The last time soprano Kishna Davis appeared with the Annapolis Symphony Orchestra, she was an unknown called on in a pinch to replace an ailing soloist.

But the Columbia native quickly introduced herself with Puccini and Verdi arias that stunned the audience and made her re-engagement here a foregone conclusion.

Davis returned last weekend to join the orchestra in the Lamentation movement from Leonard Bernstein's "Jeremiah" Symphony, and in music director Leslie Dunner's own suite of spirituals for soprano and orchestra, "Motherless Child Songs."

Rounding out the program of 20th-century American music was the emotional "Romantic" Symphony of Howard Hanson, and the Copland-esque, but oh-so jazzy "Fanfare" of Adolphus Hailstork.

Once again, Davis was terrific. But this time, Dunner and his players were ready for her, joining forces with their visitor to present one of the more enjoyable concerts of recent seasons.

In fact, these concerts might have been something of a "coming out" party for Dunner. He seemed breezier and more at home on the podium Saturday. From his crisp, elegant motions, to the assured, friendly talk he gave to introduce his own piece, the message was clear: Maryland Hall for Arts is his house now.

The ASO responded with high energy musicianship of its own. Hanson's big themes and long lines came across with admirable energy. Big, juicy string sounds made Bernstein's "Jeremiah" an exercise in dramatic intensity. ASO brass and percussion brought the danceable Hebraic rhythms alive with real pizazz. And on a night when annoying coughs and rustlings reached epidemic proportions in the audience, there was absolute silence when the first movement ended. No small achievement, that.

The only musical distractions were some minor splats from the brass players doing their best to open the concert with Hailstork's ticklish "Fanfare." When a work that difficult and exposed raises the curtain, a bit of turbulence can be expected.

Davis continues to amaze. She imparted breadth and dignity to the prophet Jeremiah's sad reproachments to his people, and a wealth of interpretive nuances to the timeless songs Dunner employed in "Motherless Child."

The joys, sorrows, highs, lows, attachments and disconnections she found in such songs as "I Gave My Love a Cherry," "Nobody Knows the Trouble I've Seen" and "Deep River" were achingly profound; an echo of the black experience in America and of human life everywhere. What a gift.

Pub Date: 3/04/99