The Devils of Loudun (opera) - Composition Style

Composition Style

The Devils of Loudun is an atonal Grand Opera written in an expressionist style, conveying feelings of insanity and portraying the characters in psychotic states. In fact, The Devils of Loudun may be compared to Berg’s monumental expressionistic opera, Wozzeck. “Penderecki’s flexible style, like Berg’s, is ideally suited to capture the essence of emotional states,” and thus develop several planes of expressive characterization.

The Devils of Loudun is written in Penderecki’s trademark textural style, which utilizes a number of textural and sonoric techniques, including wedges and group glissandos, microtonal clusters, a range of vibratos, extended instrumental techniques, and series of percussive effects. However, in The Devils of Loudun, Penderecki’s sonorism is brought to new heights, serving now a crucial dramatic purpose. In effect, it is possible to conceive the opera’s drama as the sole opposition between Penderecki’s sound-mass and pointillistic styles.

Even though it is title as an opera, The Devils of Loudun’s dramatic style is influenced by other genres. While the use of chorus, soloist, and orchestral fragments all adhere to the operatic tradition, the influence of theatrical genres is evident on the operas’ extensive use of speech. To this effect, the libretto, divided into 32 scenes, may also be regarded as a byproduct of a theatrical influence. In addition, it is possible to perceive some elements of comic opera in the male-voice quartet at the end of the second act; while the reference to the Passion play is obvious on the martyrdom figure of Grandier.