This chapter offers a speculative account of Barbara Strozzi’s singing, her repertory, her vocal technique, and the ways in which her physical experience as a singer served as a catalyst for some of the most original features of her compositions. After noting the similarities between Giulio Strozzi’s glowing descriptions of Anna Renzi’s singing and his daughter’s compositions, I examine the two highly virtuosic pieces in Opus 2 dedicated to the soprano castrato Adam Franckh that reveal by comparison the special way in which Strozzi likely composed for her own voice—syllabic passages in the lower register, melismatic writing in the middle voice and upper middle voice with easy transitions from one to another register. Furthermore, I argue that her composition was inseparable from her physical experiences as a singer and captures something of the pleasurable sensations that she must have experienced as she explored the full potential of her own instrument.