For this occasion, the ensemble played Marc-Antoine Charpentier’s rousing and elegant “Te Deum”; Jean-Joseph Cassanéa de Mondonville’s “In exitu Israel,” a seldom-heard, strikingly inventive motet; and “Les Sauvages,” the extraordinary final act from Rameau’s charming, musically ravishing opera-ballet “Indes galantes,” music that Mr. Christie and his ensemble perform with unrivaled insight and vitality, as they did on this night.

The architect Jean Nouvel, who snubbed the opening night, saying that his hall was just not ready, has worked with Marshall Day Acoustics and Ducks Scéno consultants, to create a space in which the sound would envelop, not overwhelm the audience. That was my reaction on both nights from both seats. The sound of the solo singers, the chorus and instrumental ensemble of Les Arts Florissants came through on Friday with clarity, presence and bloom. The balances were not quite right, though. During the Charpentier, outbursts from three eager Baroque percussionists tended to cover the strings. The hall can be tweaked acoustically by shifting panels and platforms. (For rock, jazz and other nonclassical music, the hall has a built-in electronic system.) So, in time, the Philharmonie may get the balances and other acoustical matters right.

Attempting to draw new audiences to classical music is a primary goal of the Philharmonie. Nothing is more essential to a field in the midst of longstanding challenges. But the institution also hopes older patrons and those who found the traditional Salle Pleyel inviting and convenient, will make their way to this arts center, in a park that includes the Paris Conservatoire, a music museum and an established theater. The Metro here sets a standard for urban subway systems: It’s easy to use and remarkably quiet; trains come frequently and go everywhere. There is a stop right near the Parc de la Villette.

Still, it is a considerable walk across a big, mostly cobblestone plaza from the Metro stop to the new hall. And in the balconies of the Grand Salle, where I sat, there are no handrails on the stairs, which suggests that the needs of the over-60s set were not taken fully into account.

But you can only salute the Philharmonie for branching out by building this potentially important hall on the edge of the city. If this risky venture thrives, it could establish a new template for outreach in classical music. To succeed, the traditional audience base has to be willing to travel a little and newcomers to classical music have to give the art form a chance.