By Janelle Gelfand
The Cincinnati Enquirer

American violinist Anne Akiko Meyers made her Cincinnati debut 13 years ago in a recital for Matinee Musicale. It took far too long to bring back this dazzling artist, but on Thursday, she made an impressive debut with the Cincinnati Symphony Orchestra in Music Hall.

Her vehicle was Prokofiev's Violin Concerto No. 1, a work that is as dreamlike and Impressionistic as Prokofiev's Second Concerto is full-blooded. What she brought to it was vivid imagination, infusing the concerto's meandering themes with personality and stunning finesse.

Paavo Jarvi's program, which included ballet suites by Prokofiev and Ravel, was all about subtlety and orchestral color. No doubt some of the kinks in Prokofiev's Romeo and Juliet Suite No. 3, which opened the program, will be ironed out by the time the CSO records it next week for Telarc. But the concluding Suite No. 2 from Ravel's Daphnis et Chloe (also to be recorded) was a gorgeous display of orchestral musicianship that had the audience on its feet at the conclusion.

Ms. Meyers, a onetime child prodigy, projected a rich, warm sound in Prokofiev's D Major Concerto, even when playing pizzicato. The composer calls upon the soloist to navigate an obstacle course of special effects: high harmonics, glissandos, left-hand pizzicatos and much more. She tackled these hurdles effortlessly and with impressive bow control. It was not the fireworks that lingered when the performance ended, however, but the beauty of her phrasing and her feeling for the soul of the piece.

Her opening phrases had beautiful line and elegant style, casting a spell from the outset. The second movement, a scherzo, was a driving perpetual motion, with a dose of rhythmic Russian flavor, all played with flair and phenomenal technique. In the finale, the violinist gracefully colored Prokofiev's lean lines with romantic slides, for a touch of sweetness.

Mr. Jarvi provided a backdrop that was both lush and transparent; its pointillistic quality made for a magical conclusion.

The second half opened with Ravel's Pavane for a Dead Princess, a gem that started life as a piano miniature. Mr. Jarvi went for delicacy of texture and a somewhat halting tempo, enhanced by poignant phrasing from acting principal hornist Thomas Sherwood. The overall effect was quite lovely.

Ravel's Suite No. 2 from Daphnis et Chloe was a shimmering conclusion. The opening buildup, with its bird song and sweeping strings, was atmospheric and beautifully shaped. Mr. Jarvi led with freedom and feeling for Ravel's style, capturing its sensuousness while retaining transparency. The final impassioned dance swirls climaxed in great brushes of color.

The concert opened with the CSO's first-ever performance of Prokofiev's Romeo and Juliet Suite No. 3. Though a bit uneven, an effective moment came in "Morning Serenade," brightly orchestrated with mandolin.

E-mail jgelfand@enquirer.com