Andrea Conangla, soprano, described by the press as an astonishing vocal acrobat, is recognized for her exceptional vocal agility, distinctive stage presence, and refined musical sensibility. Her programming reflects a coherent and unmistakably personal artistic vision that spans historically informed performance, virtuosic new opera, collaborative music-theatre projects, and, increasingly, her own practice as a composer-improviser and stage director.
After debuting at the Stuttgart State Opera and at the Isarphilharmonie with the Munich Philharmonic Orchestra, Andrea stepped in at less than 24 hours’ notice for the world premiere of Howard Moody’s Solar – Icarus Burning at the Théâtre Royal de la Monnaie in Brussels. The performance consolidated her reputation as a contemporary opera performer and led to further world premieres across Europe: the title role in Alessandro Battici’s Icaro at JOiN - Junge Oper im Nord; Geist in Laura Winkler and Amy Stebbins’s Body Work at the Neuköllner Oper in Berlin; and Bôba in Relicário Perpétuo by Luís Tinôco and Luisa Costa Gomes, directed by Nuno Carinhas, at Teatro Nacional S. Carlos in Lisbon.
In 2025/2026, she embodied Mozart’s Queen of the Night (Die Zauberflöte), Händel’s Cleopatra (Giulio Cesare), and Rameau’s La Folie (Platée) on tour with the Lisbon Metropolitan Orchestra, and continued her collaboration with the Sond’Arte Electric Ensemble, performing Miguel Azguime’s A Laugh to Cry on several occasions. She was also selected for the YARITORI Artist Residency in Tokyo, where she created Kodama (2026), a sculpture and sound installation inspired by the poetry of Misuzu Kaneko. The installation was exhibited at the Portuguese Embassy in Tokyo, where she also performed works from her debut album, Autopsychografia (2024). The album brings together contemporary songs by Helmut Lachenmann, Sara Glojnarić, Igor C. Silva, and Sofia Borges set to texts by Fernando Pessoa, and has been presented at Casa Fernando Pessoa and O'culto da Ajuda in Lisbon, Kunststiftung Baden-Württemberg in Stuttgart, and the Open Music Festival in Graz.
Andrea is a regular soloist in oratorio and sacred music, with Bach's Christmas Oratorio and St. Matthew Passion, Mozart's Exsultate, jubilate and Regina coeli, and Brahms's Ein deutsches Requiem among her repertoire. As a recitalist, she has collaborated with the pianists Thomas Seyboldt, Jana Luksts, and Marcelo Amaral, and is drawn to unconventional programs that combine classics of the German Lied tradition with new works and political commentary — for example, no fe·mi·ni·no, which reframes Schumann's song cycle Frauenliebe und Leben within a mixed-media contemporary context.
Her exchange with composers such as Helmut Lachenmann, Luxa M. Schüttler, Jennifer Walshe, Bernhard Lang, Miguel Azguime, and Sara Glojnarić has shaped her artistic vision and inspired her to bring her own concerns to the stage. Zapping Machine (2018), Extreme Makeover (2018/2021), and When I Walk/Quando m’en vo (2020/2023) were her first steps in the field of artistic intervention; in 2025, she made her debut as stage director with the experimental opera Schaum by Paul Hauptmeier and Martin Recker in Bremen.
Andrea studied at the State University of Music and Performing Arts Stuttgart with Prof. Angelika Luz and Prof. Ulrike Sonntag, and taught vocal improvisation at the Trossingen State University of Music (2020-2023). As a guest lecturer, she has given workshops and seminars at Balleteatro in Porto and at the Łódź University of Music in Poland. She was a scholarship holder of the Kunststiftung Baden-Württemberg and received the InSzene:Vokal grant from Podium Gegenwart of the Deutscher Musikrat.
Since the 2026/2027 academic year, she has been a lecturer in Contemporary Vocal Music at the University of Music and Theatre Felix Mendelssohn Bartholdy Leipzig.
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This website was funded by InSzene, a program of the German music council.