The Metropolitan Opera's production of Richard Strauss's Arabella, revived after an eleven-year absence, is a masterclass in lavishness and spectacle. This season's revival has restored the Met to its former glory, reminding audiences of the company's rich tradition of presenting operas that cater to conservative tastes.
Directed by Otto Schenk, who passed away earlier this year at 94, the production is an homage to the golden age of opera, with stunning sets and costumes designed by Milena Canonero. Günther Schneider-Siemssen's Cinemascope settings transport the audience to the opulent world of early 20th-century Vienna, while Canonero's costumes are nothing short of breathtaking.
At the center of this lavish production is American soprano Rachel Willis-Sørensen as Arabella, delivering a performance that will surely be remembered for years to come. Her portrayal of the titular character is both nuanced and charismatic, effortlessly conveying Arabella's wit, intelligence, and vulnerability. The chemistry between her and Tomasz Konieczny, who plays Mandryka, is undeniable, making their romance one of the most compelling aspects of the opera.
The supporting cast, including Evan LeRoy Johnson as Elemer, Louise Alder as Zdenka, Ben Brady as Lamoral, Ricardo José Rivera as Dominik, Karen Cargill as Adelaide, and Brindley Sherratt as Waldner, deliver performances that are equally impressive. Dylan Evans's revival of Schenk's staging is a masterclass in naturalism, bringing the opera to life with clever set changes and precise pacing.
Conductor Nicholas Carter brings his usual assurance to the podium, drawing outstanding playing from the orchestra. However, some critics may find that Carter's brisk tempi occasionally rush the singers, particularly Willis-Sørensen, who deserves more time to savor the opera's beautiful music.
Despite a nearly four-hour runtime without an intermission, this production of Arabella is an entertaining and engaging enterprise that will delight fans of Strauss and Schenk. The Met's decision to eschew an edition sanctioned by Strauss that eliminates one intermission may be seen as a concession to modern sensibilities, but the end result is a fresh and vivid cast that makes Arabella an especially enjoyable experience.
As the opera concludes with Arabella exclaiming "I cannot help it. Take me as I am!" the audience is left in awe of Willis-Sørensen's performance, which is nothing short of breathtaking. This production of Arabella is a testament to the Met's commitment to preserving the world of classical music for future generations and a must-see event for opera enthusiasts.
Directed by Otto Schenk, who passed away earlier this year at 94, the production is an homage to the golden age of opera, with stunning sets and costumes designed by Milena Canonero. Günther Schneider-Siemssen's Cinemascope settings transport the audience to the opulent world of early 20th-century Vienna, while Canonero's costumes are nothing short of breathtaking.
At the center of this lavish production is American soprano Rachel Willis-Sørensen as Arabella, delivering a performance that will surely be remembered for years to come. Her portrayal of the titular character is both nuanced and charismatic, effortlessly conveying Arabella's wit, intelligence, and vulnerability. The chemistry between her and Tomasz Konieczny, who plays Mandryka, is undeniable, making their romance one of the most compelling aspects of the opera.
The supporting cast, including Evan LeRoy Johnson as Elemer, Louise Alder as Zdenka, Ben Brady as Lamoral, Ricardo José Rivera as Dominik, Karen Cargill as Adelaide, and Brindley Sherratt as Waldner, deliver performances that are equally impressive. Dylan Evans's revival of Schenk's staging is a masterclass in naturalism, bringing the opera to life with clever set changes and precise pacing.
Conductor Nicholas Carter brings his usual assurance to the podium, drawing outstanding playing from the orchestra. However, some critics may find that Carter's brisk tempi occasionally rush the singers, particularly Willis-Sørensen, who deserves more time to savor the opera's beautiful music.
Despite a nearly four-hour runtime without an intermission, this production of Arabella is an entertaining and engaging enterprise that will delight fans of Strauss and Schenk. The Met's decision to eschew an edition sanctioned by Strauss that eliminates one intermission may be seen as a concession to modern sensibilities, but the end result is a fresh and vivid cast that makes Arabella an especially enjoyable experience.
As the opera concludes with Arabella exclaiming "I cannot help it. Take me as I am!" the audience is left in awe of Willis-Sørensen's performance, which is nothing short of breathtaking. This production of Arabella is a testament to the Met's commitment to preserving the world of classical music for future generations and a must-see event for opera enthusiasts.
rachel willis-soersen as arabella is literally perfection 
her chemistry with tomasz konieczny is so on point 
i love how the sets and costumes are straight out of a fairy tale 
the conductor nicholas carter did an amazing job too 
his only misstep was rushing some parts but overall it's just soooo good 
. The singers are talented and all, but I think they're getting lost in the noise of this overly elaborate production. All that money and effort could've gone into making the opera itself better, not just the stage design 
. And what's with the Met trying to make it more "accessible" for modern sensibilities? Some things are timeless, folks, don't try to fix what ain't broke 
.
and I gotta say, it was absolute perfection! The sets were insane, like stepping into a different era, and the costumes? Mind-blowing 
. But what really stood out for me was the lead singer, Rachel Willis-Sørensen - she's got this incredible presence on stage that just draws you in 
.
. Plus, the whole cast delivered solid performances that had me on the edge of my seat 
. The conductor, Nicholas Carter, did a great job bringing everything together without overwhelming the singers.
), but this one was actually pretty accessible! Maybe it's just because the Met is reviving some old classics, but I felt like they'd done a great job making it feel fresh and new for modern audiences.
, this production of Arabella is definitely worth checking out. It's got everything: drama, romance, music... what more could you ask for? 
️ and i'm still reeling from rachel willis-soerensen's performance 
and charisma at the same time 
. And Rachel Willis-Sørensen's performance as Arabella? Mind-blowing 
. The chemistry between her and Tomasz Konieczny is undeniable, it's like they were meant to be together in this opera 
. Interesting how the conductor tries to balance the tempo with the singers' needs, hope he gets more feedback next time 
Rachel Willis-Sørensen is absolutely killing it as Arabella - her chemistry with Tomasz Konieczny is so palpable I ship them hard 
The only thing that would've made it perfect is a slightly slower tempi, but Nicholas Carter still brought the house down 
. The production is so lavish and over-the-top, it's like a Masterclass on how to do luxury opera 
! I'm totally speechless, tbh 
and Nicholas Carter's conducting skills are always on point 
but honestly, it's a small price to pay for this level of artistry 
But seriously, it just goes to show that sometimes you gotta shake things up a bit in order to breathe new life into something that's already beautiful.
I'm totally stoked about this revival of The Metropolitan Opera's Arabella! I mean, who doesn't love a good dose of lavishness and spectacle? 
. The Met really knows how to bring out the best in its performers, and this production is a masterclass in naturalism. The conductor Nicholas Carter just gets it right, you know? Some critics might say the tempi are a bit brisk, but I think that's just part of the opera's charm 
Just saw this epic revival of Richard Strauss's Arabella at the Met 
STARSTRUCK 
as Arabella, bringing so much depth and nuance to the role 
. And that romance between her and Tomasz Konieczny? 
, with Dylan Evans's clever staging bringing the whole production together 
.
!
but in the best way lol anyway i gotta say the sets were EVERYTHING 
and can we talk about tomasz konieczny's mandryka though? 
rachel willis-soerensen as arabella is giving me life she's got that charm and wit and vulnerability down pat 
and the chemistry between her and konieczny is real it's like you're right there in the opera with them