Isabelle Bracamonte wrote:
> Them's fightin' words! *I* think that lieder
> technique is slightly different than operatic
> technique, but I suspect that some on the list may
> disagree with you.
>
> Just so I know I'm not the only one in the world who
> thinks this way, how would you describe the difference
> (in feeling and in hearing from the audience) between
> singing Mozart operatically vs. like a lied?
I think the technique is the same, but the style is
different. And the scale. Legato is still necessary, as it
a free and easily produced tone. And vibrato. But in
lieder, the nuances of the text are the most important. The
emotions are more inward, less ostentatious, more subtle.
The artistic message is accomplished with delicate shading
rather than bold strokes. (Perhaps like the difference
between a watercolor or charcoal drawing and a huge oil
painting.) The same technical means necessary to execute
Mozart arias are used to a different end in lieder. And
vice versa.
Opera, on the other hand, is big and extraverted, even when
it's soft and quiet. Because the performer is on the stage,
projecting over an orchestra, into a large house (even when
it's a relatively small house and there's just a piano -
it's the intent and the idea).
So, for example, a "piano" dynamic marking in a lied has a
lot different quality than a "piano" marking written in an
aria.
Now, that doesn't mean that the "idea" of singing
operatically as opposed to "liederly" (did I just make up a
word?) might not cause an individual singer make a technical
break-through working on a piece like Dalla sua pace. I
say, "whatever works"!
Peggy
--
Margaret Harrison, Alexandria, Virginia, USA
"Music for a While Shall All Your Cares Beguile"
mailto:peggyh@i...
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