An anthology of Vivaldi opera arias entitled “Pyrotechnics” featuring an orgy of gutsy coloratura singing from Vivica Genaux and directed by customarily livewire Fabio Biondi hardly raises much expectation of other valuable aspects of Baroque music drama such as sweet melodiousness and courtly elegance. Pyrotechnics is what we are promised and that is exactly what we get for the majority of the disc’s ample 75 minutes – more than enough to satisfy the most relentless pyromaniac. This enables Biondi and Genaux to devote their animated talents to conveying Vivaldi’s art at its punchiest and snappiest.

Genaux’s choice of repertoire, as is almost requisite with Vivaldi vocal projects, is guided by scholar Frédéric Delaméa, who provides an excellent essay. The inclusion of three genuine obscurities that cannot be confidently ascribed to any particular opera might appeal to avid collectors. Genaux’s sure-footed rapid passagework is dazzling and her energised coloratura is happily wed to Europa Galante’s zesty playing. Biondi’s band is delicately poised on a knife-edge between eloquence and storminess in Griselda’s “Agitata da due venti”. By a few arias into the recital one begins to suspect that Vivaldi often says much the same thing in most of these selected scenes but it seems churlish to complain when he says it with such brio. However, it turns out that “Pyrotechnics” covers a pleasing variety of styles: a few gentler arias are performed with graceful sensitivity – notably “Quell’usignolo” from the 1738 revival of Farnace – and the hunting horns in “Nella foresta” arrive just in the nick of time to prevent instrumental monotony. “Sin nel placido soggiorno”, the loveliest of the three rarities, features charismatic recorders and forms a surprisingly understated and charming conclusion to proceedings. With Biondi ensuring that the music-making always feels fresh and Genaux on her most pleasing form, this is one of the better Vivaldi aria anthologies to have flared up in recent years.