In this written bachelor`s thesis a study was done of six tenor roles which are included in four operas of W. A. Mozart. The objective was to look for the backgrounds and reasons for why a certain type of music has been composed for the tenors in these operas. In this thesis, a comparative study is conducted between these tenor roles of Mozart. Furthermore, the likenesses and differences of chosen tenor roles are compared with existing caricatures and with other similar roles. In this regard this thesis is a survey of the history of opera. In this thesis, reasons are looked for to why the tenors might nowadays experience the music of Mozart as challenging.

The chosen research method was a review of literature. As source material has been literature of the field, piano scores of the chosen operas and audio records and video recordings. Most of the source material is in English.

The results of this thesis are a short historical survey of opera and of the vocal art. The author’s own musical experiences spice up the contemporary singer’s perspective. High tessiture, extensive jumps in the melody, the long musical phrases and abundant ornamentation of the melody were identified as potential challenges for the repertoire in this written thesis. In order to prevail over some of these challenges, it is possible to get acquainted with the vocal pedagogical works of the late 18th century, as well as using commonly used contemporary teaching material, where applicable. Arias and their suitable parts can also be used as pedagogical tools. In modern times performances of older stage music requires a deeper understanding about the original context of musical works. When preparing for an opera role, the performer must also be familiar with backgrounds about the drama and their role.

The thesis can inspire vocal students, vocal professionals and vocal teachers. This thesis is aimed for those who are interested in opera and singing of art music – especially from the vocal art of the late 1700's.