Of the 54 recordings made by Angela Hewitt, 21 are dedicated to Bach, 11 to Beethoven, and the remaining few are evenly divided between Mozart, Rameau, Couperin, and Scarlatti. This is an unmistakable sign of the Canadian pianist’s preference for the golden era that spans from the Baroque to Classicism. She is credited with founding, especially in Bach’s keyboard music, an original interpretative approach based on the fluidity of phrasing and the clarity of the polyphonic texture. This explicit stylistic inclination is also evident in this concert, alongside the Cameristi della Scala and Emanuele Urso, who since 2022 has been the first horn player at the Teatro alla Scala in Milan.