The Rhode Island Philharmonic opened its season last night with a nod to the music of the Czech Republic. Among the offerings was Smetana’s popular Moldau, the tone poem that traces the course of the river that runs through Prague.

But the hit of the night was the Dvorak cello concerto with German cellist Alban Gerhardt as soloist. Gerhardt at 38 is one of the most sought-after cellists of his generation. And at last night’s performance he let everyone at Veterans Memorial Auditorium know why.

Gerhardt tore through the score with confidence and panache, with soaring phrases and a gorgeous tone. This was a heroic performance of the Dvorak, an account that mixed a sense of grandeur with touching introspective moments.

Gerhardt ripped into the opening passages, with a big lush sound. And he was reflective in the slow movement. All in all, it was a lovely, nuanced performance, one of the best Dvoraks I’ve ever heard.

Backing Gerhardt up was some fine orchestra work form conductor Larry Rachleff, who matched the soloist’s every move. The orchestra, which hasn’t played a classical gig together since May, sounded tight and polished.

While the Dvorak was the most impressive offering of the night, the most interesting was perhaps Leos Janacek’s 1926 Sinfonietta, a five-movement work that had just enough edge to give it a contemporary spin. It opened with a blazing fanfare that showcased the orchestra’s excellent brass section, then it segued to lush string passages and chugging winds. In the end, the fanfare returned for a rousing finale.

But how could you put on a Czech program without including the Moldau. Smetana, after all, is the father of the Czech national school of composing, and the piece has a hallowed spot in the world of Czech music.

It is, of course, a little light, the kind of score you might hear in a pops concert. But it is gorgeous, and Rachleff made much out of the soaring melodies and colorful tonal descriptions of life along the river.

The wind section, and in particular the flutes, sounded great at the beginning of the performance. But it was the silken strings that were mostly memorable.

cgray@projo.com