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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