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The intellectual historian Sander Gilman, in an essay titled “Strauss, the Pervert, and Avant Garde Opera of the Fin de Siècle,” argued that the sexual bizarrerie of “Salome” is designed to conjure an unflattering picture of a degenerate society.

The music was loud and joyous in the extreme, sung, beaten upon drums, and played upon simple lutes and chitarrones; the dancing, though marked with great bizarrerie in its movements, was intoxicating in its strangeness and exhilarating in its exultation; and, despite what I had been told at the College of Lucidity of the dancing of slaves, it was executed with complete propriety: There was no intermingling of the sexes, but each maintained its separate steps and songs.

My heart, though, stays untouched by the strenuous bizarrerie of Ms. Tharp’s style.

Originally titled “Night Shadow” in 1946, this is a Romantic drama tinged by Gothic horror and bizarrerie.

He was attacked as a dilettante, one whose music wavered between bombast and bizarrerie, whose poetic productions mixed platitude and gibberish.