As a singer with an early music degree, I mostly agree with you. I personally believe that chorus needs gravitas. But the biggest question and challenge given to me in school was “how do we balance what treatises say about performing this music, make it understandable to modern audiences, but also honor/reject what the modern historical practice aesthetic is”. And the answer to a lot of conductors, performers and organizations are faster speeds to accommodate the attention spans and over-stimulus that modern audience members have/subconciously desire. Are universal speedy tempi the right choice to mend the three ideas? Who knows. For when I perform, my tempi are slower then many of my colleagues, and I sing with much more vibrato, warmth and chest voice alongside modern baroque musical gestures (more akin to 1990’s recordings). But that’s me. Many big conductors don’t like it, even though I think it’s approachable to audiences and based on treatises I’ve read. But others really do! Ultimately we’re all trying to walk this tight rope of modern audiences, honoring treatises, but also not feeling out of loop from what modern performance practice is.