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Album Savings: £11.60 compared to buying all songs
- Original Release Date: 28 Nov 2005
- Format - Music: MP3
- Compatible with MP3 Players (including with iPod®), iTunes, Windows Media Player
- Also available in CD Format
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| Disc 1: | ||||||
| Song Title | Artist | Time | Price | |||
|---|---|---|---|---|---|---|
| Play | 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 | £0.89 | ||
| Play | 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 | £0.89 | ||
| Play | 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 to | Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson | 2:51 | £0.89 | ||
| Play | 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 | £0.89 | ||
| Play | 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 | £0.89 | ||
| Play | 6. Powder Her Face (an Opera in two acts) Op.14, ACT I, Scene 2: Nineteen thirty-four: Of course she's done well | Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson | 2:14 | £0.89 | ||
| Play | 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 | £0.89 | ||
| Play | 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 | £0.89 | ||
| Play | 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 | £0.89 | ||
| Play | 10. 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 | £0.89 | ||
| Play | 11. 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 | £0.89 | ||
| Play | 12. 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 | £0.89 | ||
| Play | 13. 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 | £0.89 | ||
| Play | 14. 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 | £0.89 | ||
| Play | 15. 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 | £0.89 | ||
| Play | 16. 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 | £0.89 | ||
| Play | 17. 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 | £0.89 | ||
| Play | 18. 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 | £0.89 | ||
| Disc 2: | ||||||
| Song Title | Artist | Time | Price | |||
| Play | 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 | £0.89 | ||
| Play | 2. Powder Her Face (an Opera in two acts) Op.14, Act II, Scene 6: Nineteen fifty-five: Order. Silence | Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson | 5:29 | £0.89 | ||
| Play | 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 | £0.89 | ||
| Play | 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 | £0.89 | ||
| Play | 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 | £0.89 | ||
| Play | 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 | £0.89 | ||
| Play | 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 clear | Thomas Adès/Jill Gomez/Almeida Ensemble/Valdine Anderson/Niall Morris/Roger Bryson | 3:06 | £0.89 | ||
| Play | 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 | £0.89 | ||
| Play | 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 | £0.89 | ||
| Play | 10. 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 | £0.89 | ||
| Play | 11. 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 | £0.89 | ||
| Play | 12. 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 | £0.89 | ||
| Play | 13. 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 | £0.89 | ||
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Customer Reviews
Most Helpful Customer Reviews
9 of 11 people found the following review helpful
Format:Audio CD
Here Thomas Adès has presented us with a masterpiece. This opera is a cruelly human piece about the sexual exploits and proceeding trial of the Duchess of Argyll.
The composer and librettist (Philip Hensher) have created an incredibly moving work that explores the Duchess' unquenchable thirst for sex; the pitiless mockery of the various staff at the Hotel she's staying in; the unforgiving sentence of the Judge; the shameless hypocrisy of the jealous, condemning Duke; the overwhelming humiliation the Duchess suffers when she is finally asked to leave and tries to hold onto the last scraps of dignity she has.
The wonderful score Adès has written for this piece of incredible drama works perfectly. His compositional voice is fantastically versatile - combining Weill and Berg and his own extraordinarily original style.
This is a soberingly, profoundly, brutally beautiful work written by the most inspired and intelligent composer of the last 30 years.
The composer and librettist (Philip Hensher) have created an incredibly moving work that explores the Duchess' unquenchable thirst for sex; the pitiless mockery of the various staff at the Hotel she's staying in; the unforgiving sentence of the Judge; the shameless hypocrisy of the jealous, condemning Duke; the overwhelming humiliation the Duchess suffers when she is finally asked to leave and tries to hold onto the last scraps of dignity she has.
The wonderful score Adès has written for this piece of incredible drama works perfectly. His compositional voice is fantastically versatile - combining Weill and Berg and his own extraordinarily original style.
This is a soberingly, profoundly, brutally beautiful work written by the most inspired and intelligent composer of the last 30 years.
8 of 16 people found the following review helpful
Format:Audio CD
With new music it is difficult to be sure: only repeat hearings will confirm early impressions. But my initial impression is that this is music worth getting to know better. I look forward to the time when I can say that I am familiar with this music. It is really interesting.
11 of 25 people found the following review helpful
Format:Audio CD
POWDER HER FACE has received a succes de scandale for many things, notably the infamous fellatio scene. That is perhaps the only bright moment in a protracted chamber opera that pares away any of the inherent humanity and dignity of the characters. The libretto is extremely wordy (a fault of many operas written today), and Ades' text-setting falls short of inspired or cogent. I found the piece awfully long and insincere - much of the opera's sound depends upon a sense of parody and mockery rather than actual meaningful human communication.
While all the performers rise to Ades' virtuoso demands, the writing doesn't seem to offer many rewards once one passes all the athletic hurdles. Ades seems to be reliant upon juxtaposition throughout the piece, placing a tango here and a pop song there while only intermittently revealing his own harsh compositional voice. That voice revels in being "off-the-wall" - which may entertain briefly, but in the end, what remains but a bitter taste? To these ears, he's only copying what Peter Maxwell Davies did years ago (only better). Save your money - POWDER HER FACE isn't a major addition to modern opera.
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