancasola. A very rare afternoon of truly eloquent chamber music performances at the UKARIA Cultural Centre.

Photograph © James Glossop.

Ironically, it’s a broken-backed drama – sagging noticeably in the middle – but the power of the music and performances revives it towards a devastating finale. For nearly as long, composers have transformed these texts into some of the most profound music imaginable. What the press said ' Mazzoli and Vavrek struck operatic gold. But von Trier’s story had to be told, I guess, for permission to adapt it to be granted. Dubbed “Brooklyn’s post-millennial Mozart”, Mazzoli has been commissioned by Kronos, Eighth Blackbird, the LA Philharmonic, Carnegie Hall, the Australian Chamber Orchestra and the Chicago Symphony. Now is the time to shout. Soprano Orla Boylan, with a Turandot style voice and manner, excelled in the difficult role of Bess’ strict, unbending mother (redeeming herself in the end by tenderly and Pietà-like grieving at the feet of her dead daughter).

Composer Missy Mazzoli and librettist Royce Vavrek’s 2016 opera is based on the movie.

In the eyes of the Calvinist church elders of Skye, where the story is set, Mazzoli could well be considered “froward” – not a misprint but from old Norse and meaning “a person difficult to deal with, contrary”. During these challenging times for the arts industry, many have set up services to deal specifically with the COVID-19 crisis and its effect on the arts community.

Opera Ventures/Scottish Opera. Injured at work, he becomes a quadriplegic.

Moreover there isn’t a weak link in the cast, male chorus or orchestra. Opera Ventures & Scottish Opera / Music by Missy Mazzoli & Libretto by Royce Vavrek. Nevertheless, it’s neither obvious nor clearcut and more effective, humane and credible than the Von Trier original. Sydney Mancasola as Bess and cast members. Live performance is in mortal peril. American composer Missy Mazzoli and librettist Royce Vavrek make a great team. Music by Missy Mazzoli & Libretto by Royce Vavrek.

Adding immeasurably to the exceptionalism of this production was the performance of Duncan Rock as Bess’ husband, Jan.

He insists that the stories will feel like they are making love together and keep him alive. Wallis Giunta and Sydney Mancasola. Why Breaking the Waves?.

Alex Ross, The New Yorker[8], "It is not easy to find new operas that command attention, tell their story lucidly and create a powerful, permeating mood.

Unit 11, Level 1 Stay up to date with all the latest arts news with a weekly round-up of news, reviews and features by Australia's finest arts journalists. Classic tragic opera heroines may weep and die, but Bess, as conceived by Ms. Mazzoli and librettist Royce Vavrek, and sung by the extraordinary Kiera Duffy, is an evolving, unforgettable character." Listen to the music for Breaking the Waves in this audio stream from Opera Philadelphia's world premiere production of the opera in 2016, at the Kimmel Center for the Performing Arts. Missy Mazzoli's opera, based on Lars von Trier's film, builds to a devastating finale. Jan’s wish for Bess to take male lovers in order that he might experience the “love making” by proxy is without doubt a recipe for several kinds of disaster and the way Bess is buffeted by the demands of her community, her husband and her conscience is pitiful and moving to witness. A wonderful evocation of the society of Calvinist Skye! © 2010-2020 Bachtrack Ltd. All rights reserved.
This unlocks a whole range of dilemmas and strained relationships. Inspired by the Lars von Trier film Breaking the Waves they have created an amazing, confronting, yet mystical opera, telling the same story but with refreshingly new insights.This Breaking the Waves opera is a most unusual love story of redemption, of Bess sacrificing her life that Jan might live.

Bess’s worst sin, aside from being a bit fey, is her love for an outsider, Jan Nyman (charismatic Australian baritone Duncan Rock). Robert Icke's riveting adaptation of a 1912 play by Arthur Schnitzler feels urgent and terribly timely. The island’s patriarchs are in a knot from the opening moments and little improves across two hours 50 minutes and three acts.

For close to 3000 years, people have turned to the Book of Psalms for consolation. His lovely rich tenor voiced his authentic care and affection and his depth of feeling was convincing, especially when, grieving her demise, he sang “Dear God, I thank you for the greatest gift.”. It’s how they describe Bess and this young woman is naturally the target of their ire. The simple, powerful scenery comprised a series of monoliths on a revolving base allowing for seamless scene changes. Read our writers’ selections of highlights and critical insights in the project supported by the Judith Neilson Institute for Journalism and Ideas. Mazzoli’s score supports that dynamic by wedding strong lyric invention to an unsettled, insidiously dissonant chamber-orchestra texture that evokes the jagged beauty both of Skye and of Bess’s inner landscape. With the full original cast, along with the orchestra and chorus of Scottish Opera, this is a must-see for opera, music and theatre lovers alike. Breaking the Waves is an opera in three acts by Missy Mazzoli with a libretto by Royce Vavrek.It is based on the 1996 film of the same name by Danish auteur Lars von Trier. Enter to win tickets to the latest productions around Australia and films on the big screen. Photograph © James Glossop.

[11], "Opera Philadelphia: Breaking the Waves by Missy Mazzoli", "Edinburgh International Festival: Music review: Breaking the Waves, King's Theatre, Edinburgh", "International flavour marks final Herald Angels awards", https://en.wikipedia.org/w/index.php?title=Breaking_the_Waves_(opera)&oldid=939972403, Creative Commons Attribution-ShareAlike License, This page was last edited on 9 February 2020, at 20:25. Completing the central trio are the compelling Australian baritone Duncan Rock as Bess’s husband Jan and the great Irish dramatic soprano (and two time Helpmann winner!) Opera Ventures chose Breaking the Waves for its second opera production because of its outstanding score, brilliant storytelling and beautiful writing.. Due to the emotive, powerful and informative nature of the piece, previous productions have received widespread praise, both for the quality and the emotions that the story stirs amongst its audience. When Jan becomes paralyzed in an off-shore accident, Bess's marital vows are put to the test as he encourages her to seek other lovers and return to his bedside to tell him of her sexual activities.

Bess is in the wrong place at the wrong time. Anyone paying attention in the opening moments, however, will have worked out how this tragedy ends. Yet Breaking the Waves is not flawless and never was. Our privacy policy was last updated on Friday 31 January 2020. Bess has been hospitalised in the past for unspecified treatment and her mother (a powerful Orla Boylan) threatens her with further incarceration if she doesn’t buck up. Benjamin Britten is a palpable influence, particularly in thrashing orchestral tempests and some melismatic, Peter Quint-like writing for tenor. Conducted by Yannick Nézet-Séguin. An engrossing lesson in the historical and musical significance of Beethoven’s Eroica symphony in the composer’s 250th year. Clever lighting effects were so subtle as to be unnoticeable. An accident on the rig sends Jan back to Skye neurologically injured and paralysed. All Bess wants is to be loved and to love Jan; and to have him quit the rigs and stay on land with her. Tenor Elgan Llŷr Thomas, as the doctor who treated paralysed Jan professionally, and emotionally deprived Bess more threateningly (she had, after all, unsubtly tried to seduce him), conveyed to perfection the impersonal and uninvolved nature expected of a doctor from this confined community. The male chorus – whether churchily arrogant or bare-chested and threatening – is aurally and histrionically superb (chorus master: Susannah Wapshott). Composed by Missy Mazzoli. Directed by Tom Morris, the action flows around and in and out of these dour structures as they become church, hospital, oil rig platform, and menacing night spaces. Breaking the Waves is an opera in three acts by Missy Mazzoli with a libretto by Royce Vavrek.

[3] The New York City Prototype Festival showed this production in three performances in January 2017 at the Skirball Center for the Performing Arts. Missy Mazzoli’s score raises the drama high.

It was all go as this year’s 60th anniversary festival got underway with a series of compelling, contentious, provocative and exciting productions. The black-attired matron is as indestructible as the granite-like columns of the set and Bess has little chance of empathy.

Justine Nguyen explores how a unique choral project sees four choirs perform all 150 Psalms set to music by 150 different composers over the course of 12 concerts. Three leading female choreographers take on Beethoven’s Grand Fugue to thrilling effect.

Breaking the Waves  (1996) was one of the trio and the “golden heart” at its heart is the unsophisticated Bess McNeill. $129, Friends $110, Conc $103, U30 $65, Student $55, $99, Friends $84, Conc $89, U30 $50, Student $40. Orla Boylan as Mother. Savage, heartbreaking and thoroughly original. Amazing Breaking the Waves: Scottish Opera at the Adelaide Festival, https://bachtrack.com/review-mazzoli-breaking-waves-mancasola-scottish-opera-adelaide-festival-march-2020, https://bachtrack.com/22/270/list-published/5355, https://bachtrack.com/files/63816-brian-angus.jpg. Breaking the Waves (1996) was one of the trio and the “golden heart” at its heart is the unsophisticated Bess McNeill. It's opera for all in Scottish Opera's new season, From Yak hair to computer chips: Stefanie Paglialonga on the secrets of wig making, Anu Komsi on Nordic composers, the importance of musical education and Lindberg's. Inspired by the Lars von Trier film Breaking the Waves they have created an amazing, confronting, yet mystical opera, telling the same story but with refreshingly new insights. While he spent most of the second and third acts on a paraplegic bed, he was core to the story.

He did, though, finally confess, with touching pathos, to ultimately having to describe Bess as “good”.

[1] The opera was first performed on September 22, 2016, by Opera Philadelphia.

She writes from the heart: richly textured music that takes the complexities of the film and creates grand, dark, gripping opera replete with arias, choruses, set pieces and impressive orchestral interludes under the baton of Stuart Stratford. [9], At its European premiere, in a new production directed by Tom Morris for Scottish Opera and John Berry's Opera Ventures at the Edinburgh International Festival, the work again was praised including a five star review in The Scotsman calling it "operatic gold". A number of organisations provide support for musicians, artists and arts workers. This Breaking the Waves opera is a most unusual love story of redemption, of Bess sacrificing her life that Jan might live.

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