On Friday night at Powell Symphony Hall, David Robertson and the St. Louis Symphony Orchestra served up a dazzling opening-night concert that demonstrated their strengths in both the contemporary and traditional repertoire.

Osvaldo Golijov – the Argentine-born, Israel-educated, New England-dwelling son of Eastern European Jewish immigrant parents – is nothing if not eclectic in his influences and compositions.

In his 2006 "Azul" ("blue," in Spanish), it all comes together in a wonderful melange of lyricism and excitement. Bits of Bach, a dollop of klezmer, Latin and Middle Eastern influences coming together in a 27-minute tour de force for cello and orchestra.

Percussionists Jamey Haddad and Keita Ogawa, sat near the podium in the midst of a diverse pile of objects to beat and tap, switching between them rapidly as if it were United Nations Day at the Symphony and they had to hit something from every single country. Michael Ward-Bergeman played the hyper-accordion, with an electronic pickup built inside to capture a wide array of sounds.

The soloist, SLSO principal cello Daniel Lee, staked an absolute claim on "Azul," playing with intensity and virtuosity. He threw his whole body into a performance almost as much kinetic as musical, earning a huge ovation at the work’s end.

Robertson built his reputation as an enthusiastic champion of new music. No one does it better, but sometimes his renditions of the traditional repertoire can sound underrehearsed and perfunctory. Not so this committed, expressive performance of Gustav Mahler’s vast, stormy 1904 Symphony No. 5 in C-sharp minor.

It famously opens with a solo trumpet call, a summons that recurs in the score as a kind of reminder of mortality. Principal trumpet Susan Slaughter nailed both the first phrase and all those that followed; her distinctive voice set the tone and colored the music beautifully.

New principal horn Roger Kaza played with lovely lyricism. The entire brass section was in great form, as were the woodwinds, and the strings shimmered and shone in the music’s changing moods. It was just a thrilling night to be in the hall.

Most of Robertson’s tempos and ideas were well-judged. The famous Adagietto((CQ)) movement was a bit matter-of-fact, but the early storms and tender finale made up for it.

The audience roared when Robertson went to the back row to bring Slaughter to her feet, following with one for Kaza. If the rest of the season continues this momentum, it will be one to treasure.