Il Farnace is the most written and re-proposed of Antonio Vivaldi's operas, it's like a beloved child who worries his father, and to whom the parent always wants to give the best. Versions of Farnace, two in 1727 and one each in 1730, 1731 and 1732, had been conceived and adapted to the different circumstances for Venice, Prague, Pavia and Mantua, always with a cast to Vivaldi's satisfaction and with the composer in control of the production.
The greatest appreciation of Vivaldi's operatic music was expressed in a letter by a spectator of the 1727 Carnival season, the abbot Antonio Conti. He wrote to Madamde de Caylus that of all the operas of the Venice season he like best Farnace because its music was very varied, "between the sublime and the tender", and because Vivaldi's pupil worked wonders.
Part 2
Act II
1 Recitative: Principessa gentil, ciascun di noi (Gilade, Aquilio, Selinda)
2 Aria: Lascia di sospirar! (Selinda)
3 Recitative: Tempo miglior si scelga (Gilade, Aquilio)
4 Alle minacce di fiera belva (Aquilio)
5 Recitative: Di Farnace e del figlio (Berenice, Gilade)
6 Al tribunal d'amore (Berenice)
7 Recitative: No, ch'amar non e fallo in cor guerriero (Gilade)
8 Aria: Quel tuo ciglio languidetto (Gilade)
9 Recitative: No, che ceder non viglio (Farnace)
10 Perdona, o figlio amato (Farnace)
11 Recitative: Ola! Queste superbe memorie (Berenice, Tamiri)
12 Dividete o giusti Dei (Tamiri)
13 Recitative: Ah, s'egli e ver che m'ami (Selinda, Gilade)
14 Aria: Quel tuo ciglio languidetto (Gilade)
15 Recitative: Dove mai ti trasporta (Selinda)
16 Gemo in un punto e fremo (Farnace)
17 Recitative: Dell'iniquo Farnace eccoti il figlio (Berenice)
18 Aria: Roma invitta, ma clemente (Pompeo)
19 Recitative: Fra le Libiche serpi (Selinda, Aquilio, Berenice)
20 Amorosa e men irata (Berenice)
21 Recitative: Aquilio, ebben Pensasti (Selinda, Aquilio)
22 Duet: Io sento nel petto si grande l'affetto (Selinda, Aquilio)
23 Aria: Gelido in ogni vena (Farnace)
24 Curtain Call
25 End Credits