The soft and dark voice of Ann Hallenberg – interpreter of Baroque vocality on the most emblematic stages in the world – meets the early music ensemble founded by Marcello Di Lisa, the Concerto de’ Cavalieri, setting up a program that exalts the art of singing eighteenth-century in all its expressive potential: the more the song stands out in the flourishes and variations, the higher becomes the expression of “feelings”. Thus in “Son qual nave” from Broschi/Hasse’s Artaserse, “Scherza, infida” from Händel’s Ariodante or “In braccio a mille furie” from Porpora’s Semiramide acknowledge.