Faramondo (1738) was written after the remnants of the Opera of the Nobility and Handel’s opera company merged together for one peculiar and unsuccessful season at the King’s Theatre. Virgin has made much of the fact that this is the first Handel opera recording in which all the male characters are sung at the correct pitch by male singers, but several of the illustrious countertenors involved occasionally drop a few notes down an octave in order to conserve their larynxes. As a decent recording of this notably obscure work has been long awaited, it is regrettable that the performing edition based on Chrysander’s 19th-century score has a few small flaws. Also, almost every paragraph of the booklet essay contains something inaccurate or misleading (for example, it is peculiar that Markus Cerenak claims Serse was a bigger hit in 1738 than Faramondo, when in fact it was performed only five times, whereas Faramondo managed eight performances). The opera has been severely criticised by numerous scholars in the past and even the booklet-note repeats these negative opinions. It ought to be for the individual listener to decide how effective or not Faramondo is.

I Barocchisti’s playing of the fine concerto grosso-style Overture is zesty. Handel’s scoring of the chorus “Pera, pera” doesn’t include the drums and trumpets employed here, and a few more euros could have been saved by not using unhistorical organ and guitar in the continuo group. Sophie Karthäuser’s light navigation of Clotilde’s arias provides some nice moments (“Combattuta da due venti” is eloquent rather than tempestuous, but none the worse for a bit of measured clarity and detail in its oscillating orchestral figures). Philippe Jaroussky and Max Emanuel Cencic each give attractive performances of virtuoso arias. Adolfo’s slow aria “Se a’ piedi tuoi morrò” is delightful for its polished orchestral playing and Jaroussky’s pleasant singing. Cencic’s high-lying tessitura and brilliant coloratura are almost flawless (the tender cavatina “Sì, tornerò a morir” is beautifully judged by singer, orchestra and conductor; the heroic “Se ben mi lusinga” is dazzling, but the duet “Vado e vivo” has a few hints of strain). Xavier Sabata demonstrates his muskier voice in the enraged “Voglio che mora, sì”, but hams up his da capo too much. Marina de Liso gives a stunning performance of Rosimonda’s turbulent “Sì, l’intendesti, sì” (in which Diego Fasolis brings out exciting details in the accompaniment), and the bass villain Gustavo is resonantly sung by In-Sung Sim. Fasolis’s direction is exemplary for its warmly authoritative expressiveness and fluent mastery over detail. Faramondo is revealed as a much better score than I had previously realised.