Those who expect an all-Russian orchestra concert to be as heavy as an overly rich meal should think again -- at least in terms of this weekend's Indianapolis Symphony Orchestra program.

Nuance and subtlety stand out in the current ISO weekender, featuring the local debut of the extraordinary pianist Yundi Li, along with guest conductor Andrew Litton's program of 19th- and 20th-century Russian fare.

Of Sergei Prokofiev's five piano concertos, No. 3 in C Major is probably the most popular. My first memorable experience with it was Russian pianist Bella Davidovich's interpretation, which stood out for its power.

On Friday night at Hilbert Circle Theatre, Li gave an interpretation of Prokofiev's Piano Concerto No. 2 in G minor that was sublime for altogether different reasons. The Chinese-born pianist, who made a name for himself on the competition circuit a few years ago, is among those rare interpreters who can make poetry of Prokofiev, even during some of his most percussive moments.

Li's lyrical concept of the concerto became clear early, just a few bars after the orchestra lit into the staccato, clarinet-studded opening. The pianist's entry, underscored by violins, was hypnotically beautiful. Later in that same "Andantino" movement, during the long solo cadenza, Li eloquently brought out a single-note melody from a flurry of fast notes.

During the "Scherzo," a perpetual motion reminiscent of "The Flight of the Bumblebee," Li again maintained control. Even amid bossy interjections from the brass in the "Intermezzo," Li held steady with melodic grace.

Nearly the entire audience gave Li an immediate standing ovation, applauding away until he returned again and again, finally with an encore, a Liszt waltz.

Litton, the former longtime Dallas Symphony Orchestra music director, is a stocky conductor with a flair for a muscular, yet generally controlled orchestral sound. The ISO's opening "War and Peace" Overture, again by Prokofiev, was fairly heavy-handed, as were the opening and final movements of the Tchaikovsky Fourth Symphony, which followed intermission.

Then again, Tchaikovsky's "Andantino" second movement was utterly relaxed, featuring Roger Roe's oboe theme elegantly echoed by a number of other sections and soloists. And the "Scherzo," with its pizzicatos bouncing back and forth between high and low strings, could not have been lighter or brighter.