Baroque arias about love, jealousy, and heart-wrenching emotions come together in a lively musical theater. Soprano Anastasia Petrova and harpsichordist Olga Filippova bring early opera back to its passionate, almost theatrical breath. This program gathers baroque music into a cohesive spectacle of feelings, where love is depicted in all its states-from yearning and ecstasy to jealousy, pain, and inner turmoil. At the center of the evening is the early operatic style, where word, melody, and gesture are not yet separated from each other. Therefore, the concert is perceived not as a series of separate numbers, but as a unified Teatro d'Amore, full of sharp contrasts, subtle psychological transitions, and vivid expressiveness. It features arias, toccatas, instrumental pieces, and laments. The music of Caccini, Monteverdi, Merula, Cavalli, Cesti, and other masters shows how a new language of the stage was born in the baroque-flexible, emotional, and whimsical. Here, the Italian cantilena is replaced by declamation, the strict line gives way to ornamentation, and the chamber sound suddenly turns into real drama. Due to this construction, the evening holds attention not through external effects, but through a constant change of moods and intonations. The harpsichord plays a special role. It does not merely accompany the vocal line but becomes a full-fledged participant in the musical action. Frescobaldi's toccatas and other instrumental pages create the relief of the program, adding movement and emphasizing the whimsical freedom of baroque writing. Soprano Anastasia Petrova reveals this material as a living speech-with fragility, impulse, and almost theatrical sharpness. If you don't know where to stroll in Moscow, visit KudaGo.