The second aria Der Hölle Rache kocht in meinem Herzen performed by Lucie Kaňková has a different character, which the singer underlined with a dramatic speech. Her impeccable, pure coloratura, staccato figures with a culminating note of F6 not only had the necessary ecstatic expression, at the same time sung with absolute precision and ease in her rendition, but also the necessary, correct phrasing, without the slightest mistake in phrase breaks. Moreover – in this case, too, the conductor Kattah has taken the liberty of improvising in the setting of the work, adding a long note F6 (in contradiction to the score), which is thus a huge risk, since on the one hand it risks not coming out as aesthetically pleasing, sounding shrill, and on the other hand it may have an effect in the intonational sense on the other notes that make up the phrase. And there is, of course, another risk: how will the audience be able to accept such a notorious aria in which they know every single note? And in this case it really isn’t just about the high notes. To sing the Queen of the Night is tantamount to top sport. You can hear every single note in the aria – there is no pretending, it must sound pure, dramatic, no portamenti are allowed. Lucie Kaňková, however, managed it brilliantly and the audience rewarded her for it.”