Metropolitan Opera tickets 10 November 2025 - Arabella | GoComGo.com

Arabella

Metropolitan Opera, Metropolitan Opera, New York, USA
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If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: New York, USA
Starts at: 19:00
Acts: 3
Intervals: 2
Duration: 3h 50min
Sung in: German
Titles in: English,German,Spanish

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Orchestra: The Met Orchestra
Bass: Brindley Sherratt (Count Waldner)
Soprano: Louise Alder (Zdenka)
Conductor: Nicholas Carter
Tenor: Pavol Breslik (Matteo)
Soprano: Rachel Willis-Sørensen (Arabella)
Bass-Baritone: Tomasz Konieczny (Mandryka)
Creators
Composer: Richard Strauss
Librettist: Hugo von Hofmannsthal
Director: Otto Schenk
Overview

Strauss’s elegant romance brings the glamour and enchantment of 19th-century Vienna to the Met stage in a sumptuous production by legendary director Otto Schenk that “is as beautiful as one could hope” (The New York Times).

Soprano Rachel Willis-Sørensen makes her role debut as the title heroine, a young noblewoman in search of love on her own terms. Radiant soprano Louise Alder makes her Met debut as her sister, Zdenka, and bass-baritone Tomasz Konieczny is the dashing count who sweeps Arabella off her feet.

World premiere: Staatsoper, Dresden, 1933. The romantic comedy Arabella was the final collaboration of Richard Strauss and his great librettist Hugo von Hofmannsthal. While certain elements of operatic farce are present, there is great elegance about the work, and its characters’ journeys are moving and affecting in their own way. The title character—honest, pure, well-meaning—is one of opera’s most appealing and believable characters.

Richard Strauss (1864–1949) composed an impressive body of orchestral works and songs before turning to opera. After two early failures, he caused a theatrical sensation with Salome, and his next opera, Elektra, was his first collaboration with librettist Hugo von Hofmannsthal (1874–1929). Their partnership became one of the most remarkable in theater history, though their personalities were very different—Hofmannsthal enjoyed the world of abstract ideas, while Strauss was famously simple in his tastes—which makes their collaboration all the more extraordinary.

Arabella is set in Vienna around 1860. The historical moment that drives the plot is the situation of a fading landed gentry attempting to keep up appearances while somewhat adrift in the modern urban melting pot.

The score of Arabella is beautiful and charming, with a wealth of lyrical melody perfectly attuned to the demands of the story and characters. Strauss’s most exalted domains—his writing for the soprano voice and for the orchestra—are magnificently apparent throughout this score, with the title character’s introspective soliloquy in Act I being just one stunning example. He also calls upon the orchestra to create unforgettable effects, nowhere more notable than in the touching final scene, in which the listener is transported into a musical experience of forgiveness, wisdom, and the burgeoning of true love.

History
Premiere of this production: 01 July 1933, Sächsisches Staatstheater, Dresden

Arabella is a lyric comedy, or opera, in three acts by Richard Strauss to a German libretto by Hugo von Hofmannsthal, their sixth and last operatic collaboration.

Synopsis

Time: 1860s
Place: Vienna

Act 1

In a hotel in Vienna

As the curtain opens, Countess Adelaide is having her fortune told. The fortune teller predicts Arabella will marry a man from far away, but that trouble may be in store. The Waldners have a second daughter, Zdenka, but since they cannot afford two daughters marrying, they have indulged her tomboyishness by pretending she is a boy, whom they present as "Zdenko." Zdenka secretly loves Matteo, a penniless officer who loves Arabella. To prevent him from committing suicide, Zdenka writes him love letters she signs with Arabella's name. Zdenka reproaches Arabella for her unsympathetic treatment of Matteo, but Arabella says that she is hoping for the "Right Man," to whom she can give her heart completely. Meanwhile, Arabella is wooed by three suitors, Elemer, Dominik and Lamoral, and acknowledges that she may have to accept one of them, but has fallen in love at first sight with a stranger she passed in the street.

Count Waldner, in dire straits, has written to all his friends for financial help, to no avail. He was hopeful for an answer from an old and immensely wealthy Croatian friend of his, Mandryka, even sending him a portrait of Arabella in hopes of a marriage. A visitor announced as Mandryka arrives and Waldner is surprised to see that it is not his friend. The man explains he is Mandryka's nephew, also named Mandryka. His uncle is dead, and as his only heir, he has acquired his fortune; he also received the letter and portrait. From seeing the portrait, he has fallen in love with Arabella. He offers to marry her and gives Waldner money.

A carnival ball is to be held that night. Matteo asks "Zdenko," his supposedly male friend, when he will receive another letter from Arabella; "Zdenko" answers that he will have one that very evening at the ball. Arabella continues to muse about the strange man she noticed, but when Count Elemer arrives to be her escort for the evening, she tries to banish these thoughts and look forward to the excitement of the Fasching.

Act 2

In a ballroom (The Coachman's Ball)

Arabella meets Mandryka, who turns out to be her fascinating stranger. Mandryka tells her about his life and his country's customs, in which young women offer their fiancés a glass of water as a token of agreeing to be married. Mandryka tells Arabella that she will be mistress of all the things he owns, and that she will be the only thing ranked above him besides the Emperor himself; Arabella happily agrees to marry him, saying, "I give myself to you, for eternity." Then Mandryka agrees to Arabella's request that she be allowed to stay for another hour to say farewell to her girlhood, during which she thanks her suitors for their interest in her and bids them goodbye.

Meanwhile, Zdenka gives Matteo a letter with the key to the room next to Arabella's, saying that it is Arabella's room and promising that Arabella will meet him there that night. Mandryka overhears this conversation and, mad with jealousy and disappointment (after first trying to evade these feelings), raises a commotion, flirting with the Fiakermilli, the ball's mascot. Since Arabella is nowhere to be found, the Waldners insist that he meet Arabella to talk things out, and they head for the hotel.

Act 3

A lobby in the hotel

A passionate orchestral prelude depicts the lovemaking of Matteo and Zdenka.

Arabella enters the lobby and comes across Matteo. As Matteo is in love with Arabella and thinks it is she with whom he has just made love in a darkened room, their conversation is at once confused and emotional. The Count, the Countess, and Mandryka arrive and further the misunderstanding. After Mandryka accuses Arabella of infidelity and plans to go back to his land, Zdenka rushes in, no longer in disguise and in her negligee (making it clear that it was she who had the encounter with Matteo). She declares her intention to drown herself in disgrace. The situation is finally cleared up. Matteo learns that the letters were forged by Zdenka and that it was she and not Arabella in the room. He suddenly realizes he is in love with Zdenka, whom he agrees to marry. Mandryka begs forgiveness, and Arabella tells him they will think no more of the night's events. Arabella asks his servant to bring her a glass of water, and Mandryka thinks she has requested it for her refreshment. Arabella goes upstairs and Mandryka, ruminating on his indecorous behavior and blaming himself, stays downstairs. Arabella comes down the stairs and, seeing that he has stayed and having forgiven him, offers him the glass of water, signifying reconciliation and marriage. They happily kiss and Arabella goes up the stairs to her room.

Venue Info

Metropolitan Opera - New York
Location   30 Lincoln Center

The Metropolitan Opera is an opera company based in New York City, resident at the Metropolitan Opera House at the Lincoln Center for the Performing Arts. The Metropolitan Opera is the largest classical music theatre in North America. It presents about 27 different operas each year from late September through May. As of 2018, the company's current music director is Yannick Nézet-Séguin.

The Metropolitan Opera Company was founded in 1883 as an alternative to New York's old established Academy of Music opera house. The subscribers to the Academy's limited number of private boxes represented the highest stratum in New York society. By 1880, these "old money" families were loath to admit New York's newly wealthy industrialists into their long-established social circle. Frustrated with being excluded, the Metropolitan Opera's founding subscribers determined to build a new opera house that would outshine the old Academy in every way. A group of 22 men assembled at Delmonico's restaurant on April 28, 1880. They elected officers and established subscriptions for ownership in the new company. The new theater, built at 39th and Broadway, would include three tiers of private boxes in which the scions of New York's powerful new industrial families could display their wealth and establish their social prominence. The first Met subscribers included members of the Morgan, Roosevelt, and Vanderbilt families, all of whom had been excluded from the Academy. The new Metropolitan Opera House opened on October 22, 1883, and was an immediate success, both socially and artistically. The Academy of Music's opera season folded just three years after the Met opened.

The operas are presented in a rotating repertory schedule, with up to seven performances of four different works staged each week. Performances are given in the evening Monday through Saturday with a matinée on Saturday. Several operas are presented in new productions each season. Sometimes these are borrowed from or shared with other opera companies. The rest of the year's operas are given in revivals of productions from previous seasons. The 2015–16 season comprised 227 performances of 25 operas.

The operas in the Met's repertoire consist of a wide range of works, from 18th-century Baroque and 19th-century Bel canto to the Minimalism of the late 20th century. These operas are presented in staged productions that range in style from those with elaborate traditional decors to others that feature modern conceptual designs.

The Met's performing company consists of a large symphony-sized orchestra, a chorus, a children's choir, and many supporting and leading solo singers. The company also employs numerous free-lance dancers, actors, musicians, and other performers throughout the season. The Met's roster of singers includes both international and American artists, some of whose careers have been developed through the Met's young artists programs. While many singers appear periodically as guests with the company, others, such as Renée Fleming and Plácido Domingo, long maintained a close association with the Met, appearing many times each season until they retired.

Important Info
Type: Opera
City: New York, USA
Starts at: 19:00
Acts: 3
Intervals: 2
Duration: 3h 50min
Sung in: German
Titles in: English,German,Spanish
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