German Song Onstage. Laura Tunbridge

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      SUSAN YOUENS is J. W. Van Gorkom Professor Emerita of Music at the University of Notre Dame. She is author of Schubert, Müller, and “Die schöne Müllerin”; Hugo Wolf and His Mörike Songs; Schubert’s Late Lieder: Beyond the Song-Cycles; and Heinrich Heine and the Lied.

       2Song in Concert as Observed by the Schumanns

       Toward the Personalization of the Public Stage

       Benjamin Binder

      IN A REVIEW of some classic Lieder recitals on film screened at Lincoln Center in 2014, the New York Times critic Zachary Woolfe drew attention to the artifice that underlies what often seems to many concert audiences to be the revelation of a singer’s authentic, real-life personality on stage:

      [Lieder recitals] appear to dispense with illusion—no sets or costumes, just a singer and a pianist—but they are not necessarily more real for it. Seemingly transparent, they are also opaque. They don’t offer a singer unadorned, as many claim, but rather demand the most subtle and difficult kind of performance: the performance of self.

      How would you act if you had to act like you?¹

      It is casually assumed that Lieder singers in concert are more or less being themselves, either because they have stepped down from the operatic stage and out of theatrical costume for the evening, or because they are not generally associated with the operatic stage to begin with. Following Woolfe, however, it would be more precise to say that they are acting like themselves.

      We can refine the levels of identity at play here in terms borrowed from the performance studies scholar Philip Auslander.² A recital performance of Schubert’s “Du bist die Ruh,” D776, by Renée Fleming promises to give us a glimpse of the genuine “person,” Renée Fleming, who lies beneath not only the “character” or protagonist of Schubert’s song (whose dramatic specificity is already highly attenuated as in so many Lieder), but also the public “persona” “Renée Fleming”—that is, Renée Fleming qua opera star and concert artist, with a distinctive interpretive style and manner that cuts across all her performances.³ The aura