The productions of the Metropolitan Opera are always surprising, but last night, the nearly 100-year-old Richard Strauss’s fairy tale opera “Die Frau Ohne Schatten,” which was first produced by the Met in 2001 was a particularly greatest surprise. When it came to the set, designed by Wernicke who died shortly after its debut over a decade ago, is powerful. He created an almost abstract, mythical home for the Emperor and the Empress, the daughter of a spirit ruler, whom we never meet. The glassy, atmosphere reflects the vision of the Expressionist Movement, born in German around the time Strauss' opera was performed for the first time, and promoted the glass as a mythical metaphor for purity and clarity. Made me thinking of Bruno Taut's glass towers.