Strauss and Modernity

Relatively late in my life, I've decided to embrace Richard Strauss's music. Early on, I was fond of the tone poems, but later, as a music student, felt he was a surface artist. In a summary fashion, I rejected his harmonic language as manipulative, and relegated his vocal works as suitable only for the most trivial of tastes. In a real way, I thought of Strauss as a precursor of movie and show music.
Well, either my sensibilities have taken a nosedive, or I've discovered something very significant about his operas. After all, Wordsworth became a passion in my fiftieth year, so why not accept Strauss as a true genius. Alex Ross, the music critic of the New Yorker (in an essay), states the case for Strauss being the real giant of twentieth century music. Somewhere he states, "why do I love his music so?," or something to that effect. My sentiments exactly, since there is some sense of ambivalence in my heart to the delight I feel listening to the music. Perhaps I shouldn't fret. It may very well be that Strauss's operas in the past century rival the stature of Mozart's. More on Strauss later.