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Subject: Re: Our Customs in Lieder Recitals
From: "Philip A. Campanella" <[log in to unmask]>
Date:Wed, 13 Mar 1996 01:01:45 -0500

text/plain (31 lines)

On Tue, Mar 12, 1996 3:34:01 PM, Jane Bishop wrote:

>     The discussion stemming from the criticism of Upshaw for acting
>out the child persona in a Lied excessively is interesting, because
>I had no idea there was this large body of opinion that a Lieder
>recitalist should stand still and act only with his or her voice.

I have to agree here.  I would suggest that  anyone who feels the singing
of lied should only involve voice and mind should take a look a Lotte
Lehmann's  book about the art of song.  She pays as much attention to the
way the singer should look and react with their face and body as she does
to interpretation of the text.

Have those who are uncomfortable with overt physical expression read the
contemporary description of Schubert singing Die Wintereisse?   He
apparently sang like a man possessed.

I attended one of Christa Ludwig's final recitals in New York.  Much of the
evening was beautifully sung.  However the moment that had my eyes filling
with tears was the expression on her face as she listened to the postlude
to Strauss's  Morgen.

I think gesture and movement done, provided it stems from a deeply felt
reaction to the music and text, is as permissible in a song recital as it
is in opera.  Unmotivated twitching and showing off is not.

By the way, why are we using  the terms "Lieder recital" and "art song
recital" interchangeably?

Phil Campanella
[log in to unmask]

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