If you’ve only ever seen Der Rosenkavalier, you probably think he’s a lighthearted guy. As a younger, less experienced opera goer, I innocently went to Die Frau ohne Schatten before realizing Strauss was something altogether different. After seeing Elektra and Salome, I could appreciate his use of female voices, but knew he was not for the faint of heart (i.e., newbies or my mom). So, imagine my surprise, when I saw Arabella last night at the Met and was overjoyed by the lovely story, beautiful costumes, and incredible sets. If a jewel box was an opera, it would be this one. The costumes were lush, and I swear the crew built an entirely new set for each act during the intermissions. The libretto is sweet (though as a romance reader, I could have dealt with more groveling), and the main soprano (played by Rachel Willis-Sørensen) is a character you really want to cheer for. The Fiakermilli character (sung by Julie Roset) was a delight in the second act despite only being briefly on stage. The direction was the perfect blend of comedic timing and true feelings.
I had a long day prior, so when I saw that the opera was almost four hours long, I was feeling a bit overwhelmed by the prospect of a Strauss opera with some kind of deep meaning, but I cheered myself up by arguing that I could leave at the first intermission if I hated it. Instead, during the first intermission, I texted a friend, “Unfortunately, I love it.” Despite the tough competition, it now stands as my favorite Strauss opera.
Opera: Arabella
Composer: Richard Strauss
Venue: Metropolitan Opera
Date: November 10, 2025
Link: https://www.metopera.org/season/2025-26-season/arabella/
Opera Nerd 
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