Von Stade continued the program with a saucy rendition of "Ah, que j'aime les militaires!" (Oh, how I love the soldiers!) from Offenbach's satirical operetta La Grande-Duchesse de Gérolstein, with its witty little drum rolls and military trumpets. The key to von Stade's long career has always been her easy charm and vocal strength, and that was in abundance here.

The mezzo then softened her voice for a languorous interpretation of "Connais-tu le pays où fleurit l'oranger?" (Do you know the country where the orange trees flower?) from Thomas' opera Mignon. This was given a nostalgic turn, her voice sweet and endearing. She then offered two selections from Berlioz's Les nuits d'été: first "Villanelle," which was lightly delivered, followed by "Le spectre de la rose" — and this was the most telling singing of the evening.

Von Stade created soft tendrils of voice in her description of the death of a fading rose, her French beautifully nuanced, the song ending in the barest of whispers. It was so elegantly delivered, you simply did not want the intrusion of applause. But come it did, and abundantly.

The last half of the program was an exciting performance of Tchaikovsky's Fourth Symphony by the Russian National Orchestra under the direction of Carlo Ponti Jr. The prevailing strength of this marvelous ensemble is the depth of the string sections, some 50 members strong. And what is a Tchaikovsky symphony without vibrant strings to deliver his many poignant passages? This was especially true in the third movement's "pizzicato ostinato," with the recurring plucking of the strings en masse. This was no mere strumming of the instruments, but a series of incredible staccati in great dynamic range, from soft to bright and bold.

The brass section in this orchestra of 83 is likewise strong, majestically sounding out this symphony's repeated Fate theme with power and vigor. And the timpanist must have arms of steel, so wonderfully did he render Tchaikovsky's many thunderous climaxes.

For those of us able to attend the festival for several performances, it has been interesting to observe the effect of different conductors on this orchestra. Alan Gilbert elicited a sharp, bright sound, while Ponti brought forth a softer, more romantic quality. Ponti, incidentally, conducted the Tchaikovsky without a score, a musical tour-de-force considering the complexity of this symphony.

Lincoln Theater was not the only venue for the festival's performances, however. The charming White Barn in St. Helena hosted a noontime luncheon that featured soprano Marnie Breckenridge and mezzo-soprano Meghan Scheibal, with Kristin Pankonia as their nimble accompanist.

The White Barn is an 1873 carriage house set amid the rolling hills and vineyards of the upper valley. An intimate space, it has for some years been dedicated to showcasing local talent. Miss Breckenridge, who is from Napa and now launched on an international singing career, undertook Donizetti's difficult aria, "O luce di quest' anima" (Oh, light of this soul), from his opera Linda di Chamounix. A showpiece fraught with cascades of roulades and trills, it was enthusiastically sung. Scheibal sang a smoky, appealing "Habanera" from Carmen.