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APERÇU
| Rôle | Type de voix | Gamme ? | Description du personnage |
|---|---|---|---|
| Bess McNeill | aigu | ||
| Jan Nyman | moyen-grave | ||
| Mrs. McNeill | aigu | ||
| Dodo McNeill | moyen-aigu | ||
| Dr. Richardson | moyen | ||
| Young Sailor | moyen | ||
| Terry | grave | ||
| Minister | grave | ||
| adistic Sailor | grave |
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SYNOPSIS
Based on the film by Lars von Trier, Breaking the Waves tells the story of Bess McNeill, a religious young woman with a deep love for her husband Jan, a handsome oil rig worker in 1970's Scotland. 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. He insists that the stories will feel like they are making love together and keep him alive. Bess’s increasing selflessness leads to a finale of divine grace, but at great cost.
- adapted from MissyMazzoli.com
PARTITIONS À L'ACHAT
Renseignements sur la première
| Rôle | Nom |
|---|---|
| Bess McNeill | Kiera Duffy |
| Jan Nyman | John Moore |
| Dodo McNeill | Eve Gigliotti |
| Mrs. McNeill | Patricia Schuman |
| Dr. Richardson | David Portillo |
| Terry | Zachary James |
| Minister | Marcus DeLoach |
| Sadistic Sailor | John David Miles |
| The Runt | George Ross Somerville |
| Rôle | Nom |
|---|---|
| Direction musicale | Stephen Osgood |
| Mise en scène | James Darrah |
CRÉATION
Déclaration de l'équipe artistique
I have never had a story sing to me like Bess McNeill’s in Breaking the Waves. Immediately upon seeing this film I felt that Bess’s crushing vulnerability, steadfast faith and shocking bravery could manifest in a refreshing and provocative new character on the operatic stage. I imagine music that illuminates the complexity von Trier brings to his characters — a chorus of men sing a hymn that is beautiful but chilling in its austerity, Jan sings to Bess of his desires in a way that is at once tender and calculating, Bess sings a delicate melody with a turbulent and distorted accompaniment that hints at her inner rages and longings. In creating music for Bess McNeill and her world I see an opportunity to create a new kind of heroine, and a new kind of opera that presents complex characters in an intricate and unblinking light.
- Missy Mazzoli, composer, from Missy Mazzoli.com
I have been haunted by the story of Bess McNeill since first seeing Lars von Trier’s film in 1997. A boy of only 14, I first sat arrested by the plight of Bess, in many ways, feeling a kinship with her. I did not know then how informative the film would be, but it has sunk into my marrow, become part of my body’s chemistry, and I carry it with me as the foremost example of the power of storytelling. In Jan, Bess finds a man with whom she joins into an unbreakable covenant with God, a marriage that breaks open the floodgates of one of the most passionate romances I’ve encountered in the cinema (or any other medium, for that matter). Bess’ journey is operatic: from her unbridled commitment to Jan, to his absences that lead to her desperation, to her unquestioning willingness to put herself in harm’s way believing that her sexual sacrifices will save his life. Her story sings, and with Missy I believe that we can translate her singular narrative into an important, intoxicating work of contemporary opera.
- Royce Vavrek, librettist, from Missy Mazzoli.com
Ressources supplémentaires
Rent full score: https://www.wisemusicclassical.com/work/54607/
View piano/vocal score: https://issuu.com/scoresondemand/docs/breaking_the_waves_vs_54607
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