This is a beautiful aria. It is also a piece that changes dramatically depending on the use of the pedal, so please experiment with various approaches. Here are some examples.

For measures 1-7, use the pedal to smoothly connect the thirds in measures 1-3 and the octaves in measures 4-6. Consider it beat by beat. Measure 8: no pedal. For measures 9-11, you may use the pedal only on the first beat to prevent the chord on the first beat from sounding dry. For measures 12-15, deliberately avoid using the pedal to preserve the articulation of the right-hand arpeggios. For the left-hand octaves, imagine instruments that play low notes, such as cellos, and there is no particular need to connect them. Regarding the forte, it is sufficient even if it is not played excessively loud.

For measures 16-26, a female aria begins, so use the pedal extensively. While sustaining the bass note on the first beat with your left pinky, try to apply the pedal cleanly so that the right hand does not become muddy. For measures 27-31, do not use the pedal. In measure 27, play the octaves again, imagining instruments like cellos. For measures 28-31, consider it as an arrangement for different instruments. The octaves on the first beat of measure 28 and the first beat of measure 30 should be thought of as cellos. Although different instruments begin from the second beat in each case, by slightly overlapping the cello part from the first beat into the second beat, a polyphonic effect will be created (it will sound like an ensemble).

Now, for measures 32-42, the pedal is optional, but the author would use it. This is because the melody line is a singing part. While you don't have to use the pedal, for example, in sections where the right hand plays octaves, such as measures 39 and 40, please use the pedal to ensure a smooth connection.

For measures 43-46, proceed without using the pedal. Although forte is indicated here, there are many notes, so it is acceptable not to play it excessively loud.