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Casting

In attemtping a rescue for On this day I've removed a couple of unreferenced paragraphs. They're a bit OR in tone but the Spiel- vs. Singfach observation is uncontroversial enough that a RS should be available somewhere in the literature (I note though that for myself and the QotN's I've known the extreme F's are a pleasure rather than a particular challenge).

In composing the opera, Mozart evidently kept in mind the skills of the singers intended for the premiere, which included both virtuoso and ordinary comic actors asked to sing for the occasion. Thus, the vocal lines for Papageno—sung by Schikaneder himself—and Monostatos (Johann Joseph Nouseul) are often stated first in the strings so the singer can find his pitch, and are frequently doubled by instruments. In contrast, Mozart's sister-in-law Josepha Hofer, who premiered the role of the Queen of the Night, evidently needed little such help: this role is famous for its difficulty. In ensembles, Mozart skillfully combined voices of different ability levels.

The vocal ranges of two of the original singers for whom Mozart tailored his music have posed challenges for many singers who have since recreated their roles. Both arias of the Queen of the Night, "O zittre nicht, mein lieber Sohn" and "Der Hölle Rache kocht in meinem Herzen" require high F₆, rare in opera. At the low end, the part of Sarastro, premiered by Franz Xaver Gerl, includes a conspicuous F₂ in a few locations.

Sparafucil (talk) 02:43, 30 September 2021 (UTC)

Finale. Scene 6?

Act 2 has 10 scenes. Currently Scene 6 is labeled "Finale". Is this an error? Mgnbar (talk) 19:53, 3 June 2023 (UTC)

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