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At the climax of the aria, the Queen sings the words "Hört, hört, hört!" solo, in alternation with loud chords from the orchestra. The first two syllables are sung to D and F, suggesting to the listener a third one on A, completing the D minor triad. But, as Bauman writes:
The arrival of the Queen of the Night. Stage set by Karl Friedrich Schinkel (1781–1841) for an 1815 production "O zittre nicht, mein lieber Sohn" ("Oh, don't tremble, my dear son") is the first aria performed by the Queen of the Night (a famous coloratura soprano role) in Mozart's singspiel The Magic Flute (Die Zauberflöte).
A coloratura soprano (Italian: soprano di coloratura) is a type of operatic soprano voice that specializes in music that is distinguished by agile runs, leaps and trills.. The term coloratura refers to the elaborate ornamentation of a melody, which is a typical component of the music written for this voice.
The opening three-note motif, introduced quietly but soon reinforced by heavily staccato chords and responsible for much of the movement's rhythmic vitality, is reminiscent of the Queen of Shemakha's theme in Rimsky-Korsakov's opera The Golden Cockerel, [5] the only music by another composer that he had taken out of Russia with him in 1917.
The Queen of the Night appears and promises Tamino that Pamina will be his if he rescues her from Sarastro (Recitative: "O zittre nicht, mein lieber Sohn" / Oh, tremble not, my dear son! – and aria: "Du, Du, Du wirst sie zu befreien gehen / You will go to free her). The Queen and the ladies leave and Papageno can only hum to bemoan the ...
Staccato ([stakˈkaːto]; Italian for "detached") is a form of musical articulation. In modern notation, it signifies a note of shortened duration, [ 1 ] [ 2 ] separated from the note that may follow by silence. [ 3 ]
"Queen of the Night" is a song co-written by American singer and actress Whitney Houston along with L.A. Reid, Babyface and Daryl Simmons. Produced by Reid and Babyface along with Simmons and Houston and performed by Houston, it was released on October 13, 1993 by Arista Records as the fifth and final single from the soundtrack album The Bodyguard (1992), and is played during the closing ...
The theme of the first movement is not especially melodic. Rather, it sets out to explore the key of E major using two types of contrast: chords vs. arpeggios and scales, and legato vs. staccato. After the opening E major chord, there is an ascending, legato arpeggio, which is met by a fast, downward scale, marked staccato.