An analytical study of vocal technique in Handel's Messiah: a soprano perspective

This dissertation takes Handel's oratorio Messiah as its research focus and analyses the vocal techniques required in this work, aiming to explore key aspects of artistic expression and interpretation from both musicological and performance perspectives. The article systematically examines key technical and interpretative domains for the soprano, including the nuanced use of ornamentation and da capo conventions, diction and textual clarity, the historical and expressive use of vibrato, dynamic interaction with orchestra and continuo, and the realisation of Baroque Affekt through vocal colour and phrasing. To ground the theoretical discussion in practical reality, the study employs a detailed comparative case analysis of the aria "Rejoice Greatly", examining interpretations by sopranos Emma Kirkby, Kathleen Battle, and Rene Fleming. The case study critically evaluates how these performers balance Historically Informed Performance (HIP) principles with individual artistic expression across specific parameters: ornamentation in da capo sections, tempo and rhythmic flexibility, timbre and vocal production, and textual expression in relation to musical rhetoric. This dissertation contributes to a deeper scholarly understanding of Baroque vocal artistry and proposes a coherent, evidence-based framework for contemporary singers and educators.