She had 20 No. 1 hits with the Judds and has sold millions of recordings, even after embarking on a solo career in 1992.

Her flaming red hair and gray tux conveyed the confidence of an international star after decades of worldwide performances.

Her current tour with symphonies has visited more than 20 cities across the United States since 2005, shows she likes to call her own shots.

But during Saturday night’s show with the Napa Valley Symphony at a packed Lincoln Theater in Yountville, Wynonna wasn’t the least bit pretentious.

No fan who came to the stage offering flowers or seeking hugs was turned down — after her husband of three years, D.R. Roach, brought the first flowers and was told “Spit out your gum, honey.”

She talked with youngsters who approached and encouraged them to follow their dreams.

Near the end, after accepting candy from a young fan, she remarked dryly, “It doesn’t get much better than Rollos in Yountville.”

The symphony got the night rolling with four pieces that showed its versatility, including works from big band and Argentine composers. After an intermission, Wynonna strolled out nonchalantly from stage left, giving a casual wave to the squealing crowd. She broke into the 1935 classic “I’m in the Mood for Love,” setting the tone for a night of covers she said have always inspired her. Then she sang a solo hit, “New Day Dawning.”

She seemed to embrace the covers more, introducing each one with a few words about what the song means to her. They ranged from rock balladry (Foreigner’s “I Want to Know What Love Is” and Eric Clapton’s “Change the World”) to 1960s jazz (Burt Bacharach’s “Anyone who had a Heart”) to gospel (“How Great Thou Art”). She closed with one of her biggest solo hits, “No One Else on Earth.”

The orchestra blended exquisitely with her strong but wide-ranging voice, which hadn’t lost force by the end of her 90-minute performance. Conductor Asher Raboy and company didn’t compete for volume with Wynonna, instead letting their melodies harmonize with her unwavering voice. Also blending well with her were two backup singers, a male and a female she referred to as The Choir.

The songs Wynonna covered, all slower tunes, were perfect for the symphony format. On her own upbeat songs, the orchestral accompaniment created a bit of an overloaded, 1970s disco feel, but the all-ages crowd clapped and danced away just the same.

It seems only natural for successful musicians to challenge themselves by delving into other genres: Johnny Cash, a country icon, only gained credibility during his final years when he used his gravely voice to collaborate with hard-rock types.

Wynonna, meanwhile, showed that her soulful, pure voice isn’t limited to singing about grampa and the good old days.