Die Frau ohne Schatten begins after happily-ever-after and ends as another ever-after begins—essentially, it’s an opera about the beginning of a middle. Written as Richard Strauss approached the midpoint of his operatic career (the next opera he wrote was Intermezzo), the story is about the intermediate phases of a relationship told through two couples, one human and one mythical. Its framing is fantastical, but a lot of its conflict is realistic: annoying in-laws, bad scheduling, infertility and each partner’s internal guilt and shame combine to test the relationship once the “after” has begun to set in. As the middles of things often are, Die Frau ohne Schatten is long and complicated and difficult to pull off.

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The long-awaited revival of Herbert Wernicke’s production, which premiered in 2001 and has not appeared at the Metropolitan Opera House since the 2013-2014 season, bears out this difficulty. Strauss’s immense orchestration, the opera’s length and fiendishly difficult vocal parts for many of the leads, and Hofmannsthal’s dense, convoluted libretto featuring three separate worlds have made it so Die Frau ohne Schatten is rarely staged, compared to other Strauss favorites. But this revival makes a compelling argument for pulling it out of storage more often, for its beauty and to consider with further scrutiny its views on relationships and children in a post-Roe reality.

When the opera opens, the two marriages at the center of the opera are at their breaking points. The Empress, once a mythical shapeshifting creature, now needs a “shadow” (Hofmannsthal’s representation of both a soul........

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