Style
The music of the opera combines influences ranging from Alban Berg, Igor Stravinsky, and Benjamin Britten to Kurt Weill and the tangos of Ástor Piazzolla in a witty, camp, and highly individual manner.
Describing the overall impact of the libretto and the theatricality of the entire production, Alex Ross notes:
- "Hensher seized the opportunity to create the first onstage blow job in opera history, but he also twisted the story into something more generalised and expressionistic: Margaret becomes a half-comic, half-tragic figure, a nitwit outlaw. There were clear parallels with Alban Berg’s epic of degradation, Lulu The libretto reads like a nasty farce, but it takes on emotional breadth when the music is added. With a few incredibly seductive stretches of thirties-era popular melody, Adès shows the giddy world that the Duchess lost, and when her bright harmony lurches down to a terrifying B-flat minor he exposes the male cruelty that quickened her fall. Adès's harmonic tricks have a powerful theatrical impact: there’s a repeated sense of a beautiful mirage shattering into cold, alienated fragments".
Read more about this topic: Powder Her Face
Famous quotes containing the word style:
“His style is chaos illumined by flashes of lightning. As a writer he has mastered everything except language.”
—Oscar Wilde (1854–1900)
“In comedy, the witty style wins out over every mishap of the plot.”
—Mason Cooley (b. 1927)
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)