Vocal vibrato in the interpretation of vocal music of the baroque epoch

Abstract

The purpose of the article. The article examines an important component of the performance of baroque works – vocal vibrato, which often becomes an obstacle to the historically informed performance. A scholarly work that draws on a historical context outlines guidelines regarding the appropriateness of the use of vibrato. The methodology is based on the application of observation, generalization, modeling, and analysis using the historical and logical method. The indicated approach allows us to consider, generalize and summarize information about vocal vibrato, which can be useful both for students and teachers of academic singing and for performers who are looking for answers to questions regarding mastering baroque vocal forms and techniques. The scientific novelty consists in the fact that the data on the vocal vibrato is systematized and analyzed based on historical sources, research by leading foreign art historians, as well as on recordings of ancient works. Highlighted important questions concerning the appropriateness of using vibrato in baroque music. Conclusions. When mastering the vocal techniques for performing musical works of the Baroque era, vibrato issues occupy one of the main places. The use or limitation of this characteristic of the voice must be considered from the point of view of the historical context of the works performed, as well as their content. In addition to high-level technical training, the intellectual qualities, the ability to think analytically, erudition, and musical taste of the performer play an important role.

Keywords: vibrato, baroque music, historically informed performance, ornamentation.