…overall a decent account is given of this worthwhile rarity.

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 Classics 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.
I Barocchisti's playing of the fine concertogrosso-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 previously thought.

Philippe Jaroussky and Max Emanuel Cencic each give attractive performances of virtuoso arias. Marina de Liso gives a stunning performance of Rosimonda's turbulent "Si, 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.

a cast of fresh young singers giving stylish performances with no suspicion of aspirated coloratura...[The title-role] is very well taken by Max Emanuel Cencic, coping well with the exceptionally low-lying register

A cool, brilliant operatic game, it's devastatingly realised by Diego Fasolis and I Barocchisti in a recording that for many will seem like countertenor heaven. Most people will probably want to hear it for either Max Emanual Cencic in the title role or Philippe Jaroussky's Adolfo. The star turns, however, come from Xavier Sabata's chameleon-like Gernando and from Marina de Liso as firebrand Rosimonda and Sophie Karthäuser as the irritatingly virtuous Clotilde. The whole thing is a revelation.

Composed towards the end of Handel's long operatic career, Faramondo has enjoyed few modern revivals – a neglect which the Handel scholar Jonathan Keates ascribes to the weakness of its tortuous libretto and pallid characterisation rather than any musical shortcomings.
This lively and attractive recording certainly reveals an invigorating score, swiftly paced with a wealth of incisive, tuneful arias and a welcome absence of dry recitative.
The cast is notable for the flamboyant contributions of the impressive young countertenors Max Emanuel Cencic (in the title role) and Philippe Jaroussky. Strongly recommend to diehard Handel fans.