MET Opera House–Lincoln Center–Monday November 10th, 2025
Welcome back friends.
Yay!
This week, friends, welcome back once again, to the wonderful world of classic opera, and to a lesser known work of the canon, this time, by the great Richard Strauss (1864-1949).
Yay!
Welcome to Strauss’, elegant, a tad silly, and unrealistic, 3 acts comedic opera, welcome to Strauss’ (1933) “Arabella”.
Yay!
Filled with gorgeous sounding melodies, and terrific arias, (my favorite being the soprano’s rich, evocative portrayal, of her calm and internal monologue that ends Act 1, “Arabella” is the final collaboration of Strauss and the great librettist, Hugo von Hofmannsthal (1874-1929).
Wow!
“Arabella” is a striking and somewhat silly, “feel good” tale set in mid 19th century Vienna, about an impoverished noble family living on a tight budget, hoping to marry the title character, “Arabella” to a wealthy suitor, while raising a younger daughter, Zdenka, as a boy, to save money, and believe it or not, but the family will in the end, eventually find the right suitor, for actually, both daughters.
Wow.
Act 1 describes Arabella and Zdenka’s current situation: a fortune teller predicts to both Arabella and Zdenka’s mother, great happiness for the older daughter Arabella, and tragedy, for the second daughter, Zdenka.
Oh boy.
Arabella, despite having 4 suitors (Matteo, Count Elemer, Count Dominik, and Count Lamoral), has a father who has also sent a picture of his daughter Arabella, to a rich old Croatian friend of his (Mandryka), hoping he would marry her, and a stranger, the nephew and heir of Mandryka, appears one day, saying he has fallen in love with her picture, and has come to ask for Arabella’s hand.
Oh boy.
Zdenka we quickly learn, despite being disguised as a boy, meanwhile, is in love with one of her sister’s suitor, Matteo, who is quasi suicidal at the idea that Arabella doesn’t return his feelings for her, and says so to Zdenko, his “male” friend (Zdenka in disguise of course).
Oh boy.
By Act 2, Arabella, at a ball, meets the stranger and heir to her father’s old Croatian friend, Mandryka, and feels that compared to the 4 other suitors, he appears suddenly to her, to be the “right one”, and agrees to marry him.
Oh boy.
Arabella does ask the young Madryka to let her first, bid farewell that evening, to her girlhood, by enjoying dancing with all her friends and suitors, as she is the “queen” of the ball.
Oh boy.
Her sister Zdenka meanwhile, tells Matteo at the ball, that Arabella does indeed love him, and gives Matteo a key, that opens a room next to Arabella’s room. Mandryka overhears the conversation, and is appalled to find out that Arabella seems to have “plans” that evening, with another suitor (Matteo). We then learn that Arabella has gone home, and both her parents and Mandryka follow suit.
Oh boy.
By Act 3, we find Arabella at home, just returning from the ball, dreaming about her future life and finds suddenly in the hallway, Matteo, who thinks he has just had a tryst with her in a bedroom, and wonders why she is so cold. Mandryka then, quickly arrives with the parents, and is convinced that Arabella has betrayed him with Matteo, despite her protestations of innocence.
Oh boy.
The young sister Zdenka, then, eventually comes running down the stairs in a nightgown, and confesses she gave herself to Matteo, to avoid worse disaster. Matteo realizes suddenly, that he is in love with Zdenka, and Mandryka, unable to forgive himself for his lack of trust in Arabella, is in the end, pleasantly surprised, when Arabella, eventually comes back to see him, forgives him, and they renew their promise of love.
Oh boy.
What to say about the production?
That Otto Schenk’s elegant and sophisticated classic, 19th century looking Viennese production served perfectly the plot, was fun, gorgeous and fresh, and allowed the audience to be even more entertained, despite the silly and unrealistic plot.
Wow and yay!
I especially loved in Act 2, the dancing scenes in the ballroom and also the ball’s “mascot” Fiakermilli’s terrific fun arias and energetic joy.
Wow!
And what gorgeous costumes by Milena Canonero.
What to say of the conductor and performers?
That the conducting by Maestro Nicholas Carter was terrific, energetic, and and filled emotion.
Bravo!
And all singers were exceptional.
Bravo!
And American soprano, Rachel Willis Sorensen was especially convincing as the honest and strong Arabella, and she seemed to totally enjoy herself in the role. And what a gorgeous voice she has.
Bravo!
So, to sum up my feelings, about Strauss’ “Arabella”, admired last Monday evening, in great company: what a beautiful, yet a tad silly opera, filled with tender arias and gorgeous melodies, whose classic Schenk production, makes it entertaining and fun. And how especially awesome was Willis-Sorensen, to depict the wonderfully honest Arabella.
Wow and bravo!
Until next time friends!
Soft…
Fluttering…
Sunny…
Joyful…
Happy…
Loving…
Eternal butterflies …