NOTATIO

Should the pausa (fermata) in the voice part at bar 126 be on a crotchet (quarter) rest to be the same as in the instrumental parts, or is it OK as it is? ( = 96)

Two quarter rests seems clearer to me. I'm pretty sure Arnstein would have done it that way since he wanted exact correspondence of fermatas between all the parts including within cues.

I try to make all pauses land at the same spot... saves much time and effort in rehearsal.

Like this then? The direction col canto allows the singer some freedom immediately after the pausa. The first bar of the next system is marked giusto.

Looks good to me. And Arnstein probably would have put the col canto vocal part in the other parts as a cue.

Though, for a moment, I thought the articulations over the quaver might also be a type of fermata...!

John Ruggero wrote: ↑13 Feb 2024, 20:53 Two quarter rests seems clearer to me. I'm pretty sure Arnstein would have done it that way since he wanted exact correspondence of fermatas between all the parts including within cues.

Exactly. The fermata is precisely on the second beat, starting and finishing there. There is no fermata on the first beat, therefore the rest (in the vocal part) is forced to be split into two , having the fermata on the second.