The Cincinnati Symphony Orchestra opened on a festive note Friday night, as Paavo Jarvi began his second season as music director accompanied by herald trumpets and a glamorous opening night crowd.

        The slow, deliberate National Anthem was a reminder that the season opened just two days after the anniversary of 9-11. Yet despite the difficult beginning to his tenure and still unsettled times, Mr. Jarvi's musicians are playing at an exceedingly high level. On Friday, there was a sense of musical discovery in every note, which gave even the oft-played New World Symphony a new glow.

        There were bravos from the first piece, Brahms' Academic Festival Overture. It was anything but academic. The brass chorale gently swelled; the strings were imbued with sunniness. It was true Brahms: noble and warm, yet with clarity and perfect balance between orchestral sections.

        Beethoven's Triple Concerto was the centerpiece, with the designer-gowned Eroica Trio as soloists.

        It was a mesmerizing performance — and not just because of the trio's Carmen Marc Valvo outfits. Each musician is an accomplished artist in her own right, and rose admirably to the demands of the virtuoso work.

        It is particularly demanding for the cellist. Sara Sant'Ambrogio does not possess a big tone, but projects one that is pure and sweet. The cello plays largely in the upper stratosphere of its register for this piece; except for a few intonation slips on Friday, her phrasing was quite lovely. The playing in the second movement, with its long-arched lines, was colored by romantic slides and a big vibrato, and the ensemble was beautifully balanced against the horns.

        Her partners, violinist Adela Pena and pianist Erika Nickrenz, were wonderfully matched — Ms. Pena swaying passionately as she tackled her high notes, and Ms. Nickrenz playing with color and finesse but never overpowering her colleagues.

        They used rubato liberally, giving the first movement a romantic flavor. The finale flew like the wind, and they made it look like fun. A spark of communication was missing, though, perhaps because the soloists, all in a row, couldn't make eye contact with the pianist.

        Mr. Jarvi supported them with extraordinary care (sometimes the orchestra was almost inaudible, though). The tutti passages were energized, and the crowd of about 2,800 awarded the first of two standing ovations.

        In the end, it was Dvorak's Symphony No. 9, “From the New World,” that was the evening's most moving performance. Dvorak was inspired by his stay in the United States, but his New World Symphony has more echoes of the old world.

        Mr. Jarvi took his cue from the latter, making this New World wonderfully alive and rich with Bohemian color. It happened in the way he pulled back the tempo to allow the flute to sing its theme nostalgically. Or the way he would phrase a dance tune, holding back for just a moment before plunging ahead.

        His pacing was generally broad. Mr. Jarvi prepared the Largo with a very slow tempo and a ravishing cushion of strings. The effect was deeply moving, and its famous English horn solo was beautifully felt by Christopher Philpotts.

        The strings had real depth, and phrased with color; the winds played exuberantly in the scherzo. Mr. Jarvi swept up the orchestra almost without a break into the finale. It was unrushed and enthralling for its expressiveness.

        The audience barely breathed, as details emerged that one barely knew were there. The warmth was palpable, and Mr. Jarvi led with genuine affection. The final surge, with powerful but precise brass and timpani, ended on a ringing chord.

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