This month, the New York City Opera (NYCO) has revived George Frideric Handel's "Partenope" (1730, revised 1737)-accent on the second of four syllables-in Francisco Negrin's local premiere production-Glimmerglass Opera, summer 1998, and NYCO that fall-now directed by Andrew Chown, with modern day trappings by John Conklin (sets), Paul Steinberg (costumes) and Robert Wierzel (lighting). Guided by conductor Christian Curnyn, in his NYCO debut season, the cast, headed by Cyndia Sieden, was made up, almost uniformly, of proficient Baroque stylists, with most appealing voices, as breathtaking in quiet contemplations and laments as in bravura expressions of joy and fury. "Partenope" opened for the season on April 3 and the April 9 second of six performances, through April 17, is discussed here.

Partenope, Queen of Naples, is torn between her true love, Prince Armindo of Rhodes, and her infatuation for Prince Arsace of Corinth, whose love, Princess Rosmira of Cyprus, has come in search of him, disguised as Prince Eurimene. To complicate the plot further, Eurimene and Emilio, bellicose Prince of Cuma, a would-be conqueror, also profess affection for Partenope. Arsace and his erstwhile love nearly wind up in a duel, averted only when Arsace demands that they fight bare-chested, which he knows Rosmira won't do. Finally, Partenope and Armindo, and Arsace and Rosmira, are reunited, with Emilio dubbed the Queen's champion, instead of her love, and Ormonte, Partenope's advisor here, in lieu of captain of her guard, content that his magic has worked these wonders.

Soprano Sieden's commanding Partenope defended her realm, donning armor to do battle, and her choice in love in arias embellished with often stratospheric fioritura. She floated piano high tone in one solo, resolutely renounced/denounced Arsace for betraying Rosmira and, in "Per le porte," lifted from Handel's "Sosarme," embraced Armindo as her mate. Countertenor Iestyn Davies, as Arsace, mused on the resemblance between mustached Prince Eurimene and the Princess Rosmira and on the mutability of his feelings in reflective arias, until pushed to unleash his full fury in a dazzling florid "Furibondo spira il vento" and, when dismissed by Partenope, his darkest despair in "Ch'io parta? Sì, crudele." NYCO newcomer Anthony Roth Costanzo, admired in the title role in Lukas Foss' "Griffelkin," at Manhattan School of Music and as Polinesso in Handel's "Ariodante," at Juilliard, lent his fresh countertenor to the neglected Armindo's plaints and, at last, to his triumph. Stephanie Houtzeel, a company debutante, brought a rich mezzo-soprano and assured presence to Rosmira's 'woman scorned' outbursts and Eurimene's bravado insistence, accompanied by sounds of hunting horns, on being less a lover and more a disciple of Diana the Huntress, with a bound stag-representing the errant Arsace?-lowered from above to attest to that identity.

The somewhat roughhewn tenor of Nicholas Coppolo, new to NYCO, proved apt enough for the black leather-clad 'heavy,' Emilio's belligerent declaration that Partenope would be his spouse, and reign over his people, and, when chained, his protest against the hand that destiny dealt him. Bass-baritone Daniel Mobbs displayed his coloratura ability as his character, Ormonte, showed his powers by making a tabletop model of walled Naples vanish, getting Partenope to listen to his counsel, and producing a miniature garden in quick succession. He wielded orbs, flame, and mystical symbols as he helped Nature take its course.

Remaining hearings of "Partenope," at this writing, are on April 11 and 17 at 1:30 p.m., 13 at 7:30 p.m., and 15 at 8 p.m. For tickets from $12 to 145, visit www.nycopera.com, telephone 212/721-6500, or visit the box office in the lobby of the David H. Koch Theater, formerly the New York State Theater, in Lincoln Center.