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So it’s farewell to City Opera. I don’t think there are larger conclusions, though, to be drawn from this story. Of course New York can support more than one opera company: the Gotham Chamber Opera, for example, appears to be thriving doing just the kind of thing -- unusual repertory and co-productions in different venues -- to which City Opera, in its death throes, aspired. In any case, the City Opera we all loved basically stopped existing around the time of the company’s year-long hiatus; there were some good performances in the Steel era, but that doesn’t in itself make a company. City Opera in its heyday was a cradle for young artists, interesting productions, American work, but also a lot of B-list stuff; the mixture of good and bad that gives a company texture. I grew up going to City Opera -- I feel as if I saw “Merry Widow” a dozen times there, though memory is overgenerous -- and I have a pang thinking of the days of Beverly Sills and Frank Corsaro and Julius Rudel (who has expressed his sadness at outliving “his” company). I am wistful that its leadership was so bungled. But many have already predicted that some other opera company may arise from the ashes, as soon as the current board and management are conveniently cleared away. Indeed, the musicians’ union has already issued a statement declaring the orchestra’s willingness to remain together “should the opportunity arise.” This closure could actually clear the way for the next chapter.
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