Powder Her Face, RO, Linbury Studio Theatre

Opera at its most debauched and most brilliant from Thomas Ades

by Igor ToronyilalicThursday, 29 April 2010

Sexy but not scandalous: the 'vocally terrific' Joan Rodgers as the DuchessBill Cooper/ Linbury Studio Theatre

Let's get straight to the fellatio, shall we. The blow job - and its Polaroid rendition - that led to the 1960s divorce trial of the dissolute Duchess of Argyll forms the centrepiece aria (an aria that "begins with words and ends with humming") in Thomas Adès's opera Powder Her Face. And how good we were: as silent as a row of Trappists. There was none of the outrage, laughter, consternation that this staged blowy could once summon up and that once led Classic FM to ban the work. Sex, when dealt with correctly - as in Carlos Wagner's revival production - is never really scandalous. It's awkward, poignant and, at times - Heaven forfend - actually kind of sexy.

Explore topics

Share this article

The future of Arts Journalism

You can stop theartsdesk.com closing!

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

more Opera

Help to give theartsdesk a future! Support our GoFundMe appeal

The Elixir of Love, English National Opera review - a tale of two halves Flat first act, livelier second, singers not always helped by conductor and director

The Sound Voice Project, Linbury Theatre review - an art installation that has strayed into an opera house A worthy project fails to ignite as art

The Tales of Hoffmann, Royal Opera review - three-headed monster feels baggier than ever Offenbach left multiple choices for his swansong, but this production lacks the key

Rigoletto, English National Opera review - another hit for Miller's Mob More tragic than gimmicky, this classic staging can still succeed

theartsdesk at Wexford Festival Opera - let's make three operas Donizetti triumphs, with help from Bernstein, Rossini, two stars and director Orpha Phelan

Albert Herring, Scottish Opera review - fun, frivolity, and fine music-making A witty production of Britten's clever comedy that's bound to leave you smiling

Le nozze di Figaro, The Mozartists, Page, Cadogan Hall review - cogency, intelligence and reverence A celebration of Mozart from the supreme stylists

A Midsummer Night’s Dream, Opera North review - one of the best and funniest Perspex and bubblewrap for a Sixties take on Britten's Shakespeare

The Turn of the Screw, English National Opera review - Jamesian ambiguities chillingly preserved Pity and terror in Ailish Tynan’s anguished Governess and Isabella Bywater’s production

Trouble in Tahiti/A Quiet Place, Linbury Theatre review - top cast plays unhappy families Mini-masterpiece and splashy sequel carried off with as much conviction as they can take

Blond Eckbert, English Touring Opera review - dark deeds afoot in the woods Judith Weir’s chamber opera explores Freudian themes through a modern lens

Follow @theartsdesk