Both versions of this evergreen vocal masterpiece are stylish and deeply felt. Common to both is the affecting singing of contralto Sara Mingardo; her 'Domine Deus Agnus Dei' is poignantly declaimed.

...the performance is an even and expressive one – it runs at a cracking pace, too – and worth listening to alone for solos by Sara Mingardo, whose rich yet light voice is perfect for this music...a performance that celebrates the rich drama and excitement of Vivaldi while maintaining a lightness of touch throughout.

Rinaldo Alessandrini's 1997 recording of Vivaldi's most famous Gloria, RV589 (6/98) was wildly acclaimed in some quarters… This new performance… still sets off at a brisker pace than most but it is no longer wilfully madcap: the articulate playing of Concerto Italiano permits enough room for the details to emerge, and Alessandrini nowadays seems to have enough confidence in his musicians (and in Vivaldi) to let the muscular expression of rhythms function without impatient snapping at the musical fabric. Another notable improvement from 1997 in his plangent choir. "Laudamus te" crackles with energy... Concerto Italiano also delivers a zesty performance of Vivaldi's less famous Gloria setting (RV588). ...Mingardo is at her best in the heartfelt "Qui sedes", and Alessandrini's spirited direction is irresistible.

the soloists Sara Mingardo and Emma Kirkby, under the direction of Rinaldo Alessandrini, are pretty glorious