The performance circumstances allowed an immersive operatic experience in which the singers moved along the aisles of the seating area, only inches away from listeners. And that felt right considering the libretto’s emphasis on characters over events. The cast acted with remarkable freedom despite the fact that the main performing area was the front of the synagogue, separated by a fair distance from the chamber ensemble of 16 players in the rear of the room. Yet the cohesion achieved by conductor Geoffrey McDonald seemed effortless.

We hear so much about the big arts institutions and their struggles, it’s easy to miss the fact that New York has a vibrant opera scene, much of it in the form of small companies doing admirable work on a more limited scale. One standout in that department is On Site Opera. Founded in 2012, this fledgling outfit already has the feel of an established and polished company, presenting unusual repertoire in spaces specifically chosen for their resonance with the piece.

This latest foray into reinventing opera confirms the company as one of the most imaginative in town.

There is no question that for at least two hours on Tuesday night, the Eldridge Street Synagogue came alive in a unique way. It was as if by stepping into the room, the public had stepped back in time to witness how these American Jews once lived. Some even shed a tear or two, watching scenes of a Jewish family’s life that could have easily reminded them of their own.

The use of the space is marvelous. The natural reverb in the elegantly restored synagogue enhances the sonics, while the placement of singers everywhere, on the balconies and throughout the audience, is nothing short of psychedelic.

Front-row seats to some of the best individual performances I’ve encountered all season.

The victims of the Triangle Shirtwaist fire may not have their names listed on a memorial (yet), but they have not been forgotten and Morning Star is their memorial.