Are you ready for a 20-year-old conductor? You ought to be, because he’s ready for you. His name is Lionel Bringuier, and he conducted the Basel Symphony Orchestra on Saturday night. This was a closing event of the Annual Meeting of the World Economic Forum, held in Davos, high up in the Swiss Alps.

The meeting is known for its kings, presidents, and prime ministers, its CEOs, “social entrepreneurs,” and writers. But there is usually a small arts contingent, as there was this year. Valery Gergiev, the famed Russian conductor, was present, although he did not perform. He didn’t conduct, that is; he performed on panels. Also, Michael Hersch was present. He is a young American composer of increasing reputation.

I should not forget to mention Peter Gabriel, the legendary rocker.

And a second Russian, besides Mr. Gergiev, was on the scene: the great violinist Maxim Vengerov, who received the World Economic Forum’s Crystal Award. This bauble has been given to many a distinguished artist over the years. Mr. Vengerov was being honored, not only for his artistry, but for his work as a UNICEF ambassador. He has played for children in remote and troubled parts of the world.

Unfortunately, Mr. Vengerov didn’t play anything at Davos — not even something quick and unaccompanied (such as a movement from a Bach partita). But he gave an exceptionally graceful speech, emphasizing the healing power of music.

Some hours later, the spotlight belonged to Mr. Bringuier, that 20-year-old maestro. He is a Frenchman, born in Nice, and he studied the piano and the cello, in addition to conducting. Esa-Pekka Salonen, music director of the Los Angeles Philharmonic, recently named him an assistant conductor. To see a 20-year-old instrumentalist is commonplace; to see a 20-year-old conductor is very rare.

The Swiss orchestra that Mr. Bringuier conducted on Saturday night — the Basel Symphony Orchestra — came together in 1997, the result of two Basel orchestras that merged. The World Economic Forum let us know that the orchestra has players from 18 countries and five continents, and that these players speak 12 separate mother tongues. So, this is a “multinational team,” an example to us all.

Mr. Bringuier and the orchestra began their concert with a piece by Tan Dun, the Chinese-American composer whose opera “The First Emperor” premiered at the Met last month. This piece was “Dragon and Phoenix,” an “overture” to the symphony called “Heaven Earth Mankind.” Tan Dun wrote this symphony in celebration of the handover of Hong Kong to Communist China in 1997.

“Dragon and Phoenix” begins with a type of fanfare, then proceeds to something war-like. As usual with this composer — and with today’s music at large — there is an army of percussion. Before long, the piece smells of the American West, believe it or not. It is a Chinesey “Rodeo” (the Copland score). And, at the end, orchestra members yell “Hey!”

This piece pretty much holds interest, and it has the advantage of being shorter than “The First Emperor.”

Young Maestro Bringuier conducted with assurance, and proved deft with his cues. The Basel Symphony Orchestra — BSO! — played decently, respectably. Its cellist contributed a gorgeous and nimble solo.

Next on the bill was Tchaikovsky’s “Rococo” Variations for cello and orchestra. The soloist was Li Wei, 30 years old, born in Shanghai. At 13, he moved to Australia, then went on to London, where he still lives.

And he did a magnificent job with the Tchaikovsky. He was musical, tasteful, and altogether exemplary. His rendering of the theme was suave, and he caught the character of each variation. And yet the work was completely unified, not segmented. His phrasing was elegant, and his passagework neat. He expressed appropriate drama and emotion, but made his playing largely Classical. The final variation had its hopedfor joy.

Li Wei’s performance was aristocratic, beautiful, and exciting, all three. And Mr. Bringuier matched his soloist on the podium.

The concert ended with Prokofiev’s “Romeo and Juliet,” or rather, five excerpts from that ballet. Throughout, Mr. Bringuier showed a clear understanding of this well-loved score. He was musically reasonable, which is not to say without flair — he had plenty of that. But everything was natural, and unshowy, and right-seeming. Mr. Bringuier was self-possessed, in obvious control. But he was never stiff or didactic.

Last among these excerpts was “Romeo at Juliet’s Before Parting,” and it was effective for its understatement. Mr. Bringuier could have milked this more, and he may do that later. He will probably loosen up, just a bit. And it will be interesting to see what he can do with a better orchestra (such as the L.A. Philharmonic). And rest assured that you will hear him with better orchestras. It’s always risky to say that someone, in any field, is can’t miss, but it’s not so risky in this case.