Osmin's act 3 aria "O, wie will ich triumphieren" includes characteristic 18th century coloratura passage work, and twice goes down to a low D (D2), one of the lowest notes demanded of any voice in opera. Perhaps the most famous aria in the opera is the long and elaborate "Martern aller Arten" ("Tortures of all kinds") for Konstanze, an outstanding challenge for sopranos. Konstanze sings in a kind of sinfonia concertante with four solo players from the orchestra; the strikingly long orchestral introduction, without stage action, also poses problems for stage directors. The virtuosity of these roles is perhaps attributable to the fact that when he took up the task of composing the opera, Mozart already knew the outstanding reputations of the singers for whom he was writing, and he tailored the arias to their strengths. The first Osmin was Ludwig Fischer, a bass noted for his wide range and skill in leaping over large intervals with ease. Similarly, Mozart wrote of the first Konstanze, Caterina Cavalieri, "I have sacrificed Konstanze's aria a little to the flexible throat of Mlle. Cavalieri." Reception The opera was a huge success. The first two performances brought in the large sum of 1200 florins. The work was repeatedly performed in Vienna during Mozart's lifetime, and throughout German-speaking Europe. In 1787, Goethe wrote (concerning his own efforts as a librettist): Although the opera greatly raised Mozart's standing with the public as a composer, it did not make him rich: he was paid a flat fee of 100 Imperial ducats (about 450 florins) for his work, and made no profits from the many subsequent performances. The opera reached Paris in November 1801, when Frédéric Blasius conducted Ellmenreich's company in performances at the Théâtre de la Gaîté. The American premiere in English was given by the Rochester Opera Company on November 1, 1926 under the direction of Vladimir Rosing. A second production with a new English libretto by Robert A. Simon was debuted by the American Opera Company at the Gallo Opera House in New York on January 31, 1928. and was then performed on tour in Boston and Chicago. "Too many notes" The complexity of Mozart's work noted by Goethe also plays a role in a well-known tale about the opera which appeared in the early (1798) biography of Mozart by Franz Xaver Niemetschek. In the version of the anecdote printed in Bartlett's Book of Anecdotes,