Der Hölle Rache kocht in meinem Herzen grandiose. This rage aria is often referred to as the "Queen of the Night's Aria", although the Queen sings another distinguished aria earlier in the opera, "". The words were written by Emanuel Schikaneder, who also authored the rest of the "Magic Flute" libretto, headed the theater troupe that premiered the work, and created the role of Papageno. <poem lang="de" style="float:left;">Der Hölle Rache kocht in meinem Herzen, Tod und Verzweiflung flammet um mich her! Fühlt nicht durch dich Sarastro Todesschmerzen, so bist du meine Tochter nimmermehr. Verstoßen sei auf ewig, verlassen sei auf ewig, zertrümmert sei'n auf ewig alle Bande
Mozart and dance eighteenth-century composers were expected to be adept at producing both 'popular' and 'serious' music, and that there was no categorical difference between the two.". Abert (2007) wrote, "the most striking aspect of these dances is their almost literally inexhaustible fund of invention. Although their form offers only limited scope for experimentation, each dance differs from the others." Lindmayr-Brandl (2006) writes that "[the dances] that are accessible today, brought to life in the concert hall or in recordings, represent a precious treasure, the immediate expression of the joy of life." Mozart included a substantial ballet at the end of his opera