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City Opera's finances were devastated during the term of Susan Baker, who chaired its board from December 2003 until Charles Wall took over in December 2010. The company used part of its endowment to pay expenses. Given deteriorating economics caused partly by the financial crisis, the 2009-10 season was cut to five productions and 33 performances, and the schedule only slightly increased for 2010-11. The company then left Lincoln Center and is in its third season of performing at a variety of venues. Known for innovation and feistiness, City Opera became a vehicle for young American singers to gain attention. It presented a number of world premieres, including Jack Beeson's "Lizzie Borden," and under Steel it has staged the U.S. premiere of Rufus Wainwright's "Prima Donna" and a provocative staging of Thomas Ades' "Powder Her Face" that included about two dozen naked men. Mark-Anthony Turnage's "Anna Nicole," which premiered at Covent Garden in February 2011, showcased City Opera at its best
-- sassy, profane and entertaining. But this could be the end for the company. "Anna Nicole" runs through Saturday at the Brooklyn Academy of Music. In danger of cancellation are Johann Christian Bach's "Endimione" at El Museo del Barrio from Feb. 8-16, Bartok's "Bluebeard's Castle" at Brooklyn's St. Ann's Warehouse from Feb. 28-March and Mozart's "Le Nozze di Figaro (The Marriage of Figaro)" at City Center from April 19-26. Domingo suggests the company go on the road around the state to broaden its appeal. Fleming, who in addition to singing is creative consultant to the Lyric Opera of Chicago, hopes City Opera survives in an innovative manner. "I believe the city needs a smaller, more flexible chamber opera company with the highest artistic standards and innovative ideas
-- performing everything from baroque opera to experimental music theater," she said. "If the Met is a luxury liner, then City Opera could be the life raft that finds a 21st-century future for the art form, and a new audience with it." ___ Online:
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