This is a very difficult topic, and one that I try to give some time
in my vocal literature class.
There are MANY art songs that are "operatic." By that, I mean they
require big voices, have wide ranges, are very dramatic, etc. That
being said, one of the prominent features of the 19th-century song is
the fact that many (if not most) were written for amateur
performance. (That old "rise of the middle class" thing!)
Pardon me if this sounds like a lecture, because it is! Here is what
I draw on the board when we first discuss the Lied in my class:
LIEDER (esp. Early 19th-C) OPERA (esp. Early 19th-C Italian)
Piano Orchestra
Small room Opera House
Little or no improvisation Ornamentation expected
Emphasis on text Emphasis on voice
Poetry Libretto
One fact I point out is that there are few composers who are both
MAJOR song composers and MAJOR opera composers. Strauss, Britten, and
(oddly enough) Tchaikovsky are almost the only composers who fall
into both categories.
There will always be specialists who do little or no opera, and those
who do little or no song literature. I fond, however, that the two
worlds are not that far apart. In fact, I find that often "song
specialists" could use a little more "opera" in their presentation,
and "opera singers" would be well served to incorporate
the "discipline" expected in a song recital.
This is a great topic! Some day I'm going to write a book...
-JS
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