This opera is all about power, and no one needs more of it than the principal singers…Porpora’s writing, fitted originally to the artistry of famed castrato Domenico Annibali, spurs countertenor Max Emanuel Cencic on to dash madly throughout his passage…Overall a lighter touch for this world-premiere recording – less martial, less pushy, less supercharged – might have better served Porpora. But for those who prize vocal virtuosity, this opera is a jewel.

…much of the singing is very good indeed, especially given the virtuosic demands made on an originally all-male cast - as was demanded in Rome…Cencic brings strong characterization to Germanico, relishing the Roman general's largely assertive virtuosic arias, but also displaying sensitivity in his more lyrical numbers, particularly 'Per un momento'.

...the singers are excellently contrasted, with Cencic’s lower vocal gravity and smooth delivery contrasting with Nesi’s more spitfire personality, though she makes the utmost of her Act II aria, the calm amidst her storm. Julia Lehzneva wins in the coloratura madness stakes, piping through more notes than imaginable surely even in Beverly Sills’ most fevered dreams. Her five arias perhaps contain more notes than some complete operas – though her strange trill, akin a backfiring Vespa, won’t be for everyone. Dilyara Idrisova and Hasnaa Bennani share slightly calmer soprano honours, and Juan Sancho adds his own tenor thrills to the mix. Act II contains a particularly unusual and ebullient trio for Cencic, Nesi and Idrisova. Tomasz Adamus keeps everything grounded, despite indulging his cast, and there’s a pleasing snap to the music, not over-exaggerated.