New York City Opera
New York City Opera is profitable, says George Steel, and will live at B.A.M. and City Center for three years
“It’s not another million and a half or two million dollar loss, it’s whatever it is,” he said. “But when we think it makes sense to lose a little bit more money because there’s a larger audience for a given production we’ll do it,” Steel said.
With a tenth anniversary performance of Mozart's 'Il sogno di Scipione,' Gotham Chamber Opera celebrates a decade of rousing success
Ten years after its start, and its first performance of Il sogno di Scipione (currently being revived), Gotham Chamber Opera is not only still around; it’s thriving. The small company has consistently pulled in all-star collaborators and regularly mounted professional and innovative productions, and it is currently planning an expanded season for next year. Given the major shift in New York’s opera landscape caused by the recent decline of New York City Opera—a company brought low by courting Fortune, in various guises, over the past decade—Gotham has begun to attract attention as a potential inheritor of the title of New York’s “other” opera company.
Fittingly, Prima Donna is an opera about the opera. What better way for Wainwright to address his feelings towards the genre, and for Steel to communicate his vision of the place of City Opera, than by staging a work set around the failings of an aging diva who is losing her voice?(1)