Most of the music was taken from “Vivaldi,” a new CD from Mr. Avital and the ensemble, including pieces by that composer that were originally intended for mandolin and orchestra and others sensitively arranged by Mr. Avital. Familiar works like “Summer” from “The Four Seasons” virtually flew off the page in high-energy, joyous readings.

Much of the credit goes to the orchestra, which played with the fresh sound and rhythmic exuberance one expects from period-instrument ensembles these days. The players also displayed an aggressive bite in Vivaldi’s signature crescendo runs and an unusual palette of pale tone colors in pianissimo passages. The first violinist Gianpiero Zanocco and the cellist Daniele Bovo were dazzling in Geminiani’s Concerto Grosso in D minor, a cover version of sorts of Corelli’s “Folia” sonata.

The chemistry between the ensemble and Mr. Avital was palpable. There were exquisite little exchanges between Mr. Avital and Ivano Zanenghi, the orchestra’s lutenist, that played on the juxtaposition of the sharp and mellow sounds of their respective instruments, and moments when the mandolin and Mr. Bovo’s cello conversed as equals.

For Mr. Avital’s arrangement of Vivaldi’s Concerto in G for Two Mandolins, the violinist Anna Fusek took up the recorder and joined him at the front of the stage. Assigning the second mandolin part to a soprano recorder was an interesting choice: It brought out the rustic charm in the music and lent quiet pathos to the simple melody of the Andante.

Slow movements like that one showed off Mr. Avital’s deep musicality. In the Largo from Vivaldi’s Concerto in D for Lute, Strings and Continuo, he rendered the lovely melody with a certain unsentimental matter-of-factness, setting the scene for a series of variations that grew ever more expressive and insistent.

Mr. Avital switched to a flashier, more theatrical mode for Paisiello’s Concerto in E flat for Mandolin, the lone Neapolitan piece in a sea of Venetian music and the only one featuring a cadenza that offered a glimpse of the instrument’s versatility. That was nothing, though, next to the eye-watering virtuosity of his first encore, an arrangement of a Bulgarian folk tune that zoomed among folk, rock and contemporary-music idioms with breathtaking fluidity.

A version of this review appears in print on March 13, 2015, on page C11 of the New York edition with the headline: At a Baroque Banquet, a Mandolin With Sizzle