Afkham was sensitive throughout to pictures both long-term and fleeting, demanding a high level of refinement all along the route to lofty, meaningful destinations. The balance he struck in the Andante between volume, tempo and expressive detail was nothing short of perfect.

His expansive left-hand gestures and dancelike body movements are balanced by a right hand that delineates the beat with sober precision. And that beat was impeccably judged. In Symphony No. 2, Mr. Afkham’s swift tempos and supple phrasings emphasized the natural flow and self-evident {…}

Then, after intermission, there was the small matter of Beethoven’s Fifth Symphony, a supreme peak for any young conductor — any conductor — to scale. Afkham’s account was something of a revelation. It made most performances of the work that one routinely hears seem merely {…}

It was clear that orchestra and conductor had a terrific connection, and Mr Afkham demonstrated a mastery of the score. The orchestral playing was intense, bringing out the human dimension of Shostakovich’s music.

In a brilliant Cleveland debut, Afkham... outlined a bold vision marked by screaming highs and tense, grinding lows. Even within the narrowest musical confines, he found room for drama.