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This assessment agrees with a long established bit of common wisdom: that Strauss wrote a great string of masterpieces early on—Salome, Elektra, Der Rosenkavalier, Ariadne auf Naxos—all of which quickly took their place in the central repertory, but that his later years were filled with “note-spinning” and inspirational sterility.

This attitude is certainly reflected in his opera’s performance histories. There is a wealth of Metropolitan Opera broadcasts of the above titles dating back to the broadcast’s early years.

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But Daphne, which was first staged in 1938, had its New York stage premiere just last season, and not at the Met.

Well, I love Solti, but I think his assessment of Strauss is all wet! For me, Daphne is exhibit A.

It is a richly imagined, extravagantly scored work which combines bits of the turbulent, hyper-imaginative Strauss of the early operas with the soaring, lyrical flights found in Rosenkavalier, Arabella, and later, Capriccio.

And at