After its successful launch last year, the Oxford Philomusica’s Summer Baroque series is back — and it’s even bigger and better this year, with no fewer than six concerts in Oxford and a further three in Bath, Bristol and Malvern. The series title, La Serenissima, seems a little optimistic, especially as it was raining as the audience gathered on Friday. But inside the Sheldonian the orchestra created its own bit of sunshine with a light, sparkling programme of Venetian composers that couldn’t fail to lift the spirits. This was also an opportunity for the Soloists of Oxford Philomusica to step into the limelight, and demonstrate just what a depth of talent there is in this orchestra.

The first half was a pleasurable mix of the familiar and the not-so-familiar. The highlight, perhaps, was the sublimely beautiful, dreamy Adagio in G Minor by Albinoni, with its sense of other-worldliness. Directed by first violinist Yuri Zhislin, this was an intense, spellbinding performance that for me conjured up visions of Giselle-type figures floating through misty woodland glades. In direct contrast was Albinoni’s bright, vivacious Sonata in C Major for Trumpet and Strings, with soloist Joe Atkins giving a majestic rendition of the first, ceremonial-style Allegro and a joyful exposition of the dance-like finale.

Tim Watts contributed a virtuosic performance in Alessandro Marcello’s Concerto in D Minor for Oboe and Strings, before being joined by Joe Atkins and bassoonist Julie Andrews for a show-stopping performance of the joyful, elaborately decorated Concerto in D Minor by the little-known Francesco Biscogli.

And so from the unfamiliar to the extremely familiar; a beautifully articulated rendition of Vivaldi’s The Four Seasons, in which soloists (unusually, there was one for each movement here) and orchestra brought the varying moods vividly to life in a compelling and exhilarating performance. Wonderful. The baroque series continues tomorrow with Virtuoso Bach. For full details, visit www.oxfordphil.com.