Set in an idealized Vienna of the past, Strauss’s most popular opera concerns a wise woman of the world who is involved with a much younger lover but ultimately forced to accept the laws of time, giving him up to a pretty young heiress. Hofmannsthal’s fascinating libretto deftly combines comedy, dreamy nostalgic fantasy, genuine human drama, and light but striking touches of philosophy and social commentary. Strauss’s magnificent score, likewise, works on several levels, combining the refinement of Mozart with the epic grandeur of Wagner. The opera is originally set in Vienna in the 1740s. Genuine historical references are merged with fictitious inventions (like the “noble custom” of the presentation of the silver rose to a fiancée, which never actually existed) and anachronisms (like the Viennese Waltz, which did not yet exist at that time) but The Met’s current production moves the setting to the last years of the Habsburg Empire.
Music Director Yannick Nézet-Séguin takes the helm of Strauss’s most beloved score, following his acclaimed Met performances of the composer’s Elektra, Die Frau ohne Schatten, and Salome. After her “resplendent” (Observer) 2025 portrayal of Strauss’s Arabella, soprano Rachel Willis-Sørensen stars as the elegant Marschallin, alongside brilliant mezzo-soprano Emily D’Angelo as her impetuous younger lover, Octavian. Soprano Ying Fang is the lovely heiress who steals his heart, and bass Günther Groissböck reprises his uproarious portrayal of the bumptious Baron Ochs in Robert Carsen’s turn-of-the-century setting.
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