From the Gramophone Classical Music Guide:

“…This isn’t the ‘Vivaldi Vespers’, or even a reconstruction of a specific event, but a kind of ‘sacred concert’ in Vespers form, of the sort that Venetian churches in Vivaldi’s time would mount in the name of worship.
Whether he ever supplied all the music for any such occasion isn’t clear, but he certainly set plenty of Vespers texts, enough at any rate for Rinaldo Alessandrini and scholar Frédéric Delaméa to put together this rich programme. So this is music for a Vespers for the Feast of the Assumption as it might have been heard in one of Venice’s more important churches, made up of Vivaldi’s settings of the five Vespers psalms, a Magnificat, a Salve Regina, a solo motet (Ascende in laeta) and a couple of orchestral concertos.Unmistakably Vivaldian in almost every bar, these pieces nevertheless show considerable variety; the psalms range from the opulence of Dixit Dominus for five soloists, two choirs and two choirs, to the expressive solo settings of Laudate pueri and Nisi Dominus, to the breezily functional choral treatments of Laetatus sum and Lauda Jerusalem; Ascende in laeta is a virtuoso showpiece for soprano, and the Salve Regina a sombre vehicle for contralto. The liturgical thread is supplied by plainchant antiphons, prettily rendered in a fascinating conjectural imitation of the 18th century’s ‘corrupt’ manner, which is to say, with organ accompaniment and unabashed ornamentation.Alessandrini’s reading has an energy which is both forthright and controlled. His solo singers are of high quality; Roberta Invernizzi and Sara Mingardo are from the front rank of Italian Baroque singers, capable of expressive lyricism and thrilling virtuosity, but Gemma Bertagnolli is no less effective. The orchestra plays with inspiriting precision and life, but the choir could be improved on, and is poorly favoured in the recorded balance. Indeed, the recorded sound as a whole is a bit noisy, in places suffering a distant mechanical whir. Still, the overall effect is what counts most in a recording like this: the music has a vital sense of direction, resulting in two and a half hours of invigorating listening…”

…Northern Delights is a recording of Nordic baroque music by one of the finest ensembles to specialise in this musical period. Since Scandinavian baroque composers are not among the masters who have reserved for themselves a place in history and in our common cultural conscience, it is partly in an effort to remedy misconceptions regarding Scandinavian musical life in this period that Nordic Baroque Quartet has chosen to record an anthology of original Scandinavian baroque music. For musical life was indeed rich, despite the absence of contributors of historical magnitude and despite the lack of consistent preservation and cataloguing of the music actually in circulation. For this reason much of the music here recorded has been extracted from various compilations and incomplete documents kept by private collectors as well as musicians themselves. Nordic Baroque quartet has received much praise and the musicians are all highly respected and sought after soloists on their respective instruments… (Christian Lysvåg)