To anyone who remembers the scintillating BBC Proms debut of the Orchestra Filarmonica della Scala in 2017, this album will come highly anticipated. Under Riccardo Chailly’s precise direction, Respighi’s technicoloured postcards from Rome burst into life and teemed with detail, even in the cavernous Royal Albert Hall.

Alas, detail is what is missing in the Pines and Fountains here. Recorded in the Fondazione Teatro alla Scala’s Sala Abanella at the northern end of Milan, rather than in the famous opera house, the cloudy acoustic scuppers some very fine playing. The Decca album is recorded at a high level and is bass-heavy, but the brass attack is blunted and much woodwind colour goes missing in action. Turn to the excellent recent Chandos effort, conducted by John Wilson, and it’s like having your ears syringed as Respighi’s vivid orchestral palette suddenly comes alive.

These are still enjoyable performances – there’s an excellent trumpet in the Catacombs and the cor anglais solo that launches the finale of Pines is beautifully shaped, although the march cannot compete with Wilson’s thrilling yomp along the Appian Way. For sheer sparkle, though, Antonio Pappano and his Santa Cecilians on their home turf are irresistible.

In between the two Roman tourist trails, Chailly explores a few interesting byways. The Aria for Strings (1901) is an early, affectionate nod towards the Baroque, years ahead of his three suites of Ancient Airs and Dances. The Leggenda (1902) was one of six pieces for violin and piano, heard here in orchestral guise and sumptuously played by Francesco De Angelis. There’s further faux-Baroque noodling in Di sera, a dainty piece for two oboes and strings which is a pleasant discovery. The Third Suite of Ancient Airs and Dances is also gentle, but swamped in the warm-bath acoustic.