Talk:The Magic Flute: Difference between revisions

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Revision as of 12:03, 8 January 2023 editMichael Bednarek (talk \| contribs)Autopatrolled, Extended confirmed users85,148 editsm Undid revision 1132338799 by 110.224.103.0 (talk): off topic.← Previous edit		Revision as of 01:00, 8 March 2023 edit undoMichael Bednarek (talk \| contribs)Autopatrolled, Extended confirmed users85,148 editsm →Casting: Moved editor's signature to bottom of the contribution so it gets captured by the archive bot eventually.Next edit →
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	== Casting ==		== Casting ==

	In attemtping a rescue for ] I've removed a couple of unreferenced paragraphs. They're a bit OR in tone but the ''Spiel- vs. Sing]'' 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). ~~] (]) 02:43, 30 September 2021 (UTC)~~		In attemtping a rescue for ] I've removed a couple of unreferenced paragraphs. They're a bit OR in tone but the ''Spiel- vs. Sing]'' 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).
	<blockquote>		<blockquote>
	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 (]) 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 ], 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.		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 (]) 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 ], 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 ]s 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, "]" and "]" require ] ], rare in opera. At the low end, the part of Sarastro, premiered by ], includes a conspicuous F<sub>2</sub> in a few locations.</blockquote>		The ]s 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, "]" and "]" require ] ], rare in opera. At the low end, the part of Sarastro, premiered by ], includes a conspicuous F<sub>2</sub> in a few locations.</blockquote>
			] (]) 02:43, 30 September 2021 (UTC)

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The contents of the Arctic Magic Flute page were merged into The Magic Flute on 16 December 2014. For the contribution history and old versions of the redirected page, please see its history; for the discussion at that location, see its talk page.

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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)

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