At least since Ellen Rosand’s foundational work on Barbara Strozzi, scholars have recognized both the libertine environment of Strozzi’s upbringing and the sensual, even erotic character of much of her music. While that eroticism is usually portrayed as heterosexual, I draw attention in this article to a handful of pieces whose same-sex orientation has largely been overlooked. In Eraclito amoroso and La fanciuletta semplice (both from opus 2), and, perhaps most strikingly, the Sonetto that launches opus 1, such desire emerges not only from the poetry Strozzi selected, but also from her treatment of that poetry. Of course, non-heteronormative expressions of sexual attraction were not so unusual in contemporary Venice. Same-sex activity was considered a facet of profligate sexual desire generally, and it appeared often on the operatic stage. I highlight these particular works, however, as especially provocative examples of Strozzi cultivating the eroticized image that her father seems to have intended for her.