With the Cincinnati Symphony Orchestra playing better than ever, guest conductor James Conlon scaled two magnificent mountains Friday night.

        For his CSO subscription debut, Mr. Conlon led a remarkable performance of Zemlinsky's massive Lyric Symphony in Seven Songs — a kind of Mahler on steroids — and an electrifying reading of Beethoven's Symphony No. 7. Each had their challenges, yet Mr. Conlon inspired exceptional playing from his forces. One gets the feeling he is at the peak of his interpretive powers.

        Mr. Conlon knows this orchestra well, as music director of the Cincinnati May Festival since 1979, besides his posts in Paris and Cologne. From the first note of Zemlinsky's Lyric Symphony, he conducted vigorously, authoritatively and with involvement.

        The Lyric Symphony is a vast canvas for symphony and two singers, an emotional journey set to exotic poems by Rabindranath Tagore. It is composed in a post-romantic vein, and obviously an homage to Mahler's Das Lied von der Erde.

        The two soloists were absolutely superb; their verses alternated, as in a dialogue. Soprano Christine Brewer, in her CSO debut, matched weight with lyrical beauty, while Swedish baritone Hakan Hagegard projected warmth, power and expressiveness.

        Mr. Conlon balanced the great orchestral swells masterfully, lavishing care over detail, and allowing instrumental soloists to shine. He made the most of dynamic contrast, from massive, brass-filled textures to delicate ones.

        The central "love” songs were luminous. Mr. Hagegard's "Du bist die Abendwolke” (You are the evening cloud) was as memorable for the singer's tenderness, as for the gorgeous horn solo that accompanied him (Robin Graham).

        Ms. Brewer's "Sprich zu mir Geliebter” (Speak to me, my love!) was beautifully felt, enhanced by magical touches of harp, celesta and violin (associate concertmaster Rebecca Culnan).

        The orchestra responded to Mr. Conlon's ardent direction with exceptional efforts by the brass, exquisite phrasing from the winds and a ravishing sound in the strings.

        At the conclusion of this Zemlinsky universe, Mr. Conlon built to a final impassioned climax, before ending atmospherically.

        Beethoven's Symphony No. 7 was a journey of a different kind. It was about the contrast between sunniness and tension, and the control of rhythmic drive, with explosive power simmering just under the surface.

        Leading from memory, Mr. Conlon emphasized classical lines and crisp articulation, yet the orchestra sounded glowing. He kept a relaxed pace in the first movement. His control of the dynamic in the Allegretto was thrilling as the movement crescendoed.

        The scherzo was remarkable for its fleetness and lightness, yet the winds and horns never seemed rushed. The finale was incisive and driving.

        Music Hall's sparse audience of 1,807 cheered at its conclusion, and the musicians refused to stand, allowing Mr. Conlon to take a deserved bow alone.

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