This study explores the biomechanical and pedagogical parallels between classical fencing—particularly the sequence of En Garde, Lunge, and recovery—and the vocal technique of Italian tenor Mario Del Monaco, renowned for his low larynx and forward-projected resonance. Inspired by Del Monaco’s description of his method as a “Lunge Technique, as in fencing” in Marcello del Monaco: Il Maestro dei Tenori, the inquiry draws on his iconic photograph demonstrating a lunge-like singing posture. Comparative analysis with fencing form, combined with the author’s somatic experience of inhabiting both En Garde and Lunge positions, provides an embodied basis for the study.

Rather than treating the lunge as a mere metaphor, the study emphasizes the preparatory En Garde position as the primary biomechanical model for singing. Historical context is drawn from Ridolfo Capo Ferro’s 17th-century codification of fencing, revealing kinesthetic principles applicable to vocal production. Anatomical analysis shows how En Garde aligns muscular systems to enable breath detainment, diaphragmatic flexibility, and a non-rigid, naturally lowered larynx, supporting healthy resonance.

The study proposes three sequential phases—elastic preparation, thrust initiation, and recovery—that serve as somatic cues for singers, paralleling the transitions from inhalation to onset to breath renewal. In addition, four pedagogical checkpoints are outlined to assess low-larynx function through breath use, muscle coordination, and structural balance.

By grounding Del Monaco’s “Lunge Technique” in the physical logic of fencing, the study offers singers and teachers a historically informed, somatically driven model for technique development.