Richard Wagner conceived his four-opera “Ring” as a Gesamtkunstwerk: a marriage of poetry and music, for voices and orchestra, with coordinated sets, costumes and action. It’s a huge, expensive challenge even for top opera companies, calling for powerful singers, an accomplished conductor and orchestra, and a stage director and designer who can enliven a convoluted epic of family dysfunction, greedswerteplay, destruction and rebirth.

How much of Wagner’s impact remains if you subtract scenery and costumes, and most of the action — with neither water nor fire, sword nor spear, celestial palace nor subterranean smithy?

Those questions will be put to the test by the Dallas Symphony Orchestra, which is alone in the American classical music and opera scene this season by presenting a complete “Ring,” over four evenings at the Morton H. Meyerson Symphony Center beginning on Sunday.

At the podium will be Fabio Luisi, the orchestra’s music director since 2020, who led the “Ring” at the Metropolitan Opera a dozen years ago. In Dallas, he began to roll out the cycle last spring, presenting “Das Rheingold” and “Die Walküre”; “Siegfried” and “Götterdämmerung” followed earlier this month, semi-staged by Alberto Triola, who collaborated with Luisi and the Dallas symphony on “Salome” and “Eugene Onegin.”

A concert staging of the “Ring,” Luisi said in a video interview from his home near Zurich, does not compromise the work.

“In Wagner’s time the acting was extremely reduced,” he said. “We cannot compare the acting in the ’60s and ’70s of the 19th century with acting now. Even after the war, in Bayreuth, the stagings by Wieland Wagner were pretty much static.”

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