Competitions can be great fun for audiences, even if they are hell on earth for the contestants. This past week the George London Foundation, which has a remarkably prescient track record for recognizing young talent, held its annual awards week, culminating in the final olympiad on Thursday afternoon and evening at the Morgan Library. Ninety aspirants began the week as hopefuls; 22 remained for the ultimate event.

The judges had the unenviable task of selecting from at least 20 highly talented and competent singers.

Soprano Angela Meade offered the Csàrdàs from “Die Fledermaus” in a commanding and nimble voice. Her tone was exceptionally rich and her vocal power extraordinary.

Walther’s Preislied, from “Die Meistersinger,” was intoned by tenor Corey Bix, a song from a singing contest presented at another singing contest. Mr. Bix was very strong in both projection and characterization, although a bit wayward of pitch.

Brian Kontes, bass-baritone, was superb in Vi ravviso, o luoghi ameni from “La Sonnambula.” He is one of those singers that need only one note to prove the excellence of his instrument. He navigated what is essentially a cavatina-cabaletta combination with notable fluidity.

No matter how rich the talent, hearing 22 singers without a break can be daunting and just a tad soporific. But when number 19 came out as the glittering ball of electricity that is soprano Rachele Gilmore, it was time to sit up and take notice. Blowing through Da tempeste il legno infranto from Handel’s “Giulio Cesare” with stunning diction and elasticity of ornamentation, Ms. Gilmore made a strong case for best performance of the day.

There aren’t too many arias more dramatic than Mamma, quel vino è generoso from Cavalleria Rusticana and tenor Bryan Hymel communicated that drama with amazing expressivity. This was a performance far more juicy than many heard at the opera house over the years. And oh, those high notes!

Soprano Ellie Dehn, somewhat of a budding star already, delivered a stunning Dis-moi que je suis belle from “Thaïs.” At Eve Queler’s “William Tell” at Carnegie Hall last season, Ms. Dehn stole the show as Jemmy, the boy with the apple on his head. She is already a fine professional.

Finally, the announcement of the top six awards of $10,000 dollars each. The judges chose four of my six favorites — Messrs. Bix, Kontes, Hymel, and Ms. Dehn — while Ms. Meade received a $1,000 dollar encouragement grant. Another of the top winners was mezzosoprano Kate Lindsey, who sang an extremely well-constructed Enfin, je suis ici from “Cendrillon.”

The last big winner was soprano Jennifer Black, which came as a bit of a surprise as I found her Mi chiamano Mimi quite shrill. Of course, the judges had the advantage of having heard her earlier in the week. Perhaps she dazzled then.

One last big prize is yet to be granted, as the foundation also sponsors one of these finalists, to be selected later, to study in Vienna. One hopes the judges will remember Ms. Gilmore when the time comes.

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The management of the Philadelphia Orchestra is attempting to soften the sting of its unfortunate decision to hire Christoph Eschenbach, who is soon departing, by postponing any announcement of his replacement for several years. In his stead, good soldier Charles Dutoit will take over as chief conductor — not music director — through the 2011–12 season. On Thursday evening, the new Dutoit era opened in New York with an appearance at Carnegie Hall.

Maestro Dutoit has a long history with the ensemble, serving as a ubiquitous guest conductor and leader for many years of the summer season at Saratoga. His performances tend to be solid if not afflated. One corollary benefit of hiring Dutoit is his good relationship with pianist and cult figure Martha Argerich — they were married at one time — who is a notorious canceller of performances, but tends to show up with this particular conductor on the podium.

This evening, Ms. Argerich treated Beethoven’s Piano Concerto No. 2 as an early work, still in the Classical thrall of Mozart. Her performance was notable for its precision and delicacy, a jewellike polish and a firm, accurate touch. What was missing was the visceral excitement of the work, especially its rhythmic drive, so compelling in the opening of the Rondo.

But despite all of her trials and tribulations, her rabid fans, and her unique combination of mystique, sex appeal, rebelliousness and fragility, Ms. Argerich has always held a consistent trump card: She can really play the piano. And Mr. Dutoit matched her stroke for tasteful stroke.

The program opened with a bracing account of Finlandia and ended with a radiant Sheherazade. Rimsky-Korsakov is having a revival here in the West due to the efforts of Anna Netrebko and Valery Gergiev but this particular piece is evergreen. Mr. Dutoit wasted no time at all in repositioning the fabulous Philadelphian strings, moving the cellos to his immediate right and putting the second violins back next to their brethren. The resulting sound, enhanced significantly by contented players who no longer have to fight with their leader, was ravishing.

Especially thrilling were the wind quintet section of the Tale of the Kalander Prince and the original statement of that gorgeous theme known as The Young Prince and the Young Princess. Listening to Maestro Dutoit lead this beautiful music in a disciplined manner that allowed its lushness to develop organically, it was difficult not to speculate about how Mr. Eschenbach might have polluted the passage’s natural beauty with his own brand of faux emotionalism. For now, we were all treated to exceptional string playing and wise leadership.

Concertmaster David Kim was effective as the soloist — the fiddle represents the storytelling maiden throughout — but could have been a bit more romantic. Still, it was a pleasure to note that the Philadelphia Orchestra is back on the right track.