Charpentier: David et Jonathas, H. 490

Baroque singing is the vocal practice of the Baroque era (c. 1600–1750), centered on expressive text delivery, rhetorical phrasing, and codified ornamentation. It grew from the shift toward solo song with continuo (monody) and the burgeoning of opera, cantata, and oratorio. Stylistically, it balances two complementary worlds: declamatory recitative (to advance text and drama) and highly ornate aria (to display beauty and virtuosity). Singers employ trills, appoggiaturas, mordents, properly prepared cadential trills, messa di voce, passaggi (rapid runs), and extempore diminutions—always guided by the words’ meaning and Baroque “affects.” Performance practice emphasizes clear diction, flexible but discreet vibrato (often a predominantly straight tone with vibrato as ornament), historically-informed tempi and articulation, and continuo-led textures (harpsichord, theorbo, organ, cello/violone). Pitch and temperament are often historical (e.g., A≈415). Treatises by Caccini, Tosi, and Mancini remain core references for technique, style, and ornamentation.