Sonya Yoncheva lacked that flame in crucial moments, though comparative listening across performances suggests that Maurizio Benini’s pedestrian conducting may well have been the culprit.

Conductor Keri-Lynn Wilson’s deft, efficient gestures captured the performance with balance between its driving sonic eccentricities and subtler and more contemplative passages.

Set against the production’s dismal sets, the action unfolded as a five-hour dirge of funereal hopelessness before ejecting spectators into equally gray Manhattan surroundings where after-theater conviviality is long dead.