Oh, and all of these roles are sung by women. How appropriate.
We attended a show later in the run, so here's a brief round-up of the other reviews:
Unanimous agreement says that the principals, Susan Graham and Ruth Ann Swenson, are exceptional. Susan Graham, magnificent last year in Iphigenie, transcends in yet another role, and floored us with her lively color and lightning-quick agility in the truckload of notes, trilles, and mordents that Handel hurls at her. The Chron Joshua Kosman rejoices in her performance marked by nobility and technical bravura. Her coloratura execution was flawless, and the expressive depth of her "Scherza infida" was, if anything, even more astonishing. The Merc talks about extended flight of searing vocal intensity that makes her the high point of the performance. The Opera Tattler is the best judge of fashion: Graham also looked dashing, her statuesque height is to her advantage in this role. There you go. Most amazing is that Graham is not yet in full command of her role, losing track for a couple bars at the end of Act I. Oh! To be a fly in the prompter box at this time!
Pictures of Susan Graham and Ruth Ann Swenson above, and Sonia Prina, below, by Terrence McCarthy.