PHoto by Marylene Mey Deemed “one of the more consistently inventive, surprising composers now working in New York” by The New York Times, and “Brooklyn’s post-millennial Mozart” by Time Out New York, Missy Missy Mazzoli Mazzoli’s talent draws audiences equally into concert halls and rock clubs. Her unique music reflects a trend among composers of the composer her generation who combine styles, writing music for the omnivorous audiences of the Breaking the Waves 21st century. She inhabits a gorgeous and mysterious soundworld that melds indie-rock A new opera in three acts (2017) sensibilities with formal training from Louis Andriessen, Martijn Padding, Richard Ayers, andothers. Practically speaking, she amasses music in layers notnormally found together but in ways that create matchless vertical harmonies. Learn more about Breaking the Waves at www.musicsalesclassical.com. Photos from Breaking the Waves by Dominic M. Mercier, courtesy of Opera Philadelphia. 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Schirmer Pty Ltd [email protected] [email protected] Denmark: Edition Wilhelm Hansen AS Germany: Music Sales Classical Berlin [email protected] [email protected] Breaking the Waves librettist composer An opera in three acts (2017) statement statement I have been haunted by the story of I have never had a story sing to me like Bess McNeill since first seeing Lars von Bess McNeill’s in Breaking the Waves. Trier’s film in 1997. A boy of only 14, I Immediately upon seeing this film I felt first sat arrested by the plight of Bess, in that Bess’s crushing vulnerability, stead- many ways, feeling a kinship with her. I fast faith and shocking bravery could did not know then how informative the manifest in a refreshing and provocative film would be, but it has sunk into my new character on the operatic stage. I marrow, become part of my body’s imagine music that illuminates the com- chemistry, and I carry it with me as plexity von Trier brings to his characters the foremost example of the power of — a chorus of men sing a hymn that is Score by Missy Mazzoli Duration: 2 hours storytelling. In Jan, Bess finds a man beautiful but chilling in its austerity, Jan Libretto by Royce Vavrek Premiere: September 2016, Opera Philadelphia with whom she joins into an unbreak- sings to Bess of his desires in a way that able covenant with God, a marriage that is at once tender and calculating, Bess After the film by Lars von Trier Orchestra: 1(pic).1.1.1(cbn)/1.0.1.0/perc/ breaks open the floodgates of one sings a del cate melody with a turbulent pf(syn).hp.egtr/str of the most passionate romances I’ve and distorted accompaniment that hints encountered in the cinema (or any other at her inner rages and longings. In cre- medium, for that matter). Bess’ journey ating music for Bess McNeill and her cast list is operatic: from her world I see an opportunity to create a BESS McNEILL: Lyric Soprano SADISTIC SAILOR: Bass-baritone unbridled commitment to Jan, to his new kind of heroine, and a new kind of JAN NYMAN: Baritone COUNCILMAN: Bass-baritone absences that lead to her desperation, opera that presents complex characters DODO McNEILL: Mezzo-soprano YOUNG SAILOR: Tenor to her unquestioning willingness to put in an intricate and unblinking light. TERRY: Bass-baritone herself in harm’s way believing that her sexual sacrifices will — Missy Mazzoli DR. RICHARDSON: Tenor SMALL CHORUS: Tenor and Basses/ save his life. Her story sings, and with MOTHER: Dramatic Soprano Baritones, 12-24 singers Missy I believe that we can translate her singular narrative into an important, in- toxicating work of contemporary opera. synopsis — Royce Vavrek Set in the Scottish Highlands in the early 1970s, Breaking the Waves tells the story of Bess McNeill, a religious young woman with a deep love for her husband Jan, “Breaking the Waves stands among the best 21st- a handsome oil rig worker. When Jan becomes paralyzed in an off-shore accident, century American operas yet produced.” 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 - Opera News will feel like they are making love together and keep him alive. Bess’s increasing “Mazzoli has produced an opera as potent as its model…” selflessness leads to a finale of divine grace, but at great cost. - Musical America.