* AlternativeCharacterInterpretation: There are some who believe that the Queen of the Night was the good guy after all and Sarastro really is the BigBad. Particularly common with feminist re-interpretations of the opera. After all, throughout the first act it's really only the Queen's word against the Priests' and Sarastro's on who's the good or bad guys. Their main argument why the Queen's side of the story is false is because she is a woman. It isn't until the second act that she really goes crazy.
** Forbidding Pamina to see her mother was petty of him, though. What harm could them being together do? Maybe it would even solve most of the conflict.
*** But look what happened when she did see her. The Queen knows how to push Pamina's buttons--after all, she INSTALLED the buttons. Sarastro needs time to undo the brainwashing before it is safe for them to meet.
* CrowningMusicOfAwesome: The Queen of the Night's second (and more famous) aria, ''[[http://www.youtube.com/watch?v=02yf6RHIQjQ Der Hölle Rache kocht in meinem Herzen]]'' ("Hell's vengeance boils in my heart"), is one of the top contenders for "greatest soprano aria ever written".
* EarWorm:
** "[[http://www.youtube.com/watch?v=5-Qq-DeEXhw Der Vogelfänger bin ich ja]]" (Aria #2)
** Pa... pa pa... pa... pa pa.... (twitch twitch)
** "[[http://www.youtube.com/watch?v=TD5J9Alt188 Ein Mädchen oder Weibchen wünscht Papageno sich!]]" (Aria #20)
* EnsembleDarkhorse: Everyone seems to prefer the lovable [[CowardlySidekick Papageno]] over the boring [[KnightInShiningArmor Tamino]].
* EveryoneIsJesusInPurgatory: Some people will insist that every single thing in the opera is a Masonic symbol, including that the music being based on triads symbolizes the Masonic significance of the number 3.[[note]]For those who aren't familiar with music theory, music being based on triads is Administrivia/PeopleSitOnChairs for Western Classical music.[[/note]]
* FamilyUnfriendlyAesop: The "very good reason" Sarastro gives for abducting Pamina is that she needs to learn to ''let men guide her.'' That doesn't play so well [[ValuesDissonance nowadays]], obviously.
** Again, this was dictated largely by the ''political'' views espoused by Schikaneder, favoring the "Enlightenment" values esposed by Joseph II against the old-fashioned values of MariaTheresa. (Of course, one of those new Enlightenment values was the idea that women were naturally irrational and unfit to rule.)
* FridgeLogic: If the Queen and her servants lose their powers when the sun rises, why do they decide to attack the temple two minutes before sunrise? Especially since the Queen very successfully infiltrates it hours before that.
** Also the question of why the Queen's three ladies suggest the three boys as traveling companions for Tamino and Papageno, even though the boys are obviously not on the Queen's side. This was averted in the Bergman film, though. And, by the way, why did Tamino not resort to sign language or something to indicate that he was not allowed to speak to Pamina, instead of just letting her go off and try to kill herself?
*** An argument can be made that the three boys are djinni or some other form of simple helper spirit. Their orders seem to be merely to "guide [Tamino and Papageno] on [their] journey." If this is taken to be the case, then it's less surprising that as supporting Sarastro over the Queen becomes the better option for Tamino and Papageno, the boys' loyalty also shifts.
* IdiotPlot: The whole plot kicks off because Tamino is [[IncorruptiblePurePureness noble]], [[PrinceCharming romantic]], [[LoveMakesYouDumb more than a little gulliable]] and [[LoveAtFirstSight easily taken in by a pretty face]].
* OlderThanTheyThink: The Queen of the Night is a part for a soprano diva, with very challenging music and some of the highest notes a soprano is expected to sing, in the midst of an opera that includes mostly simple music written for performers who were actors first and singers second. Mozart may be the best known composer of this type of role, but it's actually a tradition going back to earlier Singspiels rather than a new innovation in the format.
* TheScrappy: Monostatos; in most productions he isn't the least bit funny.
** Which would make him an EthnicScrappy if you're dealing with a production that is faithful to the text, as opposed to ones that omit the racist elements of his character.
* TheyWastedAPerfectlyGoodPlot: The Queen of the Night's plot to have Pamina assassinate Sarastro is resolved in a single scene. At least the princess gets another reason to languish soon enough.
* UnfortunateImplications: The demonisation of all things associated with blackness, femininity, and the "yin" principle in general could be seen as having racist and/or mysogynist undertones. Monostatos (who is black) and the Queen of the Night and her ladies (who are women and who naturally represent darkness) are made out to be evil.
** The misogyny is averted because Tamino is only able to face the Trials of Fire & Water with Pamina at his side.
* UnintentionallySympathetic: Thanks to the ValuesDissonance, the Queen of the Night can come off as this.
* ValuesDissonance:
** Sarastro and his priests have some pretty misogynistic lines at times, which are generally {{Bowdlerized}} during the translation from German. Not to mention that it's the female ruler, and her black [[TheDragon Dragon]], who get cast as the baddies...
*** They're actually not always Bowdlerized. Unlike the racism in the scenes with Monostatos, the anti-woman lines are found in the music as well as in the spoken text, so they are harder to just eliminate.
*** This was mostly done to fit the Freemasons' beliefs about how men were superior to women (not that the Freemasons were unique in this belief in the late 18th century).
**** It can also be argued that while Sarastro is presented as the "better" choice between the two camps, his position is too extreme. Note how Pamina, acting on the information of the boys (the only group that is not really on either side), apparently breaks the priesthood's rules and reminds Tamino to use the damn Macguffin, probably saving everybody. Very likely a much stronger feminist message than Mozart and Schikaneder intended, but ridiculously easy to incorporate for a modern audience.
***** In fact, this is discussed in the work. Well, kind of:
--->''Ein [[HaveAGayOldTime Weib]], das Nacht und Tod nicht scheut / ist würdig und wird eingeweiht.''
--->(''A woman who does not fear night nor death / is worthy and will be ordained.'')
** Monostatos in general. He was originally intended to be played in blackface, and Pamina is scared of him largely ''because'' he's Black. The racial element is usually glossed-over in modern productions, if not omitted entirely (by simply using race-blind casting - which is pretty standard in opera these days - and omitting all references to his race).
* [[WhatDoYouMeanItsNotPolitical What Do You Mean, It's Not Political?]]: The Queen of the Night is said to have been based on the conservative Empress Maria Theresa, who opposed the "Enlightenment" (get it?) and favored the '''black'''-habited Jesuits (get it? '''black''', like Monostatos?) -- fervent opponents of the Freemasons (hence also some of the misogyny of the opera). Following from this, it is quite likely that Tamino represents Joseph II, while Pamina possibly represents Austria or perhaps Europe in general.
** What I heard was: Tamino is the human soul searching for Enlightenment; Paminia is the Spirit of Enlightenment; the Queen is the Roman Catholic Church, which was the guardian of the Spirit of Enlightenment until she became more interested in power and wealth than wisdom, when the Spirit went to live with Sarastro, who is Freemasonry.

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