A critical commentary exploring the potential inclusion of operatic arias in the traditional song recital. : references to Johannes Brahms Vier Ernste Gesänge OP. 121, Fünf Lieder Opus 105 and bass arias from Macbeth and Simon Boccanegra by Giuseppe Ver

TL;DRAbstract

This paper is a critical commentary exploring the opportunity to perform both lieder and operatic aria within a song recital. Operatic performance and art song recitals are very different media. Opera is performed in a theatre complete with character, costume and orchestra. A song recital is far simpler often requiring only a small venue with staging area and repetiteur. However, the Inclusion of thematically appropriate operatic arias in a contemporary recital program exploits the opportunity to build on the intrinsic drama inherent in late nineteenth-century lieder. Such a program becomes artistically viable when the relationship between the music and the text is complementary to the overall thematic aims of the recital. The exploration of these ideas will draw upon the following repertoire: • Vier ernste Gesange Opus 121 by Johannes Brahms. • Funf Lieder Opus 105 by Johannes Brahms. • “ll lacerato spirito' from Simon Boccanegra by Giuseppe Verdi. • 'Come dal ciel precipita' from Mac

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