The Detroit Symphony Orchestra performed in Orchestra Hall on April 9 for the first time since the end of its six-month strike.

A capacity crowd filled the hall, leaving dozens to stand on the second floor in order to watch the free show.

The crowd greeted DSO Music Director Leonard Slatkin with a standing ovation before he introduced the concert.

“It’s a call for all of us,” Slatkin said, introducing John Williams’ “Summon the Heroes.” “We are so pleased to see all of you here. Starting next week, it’s going to cost you.”

He then announced tickets would be $20 per show during the 2011-2012 season.

The DSO played popular classical pieces from mostly 20th-century composers.

Vera Heidelberg, of Detroit, used to volunteer for the DSO and said it was good to see some of the notable performers return with the orchestra.

“Some of the ones that are the principles in the orchestra — I’ve heard them perform individually, and I think that they’re just outstanding,” she said.

Steve Sobel, of Farmington, has attended numerous DSO shows and said, “It’s like the Detroit Symphony never was gone in the first place.”

“Matter of fact,” he said, “they might even be a tad better, especially after that standing ovation they got before even one note was played as they walked on the stage.

“No matter what is written in the Detroit newspapers, the message was sent from the audience to the conductor and the orchestra and everybody involved with this type of symphony.”

Slatkin, however, acknowledged that it was not possible for the DSO to have been there for its audience during the past six months, and parts of his actions to make it up to them was through that night’s performance of Samuel Barber’s “Adagio for Strings.”

“During our time away, there has been much tragedy that befell the world,” he said. “A lot of times people find comfort in music. I want you to consider those who’ve been taken from us.

“This is your moment to reflect — and ours as well.”

Review

The DSO’s enthralling performance consisted of pieces that both celebrated its return and satisfied even the most casual fans of classical music.

The playlist included Leonard Bernstein’s “Overture to ‘Candide,’” Williams’ “Summon the Heroes,” Barber’s “Adagio for Strings” and George Gershwin’s “An American in Paris.”

After the intermission, the orchestra performed Antonín Dvorák’s “Symphony No. 9, ‘From the New World.’”

There were numerous standing ovations for these pieces, particularly “An American in Paris.”

Signs of rust from the orchestra were minimal. In a couple instances of “Adagio,” it seemed as if some of its members were a fraction of a beat behind Slatkin. As the night progressed, however, those signs disappeared.

The crowd seemed to be most drawn in by the more popular and contemporary pieces that encompassed the first half of the show.

During Dvorák’s “Symphony No. 9,” however, the DSO stood out.

Perhaps Slatkin meant for the piece to describe the orchestra’s past several months.

Its “Adagio – Allegro molto” was content, which could represent the DSO before its negotiation troubles. The “Largo” — for which the piece is perhaps best known — and “Molto vivace” were sorrowful and defiant yet hopeful, respectively, as was the orchestra during its strike.

And the piece finished with the “Allegro con fuoco,” which thematically described an epic battle and its triumphant climax.