The young Japanese soprano Maki Mori arrived at the Kennedy Center’s Terrace Theater on Wednesday night, launching a week-long series of concerts commemorating Tokyo’s 1912 gift of the cherry trees that line the Tidal Basin. It was a fitting choice.

She picked a program that blended East and West with easy confidence.

Placido Domingo discovered Mori in Japan a decade ago and brought her over to sing with the Washington National Opera. From the first notes of the program, it was clear why he sprang for the ticket. Mori has a wonderfully clear, silvery voice and a virtually immaculate technique. In a range of familiar arias from Gounod, Mahler, Rossini, Verdi and Mascagni, she displayed pinpoint accuracy and agility, undermined only by a sometimes awkward sense of drama.

The most satisfying works of the evening were not the European operatic dazzlers, but more inward-looking songs by contemporary Japanese composers. Nakada Yoshinao’s “Cherry Blossom Alley” and Kunihiko Murai’s “When the Swallows Return” are captivating, atmospheric works tinged with a particularly Japanese flavor of melancholy, and Mori seemed more naturally at home with them than with other works on the program.

Given the occasion, you sensed a missed opportunity. A program that balanced more 20th-century Japanese vocal music (heard all too rarely here) with a thoughtful selection of American song (which was strikingly absent all evening) might have made a much more distinctive and apropos recital. But as a showcase for Mori’s gifts, it was a fully enjoyable evening — and a good introduction to a rising young star.

Japanese soprano Maki Mori, right, stands with bio tech tycoon Sachiko Kuno. Mori has a wonderfully clear, silvery voice and a virtually immaculate technique. (Linda Davidson/The Washington Post)

Brookes is a freelance writer.