There was a 2007 release of this work by the Guastalla Theater Baroque Opera Orchestra under Sandro Volta.
It appears that this live performance was recorded in 2001 (same year as Farnace).
The cast is interesting, not merely for the sake of the singers (who are all superb, though new names abound), but the way the composer set the voices:
Paolo Lopez (male soprano)
Raffaella Milanesi (contralto)
Delphine Galou (contralto)
Furio Zanasi (baritone)
Roberta Mameli (soprano)
Antonio Giovannini (male alto)
Makoto Sakurada (tenor)
Le Concert des Nations / Jordi Savall (conductor)
It should be pointed out that Raffaella Milanesi is not a soprano but a contralto.
The father (deceased king) Troncone is a 'tenor' role (sung by Japanese tenor Sakurada, with only an accompagnato, but wonderfully rendered), the son (heir apparent) Teuzzone, however is a 'soprano', sung here by male sopranist Paolo Lopez with real aplomb.
The other major character, the ambitious queen, Zidiana, is a 'contralto', so is the major female protagonist the Tartare princess Zelinda.
So, it is evident from the casting in this opera, that the 'divas' are contralto roles!
What is more interesting is that the other vile male character Cino is ALSO a soprano role! (Sung here by Roberta Mameli).
The singers are really ALL fine. I hate to be preferential here, but the ONLY singer that I have known and heard prior to this is the young French (not Italian) contralto Delphine Galou, who sings the ambitious (but young) widow of Troncone queen Zidiana. Galou is a wonderful singer, and this recording fully affirms this.
The other contralto is hitherto unknown to me, but she sings Zelinda with equal finesse: just savour her lovely 'Ti sento, sì, ti sento'.
The only 'male' fach is Silvenio's baritone, and Zanasi is fully comeptent.
After a whole lot of counting, one must not forget that the titlerole is a male soprano role, sung here by new(?) male sopranist Paolo Lopez. If you want to pick a 'showpiece' in this work as being representative, Teuzzone's aria 'Come fra turbini' should be sufficient to drop your jaw, with Lopez's spitfire changes in register and wonderful interpretation.
Savall's conducting is fully period, and, with the highly unusual casting of voices, the entire recording smacks of the baroque authenticity of Vivaldi.