Soprano Kathleen Battle may not be welcome at the Metropolitan Opera, but she has legions of loyal fans in Cincinnati. On Sunday, the Portsmouth, Ohio, native returned to Cincinnati for a recital at the Aronoff Center to benefit the Allen Temple Foundation.

        It was a warm homecoming for Ms. Battle, who rehearsed her program last week at the University of Cincinnati College-Conservatory of Music, her alma mater. She smiled and waved to the audience of 1,700, which included family, friends and members of the Allen Temple African Methodist Episcopal Church. The church launched the nonprofit organization to develop Swifton Commons Mall and address social concerns.

        The afternoon began with an invocation, in which the Rev. Terence Hamilton prayed, in light of the recent unrest, for a concert “of peace and healing for ourselves and our city.” It ended with a radiant Ms. Battle dishing out no fewer than six encores, while the crowd cheered her on with countless standing ovations.

        There is no question that Ms. Battle possesses a rare, exquisite instrument, despite her 1994 Met dismissal for diva behavior, and a career now devoted chiefly to recitals and concert appearances. Her voice has a remarkably pure sound, and her brilliant high notes, mellifluous phrasing and coloratura flourishes have the power to dazzle.

        She also looks the part: glamorous in a black velvet gown with satin stoles in silver and shocking pink. Yet the afternoon was one of flashes of brilliance and inconsistencies.

        Compared to the second half — a showy mix of Manon's Gavotte, Ravel's Sheherazade, spirituals arranged by Hale Smith, and two groups of encores — the all-Schubert first half was understated and less secure.

        Collaborating with pianist Ted Taylor, she opened with Schubert's Vier Canzonen, four songs in Italian, each approached emotionally on the same plane. She took pauses to collect herself, and had brief memory slips, despite consulting music on the piano. In “Viola” (Violet), her high notes were like crystal. But intonation was off in passages, and, whether singing in German, Italian or later in French, diction was unclear.

        Schubert's charming Der Hirt Auf Dem Felsen (The Shepherd on the Rock) was the most distinguished of the group. Ms. Battle's dialogue with clarinetist Todd Palmer was seamless and her coloratura runs were beautifully executed. Mr. Taylor was an unobtrusive partner who supported her well.

        It was her stylish recitative and aria from Act III of Manon that showed her star ability; it was performed with charm, agility — and was frequently interrupted by bravos. Sheherazade was meltingly beautiful. As she brought Ravel's enchanting song cycle to a stunning climax, Mr. Taylor did much to add atmosphere.

        Before the concluding set of spirituals, which combined humor and drama, she inserted two a cappella spirituals and a hymn, “Precious Lord.” She projected a genuine quality as she improvised soaring flourishes with a broad smile, arms outstretched.

        Her last set of encores included more spirituals, sung with moving emotion, and several showstoppers: “A Real Slow Drag” from Scott Joplin's ragtime opera Treemonisha, Mozart's Alleluia, Gershwin's “Summertime” from Porgy and Bess and “O mio babbino caro” from Gianni Schicchi.

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