Han-Na Chang has so far impressed on disc mainly in the intense and craggy expressive worlds of Prokofiev and Shostakovich, so Vivaldi’s more delicate domain seems an unexpected place to find her. Yet here she is, serving up seven of his concertos with all her usual big heart and burstingly urgent sound.

Unsurprisingly it is the central slow movements in which she is most successful, her sheer lyrical force allowing her to take time and inhabit the simple beauty and stillness of Vivaldi’s melodic lines with richly nourished tone and the odd expressive slide. RV408 is a good example, retreating further into rapt introspection as it proceeds, and it is maybe no coincidence that the disc opens with RV420, the only concerto to have an Andante teasingly placed as a first movement. The more conventionally fast opening movements are generally well paced – there is often a pleasing suavity to their tread (even a bit of swagger in RV424) – but it is in the finales that misjudgements start; several are just too heavy-footed and ponderous (eg RV400 and RV401), others unsettlingly rushed, striving for excitement at a damaging cost in clarity and coherence in RV408 and 420. There are other oddities: the slow movement of RV403 starts off by toying coquettishly with the articulation of its dotted-note rhythms but has overplayed its hand by the end; and the percussive fingerboard slaps in the finale of RV400 are surely surplus to requirement.

The London Chamber Orchestra are more in the current, period-instrument-influenced mould than Chang is, but Christopher Warren-Green seems happy to let her stand out, even if her fast finishes can threaten composure of ensemble. Not the most even of Vivaldi cello concerto discs, then (Christophe Coin’s will take some beating), but still with plenty to admire.