Libretto of The Magic Flute [His portrayal of Pamina] is one more example of the thread that runs through the operas – what Daniel Heartz has called Mozart's "infinite care to create strong and deeply moving female characters in [...] all of his operas." Mainstream scholarship views Schikaneder as the highly probable author. For a marginally-supported alternative candidate, see "Karl Ludwig Giesecke". It is not uncommon for critics to describe the libretto of "The Magic Flute" as being of dreadful quality. Thus Bauman writes, "The libretto has been generally regarded, in Dent's words, as "one of the most absurd specimens of that form of literature
British National Opera Company free of charge, to support the company. She did not, however, feel equal to relearning her old roles in English translation, and she sang in Italian while the rest of the company sang in the vernacular. The British National Opera Company was a pioneer of broadcast opera, with excerpts from "The Magic Flute" broadcast live from the Royal Opera House by the British Broadcasting Company in January 1923, less than a year after the foundation of both the BBC and the opera company. The company's first artistic director was Percy Pitt, who had been music director with the Grand Opera