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As for City Opera: their tale of woe has unfolded over the last few seasons at a Wagnerian pace, moving inexorably toward what in hindsight seems clearly its inevitable doom. The stations in the decline have been, by now, well-documented: Gerard Mortier, the high-profile but controversial European impresario, was anointed as Paul Kellogg’s successor. The opera sat dark for a season during renovations to the New York State Theater. Then Mortier realized he wasn’t going to get the kind of funds he wanted or needed to do the kind of work he envisioned, and pulled out, leaving the company looking for a new leader; according to Francesco Zambello, now the artistic director of the Washington National Opera, she was in a handshake agreement with the board when someone got the hots for George Steel, who had just moved from Columbia University’s Miller Theater to the Dallas Opera. Steel left Dallas for New York after only a few months in office (Dallas was, it’s said, not sorry to see him go), and took over a company that was already, after the missed season of revenue and the leadership woes, in financial disarray. Things never really recovered; the company eventually decamped from the State Theater in an effort to cut costs, performing in different venues around the city (the Brooklyn Academy of Music hosted the last production of the company’s history, Mark-Anthony Turnage’s opera “Anna Nicole,” in September). Somehow the company only made public at the start of the month in what dire straits it found itself, publically announcing that if it didn’t raise $7 million by the end of September, it would cancel its season, and starting a Kickstarter campaign to help. There are certainly people in New York who are capable of writing a $7 million check, but at this point none of them, clearly, was convinced that offering that kind of money to an institution that had floundered so spectacularly and publically represented a wise investment.
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