Here are the first two choral phrases of Vivaldi's Laetatus sum, giving the names of four of Vivaldi's singers with whom you might identify. Remember that you entered the Pietà as an illegitimate girl, and are known by your first name and your instrument or voice (e.g. Cecilia dal Contralto, Silvia dal Violin); Apollonia was so famous that only her first name was used.

As an experiment, try singing each part in turn: soprano, contralto, tenor and finally bass. Remember that pitch in 18th century Venice was similar to today's (A=440) or a little higher, so there is no need to sing a semitone lower at so-called "baroque pitch" (A=415). Most women can sing the tenor part quite easily, and some can manage the bass except for the low G; even this is possible for a small number of gifted singers. The bass line was always doubled by continuo instruments, so the low voices are never left exposed. In scores by some of Vivaldi's Pietà; contemporaries an alternative bass note is occasionally given an octave higher - the low G of the bass part below, for example.