Sciarrino infinito nero

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The sounds of the room fit well with the smell of old wood and the whispering flute, more environment than concert hall. Positioned behind the instrumentalists and surrounded by four candles nearly as tall as herself, Teyssier negotiating the quick changes in tempi and register with something more than ease. Instead, the drama was achieved through flashes of color punctuating the instrumental interjections — blue and green were directed toward the left and right of the altar, blood red glows to the ceiling.

Severe white lights illuminated not just Teyssier but the apostles on the wall behind her. Everything about it was unsettling.

Infinito Nero occupied the second half of the program. The first half was a stitched-together suite of late 20th-century avant garde landmarks and 17th-century works of simple beauty. When Daniel Schlosberg sounded the second a few moments later, the room began to fill with wavering sustain from the amplified piano case, growing more pronounced with the third, as the stage lights dimmed from white to blue.

The piano feedback built to a low, controlled hum and receded. Isolated notes in the upper register brought the electronic hum higher. It served as a perfect preamble for the program, with the added suspense of theorbo player Arash Noori sitting motionless at the front of the stage. She delivered the song in warm, round tones, only occasionally employing vibrato. She seemed more comfortable here than in the Sciarrino as indeed most singers would.

She slid gracefully between the sorrow and joy of a dying Mother Mary, never overselling a syllable. While Kanasevich carried the through-line, it was the crystalline oboe that gave it a spirit and stark beauty worthy of a Messiaen meditation. New York has no shortage of ensembles playing music old and new.