Spain Vivaldi, Farnace (concert version): Ensemble | Gemelli / Emiliano González Toro (conductor). Teatro Real, Madrid, 27.9.2025. (JMI)
Director – Mathilde Etienne
Cast:
Farnace – Emiliano González Toro
Gilade – Key’mon W. Murra
Berenice – Adèle Charvet
Tamiri – Deniz Uzun
Pompeo – Juan Sancho
Selinda – Séraphine Cotrez
Aquilio – Álvaro Zambrano
Farnace, one of the many Baroque operas composed by Antonio Vivaldi, was successfully premiered in Venice in 1727 but soon fell into obscurity. Although there have been some attempts in recent times to make it known, they have not been successful. The opera is not very interesting: the libretto is weak, and nothing much happens in its two-and-a-half-hour running time beyond a somewhat fictional happy ending. From a musical point of view, it has never seemed to me to be a masterpiece, and in this respect, it has always appeared inferior to what Handel offered in terms of Baroque opera.
This concert version marks the premiere of the opera at Teatro Real although not in Madrid. It was performed at the Teatro de la Zarzuela in 2001 in a well-suited production by Emilio Sagi, with a cast that, in my opinion, was clearly superior to the one on this occasion. Unlike in that 2001 concert, the role of Farnace was sung here by a tenor rather than a countertenor, which stems from a change made by Vivaldi for a 1731 performance in Pavia.
The performers moved about the stage and sang without a score, backed by the Ensemble | Gemelli, composed of 18 string players with the occasional addition of a pair of brass instruments. The orchestra played reasonably well and Emiliano González Toro, who also performs as Farnace, was announced as the conductor. His role as conductor consisted of thoroughly preparing the orchestra and soloists at rehearsals: here he conducted only what might be called the opera’s overture.
The vocal cast was somewhat modest overall and inferior to that of 2001. Emiliano González Toro as Farnace had the most interesting voice, and his great aria which closes the first part of the opera was the best of the night. His wife, Tamiri, was played by mezzo-soprano Deniz Uzun, whose voice is not particularly beautiful, and her timbre in the high notes is problematic.
Soprano Adèle Charvet sang the role of Berenice, Tamiri’s mother and Farnace’s enemy, and was adequate: her voice is modest but with good expression. Gilade, Farnace’s general, was played by countertenor Key’mon W. Murrah, who has a more beautiful voice than we are accustomed to hearing from some countertenors. His singing was magnificent in his great aria in the second part of the opera.
Selinda, Farnace’s sister, was the mezzo-soprano Séraphine Cotrez, who performed well. Sevillian tenor Juan Sancho as the Roman soldier Pompeo has an attractive voice and sang with gusto, although he had difficulties in the upper range. Finally, Aquilio, Selinda’s guardian and lover, was tenor Álvaro Zambrano who was satisfactory.
José M. Irurzun
Featured Image: Vivaldi’s Farnace at Teatro Real