‘Ades ear for subtly-layered orchestral sonorities is astonishing.’ The Times


3(III=picc).3.3(I in Bb.II in A.III in A=bcl).2.cbsn(=bsn) – 4331 – timp – perc(3): glsp/xyl/2 susp.cym/antique.cym/hi-hat/SD/2 kit BD/BD/small rototom/3 brake drums/tam-t/tgl/3 tpl.bl/small rattle/Monkey drum/small whip/vibraslap/guero/high bongo/washboard/tamb/popgun – harp – pno – strings



'This is Ades at his most fantastical (scarifying textures and curdled harmonies) holding up a distorting mirror to the scandalous and unseemly and thoroughly relishing the imagery in his mind’s eye.'
Independent (Edward Seckerson), 11 January 2012
'A melange of foxtrots and waltzes which sometimes appears raunchy, sometimes delicate and mysterious.'
The Telegraph (Ivan Hewett), 2 June 2010
'Transcriptions that cunningly transfer the sleazy brittleness of the opera's original ensemble scoring on to a full orchestral canvas to create a three-movement sequence haunted by faded, exhausted dance forms'
The Guardian (Andrew Clements), 10 January 2012

Three-piece Suite from Powder Her Face

Hamer Hall, Arts Centre Melbourne (Melbourne, VIC, Australia)

Melbourne Symphony Orchestra

Three-piece Suite from Powder Her Face

Royal Albert Hall (London, United Kingdom)

Royal Scottish National Orchestra, Thomas Søndergård