This contains two of Vivaldi’s three known settings of the psalm Dixit Dominus, including one recently rediscovered in Dresden that had been misattributed to Galuppi (RV807). Both are preceded by introduzioni for solo voice and orchestra: Michael Talbot suggests in his booklet essay that Ascene laeta was probably designed to precede RV595 during a Marian feast at Venice’s Ospedale della Pietà in about 1715.

The introductory motet is admirably sung by Monique Zanetti, and Ensemble Pian & Forte play with alertness. At first I wondered if the musicians’ work would be swamped by an over-reverberant acoustic but in fact the string-players respond to the building by playing lightly, and it is good to hear Vivaldi’s sacred music sounding at home in a church. The opening of RV595, with trumpets and bustling violins, is well played, although the 16-strong Ensemble Vocale il Canto di Orfeo dominate too much in faster music. However, the quieter “Donec ponam” is beautifully judged by Francesco Fanna. A dialogue for two solo cellos and two sopranos (“Tecum principium”) is captivating, and the choral chords in “Juravit Dominus” are interpreted with more gentleness and thoughtfulness than usual. The solo trumpet and dramatic string parts in “Judicabit in nationibus” are magnificently played.

The performance of RV807 is less polished than the premiere recording by Peter Kopp (Archiv, 8/06) but it has some astonishing moments. It is preceded by Canta in prato, ride in fonte, in which a challenging vocal part is neatly executed by Emanuela Galli. This is well worth the attention of Vivaldians.