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・ Powder blue
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・ Powder Day
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Powder Her Face
・ Powder Horn
・ Powder horn
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・ Powder Horn Mountain
・ Powder House Square
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・ Powder keg
・ Powder keg of Europe
・ Powder King Mountain Resort
・ Powder Magazine
・ Powder Magazine (Blue Ball, Arkansas)
・ Powder Magazine (Camp Drum)
・ Powder Magazine (Charleston, South Carolina)
・ Powder metallurgy


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Powder Her Face : ウィキペディア英語版
Powder Her Face

''Powder Her Face'', Op. 14 (1995), is a chamber opera in two acts by the British composer Thomas Adès, with an English libretto by Philip Hensher. The opera is 2 hours 20 minutes long. It was commissioned by the Almeida Opera, a part of London's Almeida Theatre, for performances at the Cheltenham Music Festival.
The subject of the opera is the "Dirty Duchess", Margaret Campbell, Duchess of Argyll, whose sexual exploits were the stuff of scandal and gossip in Britain in 1963 during her divorce proceedings. The opera is explicit in its language and detail.
It was first performed on 1 July 1995 in Cheltenham, with Jill Gómez in the leading role. Reviews were generally good, but the opera became notorious for its musical depiction of fellatio: British radio station Classic FM considered it unsuitable for transmission.
==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".〔( Ross, Alex, ''"Roll Over Beethoven: Thomas Adès"'', ''The New Yorker'', October 26, 1998 )〕

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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