Of Vivaldi’s three surviving serenatas – large-scale cantatas with orchestra in which nothing much happens except to flatter a patron – La Senna festeggiante (‘The Seine in celebration’) has proved the most popular. It was first recorded in the 1970s by Claudio Scimone (Italia, 11/79^R) and there have been fine recordings by Rinaldo Alessandrini and Robert King.

The piece seems to have been composed in 1726 for a swanky evening hosted by the French ambassador to Venice. It is a dialogue between the allegorical figures of The Golden Age, Virtue and the River Seine, whose wondrousness has somehow enabled the others to rediscover their full potential. This is in Part 1; Part 2 is devoted to praise of Louis XV, whose unalloyed sycophancy might have embarrassed even his predecessor.

Best really to concentrate on enjoying the music, which I’m sure was the idea all along. And the music is very good, much of it showing Vivaldi’s vocal writing at its most relaxed and delightful (my favourite has always been Virtue’s fleeting final aria with its dainty muted strings). Virtuosity is kept largely under control and the roles as differentiated as they could ever be; Senna, a free-flowing bass, is an especially happy creation.

In its laid-back lightness and grace, Fabio Bonizzoni’s reading is closer to King’s than Alessandrini’s, which is more dramatic. The cast is less even than King’s all-British line-up of Carolyn Sampson, Hilary Summers and Andrew Foster-Williams, however: Yetzabel Arias Fenández has a firm and clear sound but, while Martín Oro’s tone is also pleasing, he is marginally less secure, and Sergio Foresti’s bass is incisive but a little weak on the bottom notes. Bonizzoni’s route through the score is nevertheless sure and sympathetic, and the orchestra performs prettily throughout. If you have the King or the Alessandrini you may not feel the need to replace it but this is equally good as an introduction to the score.