On an adventurous journey through the world of opera, soprano Andrea Conangla performs some of the most spectacular and demanding arias of the eighteenth-century repertoire. As Cleopatra in Händel’s Giulio Cesare, she embodies both the expression of relief and triumph in Da tempeste and the seductive power of V’adoro, pupille. With La Folie, she surrenders to the satirical register of Rameau’s Platée. She succumbs to the lament and plea of Almirena in Händel’s Rinaldo. She concludes with the vengeance and bravura of the Queen of the Night in Mozart’s The Magic Flute. Meanwhile, the orchestra alternates with overtures from Mozart and Rossini, touches on the stylized exoticism of Rameau’s Les Indes Galantes, and crowns the program with the infectious energy of Offenbach’s famous Can-Can.

REPORTÓRIO

• W. A. Mozart – Overture to The Marriage of Figaro
  G. F. Händel – Da tempeste il legno infranto, aria from Giulio Cesare
  G. Puccini – Crisantemi (Chrysanthemums)
  G. F. Händel – V’adoro, pupille, aria from Giulio Cesare
  W. A. Mozart – Overture to Don Giovanni
  J.-P. Rameau – Aux langueurs d’Apollon, aria from Platée
  G. Rossini – Overture to L’Italiana in Algeri (The Italian Girl in Algiers)
  G. F. Händel – Lascia ch’io pianga, aria from Rinaldo
  J.-P. Rameau – Dance of the Savages, from the opera-ballet Les Indes Galantes
  W. A. Mozart – Queen of the Night aria, from The Magic Flute
  J. Offenbach – Can-Can, from Orpheus in the Underworld