Musikfest 1: In Full Shadow

It is perhaps an unfortunate irony that the elements which allow Die Frau ohne Schatten to occupy a place of unique greatness among Strauss’ stage works are the very factors which can make it so difficult to stage. Not that the intricate, large-orchestra scoring, thematic complexities, and ambitious action have made Die Frau a rarity over the past half-century: so long as there are two great sopranos committed to the central roles, it will always find an audience. But performances are almost invariably subjected to extensive cuts, especially in the third act, and the physical demands of even the best staging can overshadow the subtleties in the score.

An argument could be made for Die Frau being one of the great headphone operas: Strauss had such a skill for conjuring supernatural flourishes while guiding us through the emotional journeys…