His Irish charm and golden flute have made him one of the world's most popular soloists. That James Galway is an extraordinarily gifted artist, too, was evident in his playing of Mozart's Flute Concerto No. 2 in D Major with the Cincinnati Symphony Orchestra Thursday night.

        But it was his three “lollipops” — encores — played with a twinkle in his eye, that won the hearts of the Music Hall audience of 2,556.

        Looking dapper in a vest and long coat, Mr. Galway projected a sweet, golden tone in the Mozart D Major Concerto (which was originally composed for oboe). His seamless line and effortless virtuosity were proof positive of his superior technique.

        The first movement sparkled. Its cadenza, of his own invention, was stunningly executed and had an engaging touch of humor.

        Creamy tone poured like gold from his flute in the slow movement, a study in thoughtful phrasing. The flutist gracefully ornamented his themes in the light and charming finale.

        Music director Jesus Lopez-Cobos kept a fine balance in the reduced orchestra.

        After ovations, the inimitable “pied piper” of the flute beamed a big grin and launched into “Brian Boru's March.” His brilliant “Badinerie” from J.S. Bach's Suite No. 2 in B Minor flew like the wind.

        But it was his trademark “Danny Boy,” where each phrase was colored a different hue, that had the audience in his palm.

        The cheers for Mr. Galway contrasted with the boos for two protesters, who briefly disrupted the program after intermission. Conspicuously large numbers of police officers were present for TransAtlantic Business Dialogue members who were attending the concert. But the concert continued without a hitch. The only other “political commentary” was in Shostakovich's Symphony No. 5, a powerful work which Shostakovich wrote to rescue his career during the Stalin era.

        Although CSO soloists delivered some fine moments, it was not a pristine performance. Articulation was heavy, there were intonation problems, and tempos were generally slow, causing a loss of momentum.

        The high point came in the finale, where the CSO brass summoned its power magnificently, punctuated with drama by timpanist Eugene Espino.

        The program opened with a fleet performance of Rossini's Overture to La Scala di Seta (The Silken Ladder).

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