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Adès: Powder Her Face (British Composers) [Live]

Thomas Adès Audio CD

Price: £8.26 & FREE Delivery in the UK on orders over £10. Details
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Biography

Born in London in 1971, Thomas Adès’s studied piano at the Guildhall School of Music, and read music at King's College, Cambridge. Between 1993 and 1995 he was Composer in Association with the Hallé Orchestra, which association resulted in The Origin of the Harp (1994), and These Premises Are Alarmed for the opening of the Bridgewater Hall in 1996. Asyla (1997) was a ... Read more in Amazon's Thomas Adès Store

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Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         


Disc 1:

Samples
Song TitleArtist Time Price
Listen  1. Powder Her Face (an Opera in two acts) Op.14, ACT I: Overture (Orchestra)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 2:58£0.99  Buy MP3 
Listen  2. Powder Her Face (an Opera in two acts) Op.14, ACT I, Scene 1: Nineteen ninety: Oo, aa! ha ha ha ha ha (Maid/Electrician)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 4:12£0.99  Buy MP3 
Listen  3. Powder Her Face (an Opera in two acts) Op.14, ACT I, Scene 1: Nineteen ninety: I see. This is what it has come toThomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 2:51£0.99  Buy MP3 
Listen  4. Powder Her Face (an Opera in two acts) Op.14, ACT I, Scene 1: Nineteen ninety: Take it from me (Duchess/Electrician/Maid)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 5:06£0.99  Buy MP3 
Listen  5. Powder Her Face (an Opera in two acts) Op.14, ACT I, Scene 1: Nineteen ninety: Interlude (Orchestra)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 1:06£0.99  Buy MP3 
Listen  6. Powder Her Face (an Opera in two acts) Op.14, ACT I, Scene 2: Nineteen thirty-four: Of course she's done wellThomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 2:14£0.99  Buy MP3 
Listen  7. Powder Her Face (an Opera in two acts) Op.14, ACT I, Scene 2: Nineteen thirty-four: I could never grow bored of dukedoms (Confidante/Lounge Lizard/Duchess)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 1:52£0.99  Buy MP3 
Listen  8. Powder Her Face (an Opera in two acts) Op.14, ACT I, Scene 2: Nineteen thirty-four: I hear him coming (Pantomime) (Duchess/Confidante/Lounge Lizard/Duke)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 5:07£0.99  Buy MP3 
Listen  9. Powder Her Face (an Opera in two acts) Op.14, ACT I, Scene 2: Nineteen thirty-four: Interlude (Orchestra)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 2:37£0.99  Buy MP3 
Listen10. Powder Her Face (an Opera in two acts) Op.14, ACT I, Scene 3: Nineteen thirty-six: Fancy, fancy being rich (Waitress)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 4:45£0.99  Buy MP3 
Listen11. Powder Her Face (an Opera in two acts) Op.14, ACT I, Scene 3: Nineteen thirty-six: Interlude - Scene 4: Nineteen fifty-three ...mm...ah!...How may I help you? (Duchess/Laundryman/Other Guest)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 3:49£0.99  Buy MP3 
Listen12. Powder Her Face (an Opera in two acts) Op.14, ACT I, Scene 3: Nineteen thirty-six: ...mm..ah!...Room service?Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 3:23£0.99  Buy MP3 
Listen13. Powder Her Face (an Opera in two acts) Op.14, ACT I, Scene 3: Nineteen thirty-six: What have you got there?Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 3:08£0.99  Buy MP3 
Listen14. Powder Her Face (an Opera in two acts) Op.14, ACT I, Scene 3: Nineteen thirty-six: Come here (Duchess/Waiter)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 6:18£0.99  Buy MP3 
Listen15. Powder Her Face (an Opera in two acts) Op.14, ACT I, Scene 3: Nineteen thirty-six: Interlude (Orchestra)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 2:04£0.99  Buy MP3 
Listen16. Powder Her Face (an Opera in two acts) Op.14, ACT I, Scene 5: Nineteen fifty-three: Is Daddy squiffy?Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 5:43£0.99  Buy MP3 
Listen17. Powder Her Face (an Opera in two acts) Op.14, ACT I, Scene 5: Nineteen fifty-three: Are you saying the Duchess is a whore?Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 4:57£0.99  Buy MP3 
Listen18. Powder Her Face (an Opera in two acts) Op.14, ACT I, Scene 5: Nineteen fifty-three: Ha ha ha ha...(Paper chase) (Mistress/Duke)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 2:18£0.99  Buy MP3 


Disc 2:

Samples
Song TitleArtist Time Price
Listen  1. Powder Her Face (an Opera in two acts) Op.14, Act II, Scene 6: Nineteen fifty-five: Did she?...Of course she did (Rubberneckers)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 3:09£0.99  Buy MP3 
Listen  2. Powder Her Face (an Opera in two acts) Op.14, Act II, Scene 6: Nineteen fifty-five: Order. SilenceThomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 5:29£0.99  Buy MP3 
Listen  3. Powder Her Face (an Opera in two acts) Op.14, Act II, Scene 6: Nineteen fifty-five: But now I have heard something new (Judge)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 3:45£0.99  Buy MP3 
Listen  4. Powder Her Face (an Opera in two acts) Op.14, Act II, Scene 6: Nineteen fifty-five: Did you hear - What he said? (Rubberneckers)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 1:44£0.99  Buy MP3 
Listen  5. Powder Her Face (an Opera in two acts) Op.14, Act II, Scene 6: Nineteen fifty-five: So that is all (Duchess/Rubberneckers)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 5:09£0.99  Buy MP3 
Listen  6. Powder Her Face (an Opera in two acts) Op.14, Act II, Scene 6: Nineteen fifty-five: Interlude (Orchestra)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 1:04£0.99  Buy MP3 
Listen  7. Powder Her Face (an Opera in two acts) Op.14, Act II, Scene 7: Nineteen seventy: I'd like to make one thing entirely clearThomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 3:06£0.99  Buy MP3 
Listen  8. Powder Her Face (an Opera in two acts) Op.14, Act II, Scene 7: Nineteen seventy: Ah! None left (Duchess/Society Journalist/Delivery Boy)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 4:11£0.99  Buy MP3 
Listen  9. Powder Her Face (an Opera in two acts) Op.14, Act II, Scene 7: Nineteen seventy: Interlude Fifty-eight, seventy-nine (Duchess)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 1:16£0.99  Buy MP3 
Listen10. Powder Her Face (an Opera in two acts) Op.14, Act II, Scene 8: Nineteen ninety: Agh - Who are you? (Duchess/Hotel Manager)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 6:34£0.99  Buy MP3 
Listen11. Powder Her Face (an Opera in two acts) Op.14, Act II, Scene 8: Nineteen ninety: That will do. You may go (Duchess)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 4:44£0.99  Buy MP3 
Listen12. Powder Her Face (an Opera in two acts) Op.14, Act II, Scene 8: Nineteen ninety: Broken. It's broken (Duchess/Hotel Manager)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 8:07£0.99  Buy MP3 
Listen13. Powder Her Face (an Opera in two acts) Op.14, Act II, Ghost Epilogue: Enough...Or too much! (Maid/Electrician)Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson 2:41£0.99  Buy MP3 


Product Description

2CD

Customer Reviews

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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.0 out of 5 stars  1 review
6 of 7 people found the following review helpful
4.0 out of 5 stars Standard recording of a fascinating, if strange composition 26 Nov 2011
By dysfunctional-harmony - Published on Amazon.com
Format:Audio CD
Thomas Ades' opera Powder her Face, whose famously risque aria midway through the first act was both a source of scandal and notoriety for the young composer, has finally been reissued after years of floating around in that great cut-out bin in the sky. This work is not for everyone--certainly not for anybody under 13--but for those who can stomach such a lengthy expose of sex and scandal mingled with atonality and allusion, it should give hours and hours of puzzling entertainment.

The opera is written in a style that can only be described as eclectic, not at all surprising from a composer who apparently, in Asyla, found inspiration in the "house" music found in British (most likely gay) nightclubs. If you just heard the opening overture [read: tango], you might think you are in for a populist romp of an opera, but as things move along such illusions are quickly shattered. The story at times can be somewhat difficult to follow (HERE HE COMES!~), but it is one of those surreal things that seems to have a meaning, it is just difficult to ascertain what it is. And yet, it all seems to be alluding to one opera anti-hero or another as every scene goes by. The first scenes fragmented music is reminescent of the pseudo-Chinese "collectively written" ballet sequence from Adams' Nixon in China. But it leads into an interlude which sounds as if it was borrowed from the drowning scene from "Wozzeck." This interlude raises the curtains to a scene where a "lounge lizard" sings a song of seduction reminiscent of "Mack the Knife" from Weill's "Threepenny Opera." It is truely the Berio Sinfonia of operas, albeit far more masturbatory. But as the opera progresses, Ades' early work's contrapuntal melancholy quickly comes to the fore. It is a manifestation of the Duchess' recognition of her journey through her own story, from fame to boredom to disaster. Such themes are made explicit in the touching aria "So that is all" in Act II.

The vocal writing is easily understood at some times and in the stratosphere in others. But in general, when the words need understanding, they ring clear as a bell. The performance will most likely remain the standard (and probably the only, too) for years to come.

The Bottom Line:

For those and ONLY those who already have a strong grounding in 20th century opera, this is a must hear. But I can't shake the feeling that the opera revels in its own vulgarity a tad too long, inflating the first act until any sympathy you had for the Duchess has run away, as fast as the waiter whose mouth she paid for.
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