This is one of three settings of Psalm 112 in the Vulgate (Psalm 113 in modern bibles) that Vivaldi composed. He composed it sometime around 1730 and it seems to have been written for an Italian soloist employed at Saxon-Polish court in Dresden.
Originally this would have been sung by a castrato, whoever he was (there were several at the Elector of Saxony's court) he must have been both talented and well-trained because it's a virtuouso piece that requires the singer to reach D in alto. As you might expect from the preceding sentence it's distinctly operatic. Moreover Vivaldi embellished it with some quite vivid word-painting such as at 'saeculum' at the end of the second movement or his music depiction of a sunrise in the third movement or the contrast between 'terra' (earth) and 'caelo' (heaven) in the last line of the fourth movement. Nor does it end there, listen to the urgency with which the poor are raised up from the dust in movement (verse) five or the repetitions with which he illustrates the word 'collocet' (set) in verse six. Much though I admire all of those verses it's the seventh with its obbligato flute that really makes this Psalm for me. When Vivaldi composed this particular setting of Laudate Pueri his call for an obbligato flute was quite innovative for the instrument was still relatively new to Venice and disapproved of by conservatives. Vivaldi however was no conservative and moreover had met and befriended the eminent German flautist Johann Joachim Quantz during Quantz' visit to Venice – this movement was Vivaldi's homage to and renewal of musical contact with his friend. Enjoy :-)