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 schedule reflects a coherent and unmistakably personal artistic vision that spans historically informed performance, virtuosic new opera, collaborative music-theatre projects, and, increasingly, her own work as a curator, composer-improviser, and stage director.
In 2025, Andrea 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. She performed the comedic role of Geist in the world premiere of Body Work by Laura Winkler, directed by Amy Stebbins, at the Neuköllner Oper in Berlin, and continued her collaboration with the Sond’Arte Electric Ensemble, presenting Miguel Azguime’s A Laugh to Cry on several occasions throughout the year. Alongside these projects, she brought her debut album Autopsychografia (2024) featuring modern songs by Helmut Lachenmann, Sara Glojnarić, Igor C. Silva, and Sofia Borges, after texts by Portuguese poet Fernando Pessoa, to O’culto da Ajuda’s stage in Lisbon and at the open music festival in Graz.
After Andrea’s debut at the Stuttgart State Opera with Monteverdi’s L’Orfeo, she took on the title role in the world premiere of Icaro by Alessandro Battici at JOiN - Junge Oper in Nord. In the 2023/24 season, Andrea was a soloist with the Munich Philharmonic Orchestra at the Isarphilharmonie and later made a guest appearance with less than 24h notice at the Théâtre Royal de la Monnaie in Brussels as Talus for the world premiere of Solar - Icarus Burning by Howard Moody. For the 100th anniversary of György Ligeti's birth, she sang Mysteries of the Macabre under the baton of conductor Nuno Coelho in Portugal.
Andrea is also heard regularly as a soloist in oratorio, having sung Bach’s Christmas Oratorio and St. Matthew Passion, Mozart’s Exsultate, jubilate and Regina coeli, Brahms’s Ein deutsches Requiem, among others. As a recitalist, she has collaborated with 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, a concert program reframing Schumann’s song cycle Frauenliebe und Leben within a mixed-media modern context, sparked considerable interest from the media.
The direct exchange with composers such as Helmut Lachenmann, Martin Schüttler, Jennifer Walshe, Bernhard Lang, Miguel Azguime, and Sara Glojnarić has strongly influenced her artistic vision and inspired her to bring her own concerns to 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, Andrea made her debut as stage director with the experimental opera Schaum by Paul Hauptmeier and Martin Recker in Bremen.
While studying at the State University of Music and Performing Arts Stuttgart with Prof. Angelika Luz and Prof. Ulrike Sonntag, Andrea began teaching vocal improvisation at the Trossingen State University of Music (2020-2023). As a guest lecturer, she conducted 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, recognizing her as a promising voice in contemporary music.
Please do not edit Andrea Conangla's biography without permission.
This website was funded by InSzene, a program of the German music council.