About this Artist

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Editorial Reviews

Until it was revived in the late twentieth century, Handel's opera "Faramondo" was performed just eight times in London in 1738 and then fell into obscurity. According to the conventions of Italian opera of the period, men's roles were often written for women, in spite of the lack of dramatic realism, and the use of castrati was common, so higher voices strongly predominate. Handel wrote the title role, which would have gone to a castrato, usually a male alto, for Cafarelli, who had the range of a mezzo-soprano. This recording is exceptional in its use of countertenors in all the male roles, and it's intriguing to hear together the variety of voice types lumped together as "countertenors"; the singers here are distinctly males altos, mezzo sopranos and sopranos. The early twenty first century is blessed with an abundance of extraordinarily fine countertenors, and the singers on this recording are exceptional, with voices of great tonal fullness and purity, agility, and individuality. Max Emanuel Cencic (mezzo), Philippe Jaroussky (soprano), Xavier Sabata (alto), and Terry Wey in a role originally for a boy treble, deliver clearly differentiated performances, singing with dazzling assurance and vocal beauty. In the more "conventional" roles, soprano Sophie Karthäuser, mezzo Marina de Liso, baritone Fulvio Bettini, and bass In-Sung Sim perform at the same high level of distinction, making this recording a feast for connoisseurs of coloratura singing. Diego Fasolis leads I Baroccchisti in a spirited, beautifully paced performance of great clarity and rhythmic punchiness. The opera has a silly plot, but the music is exceptionally attractive and a marvel of inventiveness, variety, and lyrical inspiration, and it deserves broader exposure. The sound is clean and warm, with a great sense of presence. Highly recommended. Stephen Eddins, All Music Guide

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