# Ranking The Operas of Strauss



## Xavier (Jun 7, 2012)

I would rank "Die Frau ohne Schatten" as tied with "Elektra" for Number One among Strauss operas. My rankings would be as follows:

1/2 Elektra/Die Frau ohne Schatten

3. Rosenkavalier

4. Salome

5. Ariadne auf Naxos

6. Arabella

7.  Capriccio

8. Dafne

9. All the rest, in no particular order

I would rank "Frau" number one except for the music in the final section of the opera -- roughly from after *"Wenn das Herz aus Kristal"* through the end of the final quartet. I find much of this music trite, noisy and cheap-sounding.... I feel that Strauss is striving for some kind of cathartic happy ending but just can't pull it off. He goes into his "auto-pilot" mode and just recycles themes. (The quiet close of the opera is nice and does a bit to redeem the previous lapses.) On the other hand, the entire rest of the opera is superb, and it is far and away the most ambitious work Strauss ever attempted. He comes close to pulling it off until the very end.

For me the "Frau" ending is probably the biggest musical letdown in all opera.

"Elektra," on the other hand, IMO has no real weaknesses - unless one considers the unrelenting grimness of the drama a weakness. It is simply the most harrowing musical experience I know of, except perhaps for "Wozzeck." And yet, I find "Elektra" strangely uplifting too. Just in terms of execution, it surpasses "Frau" - but then, it doesn't reach as far as "Frau" does, either. Hence, the tie between the two operas.

"Rosenkavalier" is delightful, of course, and in the Marschallin it plumbs some profound depths of human feeling. I love it. But I rank it after "Frau" and "Elektra" because it is, over all, a less profound work, and also because there are many passages in which Strauss is in his note- spinning mode. Granted, no one wrote better musical wallpaper than Strauss, but it is still wallpaper.

"Salome" comes after the others because while it is musically brilliant, its fin de siecle decadence is just too dated for my tastes. And apart from being a fascinating study in obsession, it has almost nothing to offer in terms of depth of meaning or content. I have always thought Joseph Kerman's epithet thrown at "Tosca", _"shabby little shocker"_, is more appropriate for "Salome."

"Ariadne" has many delightful moments, especially in the Prologue, and its chamber scoring is one of the finest things Strauss ever did. But there are too many dull patches in the Opera proper - especially the interminable and very un-funny scene with the Commedia dell'arte team after Zerbinetta's aria, and then the noisy, bombastic longueurs of the final duet.

I won't go on. Those are my rankings on Strauss' operas.

I look forward to reading other assessments.


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## elgar's ghost (Aug 8, 2010)

I have three of your top four - the only R. Strauss ones I have, in fact. I really enjoy them but strangely despite Strauss's overall consistency I've never been tempted to investigate further.


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## guythegreg (Jun 15, 2012)

I haven't experienced all of his operas, and my taste has been evolving too - not prepared to rank them, sorry! So far I haven't enjoyed his music very much; his drama, his librettos, are all over the map, from banal to subtle to ... ??? all over. Sometimes I think the different pieces of Strauss' world aren't actually connected with one another! I will say that I don't enjoy Rosenkavalier nearly as much as most people seem to; where others perceive subtlety and depth I see only a woman afraid, like any aging cheerleader, of getting older.


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## schigolch (Jun 26, 2011)

My personal favourites are _Capriccio_, _Ariadne_ and _Salome_... I have also a soft spot for _Die ägyptische Helena_.


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## deggial (Jan 20, 2013)

I love *Ariadne*; the concept, or plot, or whathaveyou is my favourite in all opera - observant and clever and poking fun at its own self consciousness = just great. The Prologue is a gem of music + words but it's true that the Opera is not on par. Thank goodness for Zerbinetta's mad aria (by the way, what a fun character she is!). I also love *Die Frau* = the music is so interesting and exciting and I would argue with you that, although it's as intense going as Elektra, it manages to not overstay its welcome, as Elektra does for me. What a great achievement! *Der Rosenkavalier* - what's not to love?! a whiny MILF, a mama's boy, a socially conscious ingenue and a boorish middle aged man! (that was for you, greg, haha!). But, seriously, I love it. Act II slows it down a bit and I'm not particularly fond of the mega trio at the end, but for over 3 hours of music it's lush and gorgeous and very funny but also heartfelt. *Capriccio* - lovely and clever little metaphor. I'm sure Salome is fun to see in the theatre but I'll take the above before it.


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## guythegreg (Jun 15, 2012)

Oo. A touch, I do confess it. I fear I breathe my last...


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## Glissando (Nov 25, 2011)

Cerendy said:


> "Salome" comes after the others because while it is musically brilliant, its fin de siecle decadence is just too dated for my tastes. And apart from being a fascinating study in obsession, it has almost nothing to offer in terms of depth of meaning or content. I have always thought Joseph Kerman's epithet thrown at "Tosca", _"shabby little shocker"_, is more appropriate for "Salome."


I think _Salome_ has depth of meaning. I think we are meant to identify with Salome, despite her immoral nature (this is similar to how Macbeth is a hero-villain in his play). The work is in part a satire on religious righteousness, and in part it is a sincere exploration of love in all its forms. Musically and dramatically, I think it's Strauss's best opera.


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## StlukesguildOhio (Dec 25, 2006)

*Salome* stands as my clear favorite. I don't see how its "_fin de siecle_ decadence" is any more dated than Schubert's Romanticism or Haydn's Classicism. Besides... how can you go wrong with all that lust and sex and violence and Oscar Wilde... to say nothing of the gorgeous music? Of course the brilliant film with Teresa Stratas as Salome goes some distance toward assuring my allegiance.

*Der Rosenkavalier* comes in a close second. Contrary to some opinions, I don't feel that Strauss lost his edge after _Elektra_. Perhaps Strauss most human drama... and considering the available performances...










... it may be the best represented in recording.

_*Elektra*_ comes in third... in a close competition with _Der Rosenkavalier_. Another brilliant contrast between the gorgeous music and the horror of the drama.

*Die Frau ohne Schatten*- This opera grabbed me on the first hearing...










Since then I've heard several other performances and _Die Frau_ only continues to grow in my esteem...

_*Ariadne auf Naxos*_- Is a nearly Post-Modern opera... playing in a Shakespearean manner with the "play within a play"... set to some truly lovely music.

_*Daphne*_... is the last Strauss opera that I can honestly rate... with the exception of _Die ägyptische Helena_ which suffers from a libretto so comically bad (an all seeing sea mollusk?) that I can only listen to it for the music... some of which is quite lovely.

I have yet to listen enough (or at all) to Intermezzo, Arabella, Die schweigsame Frau, Die Liebe der Danae, or Capriccio in order to make a fair judgment. I don't even own a copy of Guntram, Feursnot, or Friedenstag.


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## schigolch (Jun 26, 2011)

Yes, some of the music from _Die ägyptische Helena _is quite lovely. My favorite part is this very beautiful aria, "Zweite Brautnacht!":


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## Sloe (May 9, 2014)

At the moment.

Elektra
Daphne
Salome

I find the other ones a bit difficult to listen to.


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## Pugg (Aug 8, 2014)

I like the all, if I have to rank them I will do the others no justice, such different subjects.


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## Becca (Feb 5, 2015)

My favorite Strauss opera is definitely _Die Fledermaus_

(Nothing was said about which Strauss)


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## Zhdanov (Feb 16, 2016)

1. Salome
2. Elektra
3. Der Rosenkavalier
4. Ariadne Auf Naxos
5. Die Frau Ohne Schatten


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## starthrower (Dec 11, 2010)

My appetite for opera blows hot and cold, but I've been exploring several R Strauss operas this summer. I enjoyed Salome (Solti) and Ariadne Auf Naxos (Levine) immediately. And parts of Die Frau Ohne Schatten (Solti). And not much of Der Rosenkavalier (Bohm). But it's a long road trying to absorb these works, much less listening to different recordings.


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## Woodduck (Mar 17, 2014)

I suppose I like _Die Frau ohne Schatten_ best, for its fairytale quality. I keep hearing the amazingly orchestrated "falcon" motif and the "turned to stone" harmonic progression going around in my head. But generally I really don't warm much to any of the Strauss operas, which is odd considering that they're "Wagnerian" in musical approach. I've never felt that _Salome_ and _Elektra_ are quite serious - too much of a burlesque and a creep show, respectively, all just for maximum "effect," and I can't empathize with anyone on stage, or care what happens to them, which is probably good considering what does happen to them. _Rosenkavalier_ has yummy-sweet-rich sachertorte parts but too many other parts, so I'll settle for excerpts of that one. _Ariadne_ is more intriguing, at least in concept, and I'd like to see it in the theater. _Daphne_ has a pretty monologue for a Renee Fleming but is uninteresting otherwise, and I probably feel the same way about _Capriccio_ and _Arabella_, which have excessively talky libretti and much correspondingly busy but tuneless music.

My personal ranking:

1. Die Frau ohne Schatten
2. Ariadne auf Naxos
3. Salome and Elektra
4. Rosenkavalier
5. all the rest


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## anmhe (Feb 10, 2015)

1) Ariadne auf Naxos
2) Die Frau ohne Schatten
The rest at number 3.


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## Barbebleu (May 17, 2015)

For those of a soccer disposition!!

Premier league 

Capriccio 
Elektra
Ariadne
Die Frau
Salome
Der Rosenkavalier

Championship

Arabella 
Aegyptische Helena
Daphne
Der Liebe der Danae 

Division One

Guntram 
Schweigsame Frau
Friedenstag 
Intermezzo 
Feuersnot 

The first six are interchangeable according to my mood but all six are indispensable to the Strauss oeuvre. The rest have their moments, some of them exceptionally fine moments, but, even for an avid Straussian like myself, not enough of them to propel them up through the divisions.


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## SixFootScowl (Oct 17, 2011)

I have ever only seen and heard two Strauss operas:

Die Frau ohne Schatten was weird, but I liked it. (I watched this one)

Capriccio was very boring and it just ended without ever giving the answer (or did I miss it?). (I watched this one)


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## Lensky (May 8, 2016)

1) *Arabella*

2) Rosenkavalier

3) Salome

4) Ariadne

5) Capriccio


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## Barbebleu (May 17, 2015)

Lensky said:


> 1) *Arabella*
> 
> 2) Rosenkavalier
> 
> ...


To misquote Meatloaf, four out of five ain't bad!!


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## alan davis (Oct 16, 2013)

Barbebleu said:


> For those of a soccer disposition!!
> 
> Premier league
> 
> ...


Think you got this just about right. I rarely listen to Salome or Electra on the hifi but they are two of the best operas I've ever seen in the theatre. Der Rosenkavalier I'd probably rank no.1. Just glorious music from beginning to end.


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## Barbebleu (May 17, 2015)

alan davis said:


> Think you got this just about right. I rarely listen to Salome or Electra on the hifi but they are two of the best operas I've ever seen in the theatre. Der Rosenkavalier I'd probably rank no.1. Just glorious music from beginning to end.


Yeah, some days Rosenkavalier is my favourite.


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## Meyerbeer Smith (Mar 25, 2016)

1.	_Salomé_. The final scene, where she kisses Jokanaan's head, sends shivers down my spine - the scene is horrifying but the music is beautiful.
2.	_Ariadne auf Naxos_. The commedia dell'arte and opera seria elements don't gel as well as they could, but it's one of Strauss's most accessible scores, thanks to the chamber-sized orchestra and the delicacy of the scoring.
3.	_Der Rosenkavalier_. The Presentation of the Rose and the final trio are both glorious, but it drags, and the shewing up of Baron Ochs isn't as funny as Strauss & Hofmannsthal thought. 
4.	_Daphne_. The Transformation Music is great, and there's some impressive music for river gods, shepherds and Apollo. 
5.	_Guntram_. I remember liking this one - maybe not the world's best plot, but a beautiful overture and finale.
6.	_Arabella_. OK, but not great - a lot of recit, & not much music.
7.	_Elektra_. "Weh, ganz allein" is a great aria - but I don't like the rest of it. An emo libretto (teenage girl hates her mother, tries to seduce her sister and brother, lots of blood, darkness and death) and a heavy score make it no fun.
8.	_Die Frau ohne Schatten_. A weird mishmash of fairy tale, psychology and symbolism, with a convoluted score. (Trying to listen to it through TV speakers might not help.)

I've heard _Capriccio _once, a decade ago. Undramatic, but some good music, from memory.

A few others made no impression:
_•	Feuersnot
•	Die ägyptische Helena
•	Friedenstag
•	Die schweigsame Frau
•	Die Liebe der Danae
_


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## Sonata (Aug 7, 2010)

I don't know them well enough to do a proper ranking. I've had trouble with Rosenkavelier and Capriccio. The other nine I've heard I have enjoyed all to some degree. Standouts for me include Elektra, Arabella, Daphne, and Ariadne


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## gellio (Nov 7, 2013)

I have really just started to explore Strauss. I've had _Der Rosenkavalier_ and _Elektra_ for years, but never really listened to them. I spent a lot of time recently on _Der Rosenkavalier_ and love it, but I am over the moon for _Die Frau Ohne Schatten_. What an amazing work.


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## reinmar von zweter (Feb 19, 2020)

I don't have a real ranking for Strauss. My favourite? It comes in waves. In this precise historical moment, I am crazy about Frau ohne Schatten. Conversely, I can't stand the Liebe der Danae. It's stronger than me.


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## gellio (Nov 7, 2013)

So now I'm all in. I've bought 10 Strauss operas this week, LOL. I'm addicted. I'll have to make my way through all of them, if I can get away from listening to _Die Frau_.


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## Itullian (Aug 27, 2011)

For me, when it's not Wagner, it's Strauss. Just so much there.

A tip for you. Get Die Agyptische Helena, the Decca recording by Dorati.
It's absolutely beautiful.


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## gellio (Nov 7, 2013)

Itullian said:


> A tip for you. Get Die Agyptische Helena, the Decca recording by Dorati.
> It's absolutely beautiful.


I ordered that last night from Amazon. I read reviews that echoed what you said.


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## MAS (Apr 15, 2015)

Only the ones that I’ve seen:
Elektra
Elektra
Arabella
Salome
Ariadne auf Naxos 
FROSCH
Capriccio
Der Rosenkavalier 

(I’m aware that I’ve listed Elektra twice, and Der Rosenkavalier is a bore in all of the “comedy” scenes).
I no longer own any recordings other than Elektra and some highlights of Rosenkavalier.
The best version of Salome for me, is the film with Stratas.


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## Andrew Kenneth (Feb 17, 2018)

In my opinion the first Strauss opera is Rosenkavalier.

Salome and Elektra are great and all; but are they Strauss opera's?

Whilst composing "Ariadne auf Naxos" Strauss wrote a letter to Hofmannsthal (his librettist) in which he mentioned that he now had cast off the Wagnerian armour forever. 

So, the best Strauss opera's are "Ariadne aus Naxos", "Intermezzo", "Capriccio" & "Rosenkavalier".

The best Strauss-does-Wagner opera's are "Salome" and"Elektra".

Wagner also created opera's in the style of other composers =>
Wagner-does-Weber => Die Feen
Wagner-does-Rossini => Das Liebesverbot
Wagner-does-Meyerbeer => Rienzi


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## MAS (Apr 15, 2015)

Andrew Kenneth said:


> In my opinion the first Strauss opera is Rosenkavalier.
> 
> Salome and Elektra are great and all; but are they Strauss opera's?
> 
> ...


Strange, I never heard any Wagnerian influences in the operas Salome and Elektra. I find Strauss went backwards in his other operas that I know, which I find sort of Viennese. Perhaps my impression of Viennese?


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## HenryPenfold (Apr 29, 2018)

1. Elektra
2. Salome
3. Ariadne Auf Naxos
4. Die Frau Ohne Schatten
5. Capriccio


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## Barbebleu (May 17, 2015)

HenryPenfold said:


> 1. Elektra
> 2. Salome
> 3. Ariadne Auf Naxos
> 4. Die Frau Ohne Schatten
> 5. Capriccio


Just missing Rosenkavalier, otherwise, spot on.


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## Barbebleu (May 17, 2015)

MAS said:


> Strange, I never heard any Wagnerian influences in the operas Salome and Elektra. I find Strauss went backwards in his other operas that I know, which I find sort of Viennese. Perhaps my impression of Viennese?


I concur. Strauss's operas are purely his own. No influences as far as I can hear and I've been listening to Richard for nearly fifty years!


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## HenryPenfold (Apr 29, 2018)

Barbebleu said:


> Just missing Rosenkavalier, otherwise, spot on.


I'm allergic to Rosenkavalier


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## Rogerx (Apr 27, 2018)

1
1) Der Rosenkavalier

Then in no particular order;
Ariadne Auf Naxos
Die Frau Ohne Schatten
Capriccio
Elektra
Salome


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## The Conte (May 31, 2015)

It's interesting to see Elektra and Salome termed as 'Wagnerian-Strauss', where does FROSCH fit in?

I've heard it said that Strauss wrote operas in two styles: the heavy, modernist; and the lyrical, neo-romantic. I prefer the former and therefore would rate the operas thus:

1) Elektra - This isn't a mere shabby, little shocker, but a carefully crafted drama where Elektra overplays her emotions, whilst those around her underplay theirs and the results are electric. However, it's all there in the original play. Perhaps you can only fully understand or appreciate this opera if you have known a dysfunctional household of females. No wonder it inspired Freud.

2) Salome - Another superb portrayal of the female psych. (Again using the words of an excellent play.)

3) Frau ohne Schatten - Similar in style musically, but with more variety in the composing compared with the first two. However, the libretto isn't as good and it lacks their concise precision.

4) Rosenkavalier - I've really heard and seen this opera too much (and never heard a satisfactory performance of it). Not a favourite like the three above, but it is a better opera than most of the others, which have rather tedious patches musically.

5) Arabella - Not as interesting musically as Rosenkavalier and with a weaker libretto, it's not surprising that this opera is possibly slipping out of the rep.

6) Capriccio - Tedious despite the wonderful final scene.

7) Daphne - Not particularly memorable

8) Ariadne - One of my least favourite operas - it feels like it will never end. (The prologue is superb, though.)

I don't know the others and since I am not keen on some of the most famous (Ariadne and Capriccio) I haven't been tempted to explore further.

N.


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## Bonetan (Dec 22, 2016)

The Conte said:


> 5) Arabella - Not as interesting musically as Rosenkavalier and with a weaker libretto, it's not surprising that this opera is possibly slipping out of the rep.


Is there a point where a piece is considered outside the standard rep? Like officially? A certain number of performances per season for instance? Or is more vague than that?

What other pieces would you put right around that line? I've heard a lot about pieces being revived, but these questions have me much more interested in those instances...


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## The Conte (May 31, 2015)

Bonetan said:


> Is there a point where a piece is considered outside the standard rep? Like officially? A certain number of performances per season for instance? Or is more vague than that?
> 
> What other pieces would you put right around that line? I've heard a lot about pieces being revived, but these questions have me much more interested in those instances...


Short answer? No, there isn't a definition of what is in the rep or not. However, as a guide, I wouldn't call any of Meyebeer's operas 'in the rep' (even Les Hugenots is a rarity). I can see all of Strauss' operas other than Elektra, Salome and Rosenkavalier suffering the same fate in a hundred years time.

N.


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## Woodduck (Mar 17, 2014)

Andrew Kenneth said:


> In my opinion the first Strauss opera is Rosenkavalier.
> 
> Salome and Elektra are great and all; but are they Strauss opera's?
> 
> ...


Strauss may have learned a few musical tricks from Wagner, but _Salome_ and _Elektra_ couldn't be more un-Wagnerian in spirit. Their lurid sensationalism and decadent nihilism is about as far from Wagner's philosophical seriousness, tragic gravity and questing idealism as opera gets. I find them to be musical drag acts, essentially unbelievable but hugely entertaining in their outrageousness, touching little in us deeper than the nerves, which they assault with extremes of sensuality and horror. That is the showman Strauss to the core. If Puccini's _Tosca_ is, according to Joseph Kerman, a "shabby little shocker," Strauss's _Elektra_ is a grotesque big shocker. His later operas are actually closer to Wagner, in that they do at least present life situations not contrived simply to titillate. But Strauss arguably remains most himself when he's exploiting music's capacity for sensual arousal and seduction. I'd say his most Wagnerian opera (except possibly for the early _Guntram,_ which I haven't heard) is _Die Frau Ohne Schatten._


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## Tsaraslondon (Nov 7, 2013)

I'm not a big Strauss opera fan (though I do like his songs).

That said I've loved *Der Rosenkavalier*ever since I first saw it in a splendid Anthony Besch Scottish Opera production, which starred Helga Dernesch as the Marschallin, Anne Howells as Octavian, Teresa Cahill as Sophie and Michael Langdon as Ochs. I enjoyed it so much that I went back a second time a couple of days later. Soon afterwards I bought the Karajan recording with Schwarzkopf, which remains my favourite recording of the opera. I also love the Paul Czinner film, which has the trio of Schwarzkopf, Jurinac and Rothenberger.

Of the operas I know, my preference would be

1. Der Rosenkavalier (even if I find much of the comedy stuff a bit tedious)
2. Salome
3. Ariadne auf Naxos
4. Capriccio
5. Arabella
6. Die Aegyptische Helena

Of the others I don't much like Die Frau ohne Schatten and actively dislike Elektra. I've only heard bits of some of the others.


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## Woodduck (Mar 17, 2014)

Tsaraslondon said:


> I'm not a big Strauss opera fan (though I do like his songs).
> 
> That said I've loved *Der Rosenkavalier*ever since I first saw it in a splendid Anthony Besch Scottish Opera production, which starred Helga Dernesch as the Marschallin, Anne Howells as Octavian, Teresa Cahill as Sophie and Michael Langdon as Ochs. I enjoyed it so much that I went back a second time a couple of days later. Soon afterwards I bought the Karajan recording with Schwarzkopf, which remains my favourite recording of the opera. I also love the Paul Czinner film, which has the trio of Schwarzkopf, Jurinac and Rothenberger.


If anything can seduce me into listening to _Rosenkavalier,_ it's that splendid old Karajan recording. There's just something about the idea of Elisabeth Schwarzkopf and Christa Ludwig in bed together...


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## The Conte (May 31, 2015)

Woodduck said:


> If anything can seduce me into listening to _Rosenkavalier,_ it's that splendid old Karajan recording. There's just something about the idea of Elisabeth Schwarzkopf and Christa Ludwig in bed together...


Then you would like the Bohm live Salzburg Figaro with Christa as Cherubino and Betty as the Countess (joined by DFD, Kunz and Seefried, IIRC there's even a Wagner in the cast).

N.


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## Woodduck (Mar 17, 2014)

The Conte said:


> Then you would like the Bohm live Salzburg Figaro with Christa as Cherubino and Betty as the Countess (joined by DFD, Kunz and Seefried, IIRC there's even a Wagner in the cast).
> 
> N.


Good-looking cast. But is the Italian tenor's aria well-sung? That repays me partially for having to put up with all the unfunny Ochs business.


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## Tsaraslondon (Nov 7, 2013)

Woodduck said:


> Good-looking cast. But is the Italian tenor's aria well-sung? That repays me partially for having to put up with all the unfunny Ochs business.


A small misunderstanding, I think. Our Le Conte is talking of Figaro now.

However if we are talking about the Italian Tenor in *Rosenkavalier*, then it's pretty well sung here.


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## Ulfilas (Mar 5, 2020)

Late to the party, but why not re-open this thread.

Leaving aside Guntram and Feuersnot...

*Masterpieces
*Salome
Elektra
Ariadne auf Naxos
Die Frau ohne Schatten
Arabella
Daphne
Capriccio

*Underrated*
Intermezzo
Die schweigsame Frau
Die Liebe der Danae

*Overrated*
Der Rosenkavalier

*Weakest*
Die Ägyptische Helena
Friedenstag


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## Barbebleu (May 17, 2015)

Rosenkavalier may or may not be overrated but it’s still a masterpiece and Arabella is not.


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## MAS (Apr 15, 2015)

I haven't seen all of Strauss's operas. Of those I have, I'd rate *Elektra* above the rest, including *Salome*, *Ariadne auf Naxos*, *Die Frau Ohne Schatten*, *Arabella*, *Capriccio*, *Der Rosenkavalier *.


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## Ulfilas (Mar 5, 2020)

Barbebleu said:


> Rosenkavalier may or may not be overrated but it's still a masterpiece and Arabella is not.


Of course we can disagree! I think it's an improvement on Rosenkavalier, better libretto, and to me just as inspired musically.


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## Woodduck (Mar 17, 2014)

I waited twenty minutes to hear something interesting in _Arabella_ and turned it off. Looking at the libretto, I can see why all that mundane chit-chat couldn't elicit anything remarkable from the composer. No earlier composer would have thought such extended, verbose banter suitable for music. Opera isn't a form of literature.

For my money (worth less than it used to be due to inflation), Strauss never wrote better operatic music than the final scene of _Salome,_ but he equaled it a few times in later operas, notably in the highlights (presentation of the rose, final trio) of _Rosenkavalier _and in some of the fascinating harmony and orchestration of _Die Frau Ohne Schatten._ _Ariadne auf Naxos_ is an odd work but has some really good stuff and would probably be fun in the theater. _Elektra_ may be Strauss's masterpiece but decadent creep shows are not to my taste.


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