aardvark: Yes, she can, and so can Iris Strauss and Faye Wilson and other members of the Dow Divas -- those who were close to Ian and Ann Campbell. They tried to maneuver the end of the opera. When they couldn't get their way, they spouted off. Faye Wilson called the ones trying to save the opera "idiots."

You see the bind that the former management put the opera in. It glorified this handful of big givers -- running their photos prominently in brochures -- and ignored others. Now the heavy hitters have walked out, and for ego reasons, want the opera to fail. It is imperative that the opera get to the total community quickly.

Cohn, explaining her decision to never donate or go to a San Diego Opera performance, blasted the current board for criticizing the former management and the Campbells' inner circle. Look who's talking. The heavy hitters started the name-calling. Best, Don Bauder

The Arts Crowd in Rancho Santa Fe is typified by that chick who got her billionaire husband to hire Paul McCartney for a mil to play at their favorite Italian Bistro for her 50th... Then she divorced him a year later

LorenzoStDubois: That is a story I haven't heard before. Yes, it typifies Rancho Santa Fe. Best, Don Bauder

The last time a Beatle played in San Diego, and the only time a Beatle ever played a private party. Paul only agreed because the guy offered to give the million to Paul's favorite charity.

KLoEditor: What did McCartney sing? Anybody know? Best, Don Bauder

eastlaker: The last I heard, Ian Campbell was in Switzerland with his new girlfriend. She is a singer, and her Swiss gig may be over, and he may be in New York with her. I have heard that Ann Campbell is still in San Diego, but that may be conjecture.

It has been obvious for some time that the former Campbell in-group is furious it didn't get its way. I think Ms. Cohn sounded like a second-grader in her comments to the Times. San Diego Opera cannot count on any of these former kings and queens who were celebrated for their giving. They now have an ego stake in seeing the opera fail.

One thing has to be revealed publicly. The president before Cohn saw the numbers and said there must be reform. She had plans to slash spending, among other things. She was told to resign by the then-in-group. She did after a very short time as president and has kept quiet. If she would say who told her to resign, and why, we would know more about how long this group was planning to dissolve the opera, then dumped it on the board as if it were new. Best, Don Bauder

Could be an opportunity for Dirty Rotten Scoundrels II, if someone wanted to write the screen play.

eastlaker: Screen play? Why not write an opera with that name and theme? Best, Don Bauder

Too self-referential...

eastlaker: There are some operas featuring dirty rotten scoundrels. A couple by Verdi come to mind: Masked Ball and Rigoletto. And then, of course, there are operas with one REALLY dirty rotten scoundrel -- say, Don Giovanni and Otello. Best, Don Bauder

Psycholizard: Genius at work. Congratulations. In opera, the evil female is usually -- but certainly not always -- a mezzo-soprano, and the ingenue is a soprano. The male dirty rotten scoundrel is a basso or bass/baritone or baaritone, while the simple, honest, cuckolded or scammed character is a tenor. Best, Don Bauder

The fun thing would be to stitch together opera highlights in various stages of rehearsal, with the singers staying in character, even as they jump from Mozart to Puccini.

You two may have something.

I could only come up with the very farcical: Dow Divas as a banshee-like group of Greek chorus girls of a certain age, divvying out disinformation instead of truth; a deathbed vow to maintain capital and only spend the interest betrayed, resulting in a corresponding restriction in the vocal range of a tenor. I would go with a heroic final scene of behind-the-scenes people who were there all the time making it work, making sure it still works, as a group deus ex machine super chorus. There are some definite empty places in the plot, but that's where it is.

If only Gilbert & Sullivan were still around, it could be hilarious. Maybe John Stewart, Stephen Colbert and Paul Shaffer?

Or Steve Martin & Edie Brickell?

eastlaker: The Dow Divas, of course, would be an all-female chorus. Brahms wrote some wonderful works for female choruses. Best, Don Bauder

Yes, of course. Dow Divas all-female chorus. With some husband spear-carriers more than a bit hapless, and perhaps an appearance by the IRS checking to see if the donations did not involve anything in return, such as cruises or weekends at spas.

eastlaker: Would the IRS agent, if he were a male, be a tenor or a bass/baritone? If she were a female, would she be a soprano or mezzo-soprano? In short, would the IRS agent be portrayed as a good or bad person in your script? Best, Don Bauder

Good question. In this instance, I would go with the IRS being on the side of the good guys, maybe a "pants" role if there is someone out there like Frederika von Stade! Lots of opportunity for stage business then.

eastlaker: Two of the greatest roles in opera are trouser roles -- mezzos playing a male. Of course, I am referring to Octavian in Rosenkavalier and Cherubino in Marriage of Figaro. If you can write a pants role for an IRS agent, you will become a billionaire. Then the IRS agent would nick you fora big chunk of that billion, unless you hired a lawyer who knows his way around offshore tax havens. He would be a basso profundo. Best, Don Bauder

I was imagining singing highlights in the original language, where the drama in the spoken play fits loosely or not, so the coloratura could audition with a first act solo, the Stagehand could tell her how wonderful she did, then they could sing the duet together, she predicts he will be a star.... Basically the sort of plot they use to paste together all those show tunes in 1930's musicals. You could skip expensive costumes and tell a story in modern dress. Handel Operas, and much opera in the seventeenth century was constructed this way. But the details aren't important, the important thing is to be creative, try to do something new, singable and fun, and if you're stuck on a warhorse, then take off your hat and wave it in the air.

Psycholizard: You are addressing a Handel opera fanatic. We must have CDs and DVDs of at least 30 of his operas and oratorios. Yes, they were stitched together, but the music is heavenly. Handel stole from other composers and from himself, but he did it so masterfully. Best, Don Bauder

Psycholizard: I have always dreamed of stitching together an opera or symphony from various existing works by different composers. Alas, I don't have the ability to do it. Best, Don Bauder

A bit nearsighted monaghan, as the opera presents fully staged operas next year starting in January with the elaborate sets and costumes, skilled chorus and dancers, orchestra and live conductor you like. So, all is not lost, it's just different. And I, for one, welcome both sides of this. The grand opera model is wonderful when you can afford it but I'm also happy to see some alternative venues and programming in our city.

OperaBuff: Agreed. It is sad that two directors who put on many splendid operas, Tito Capobianco and Ian Campbell, left abruptly in bitter disputes. But both overspent. The most important objective is keeping the company alive. Best, Don Bauder

Just curious where all this grandeur will occur. I had read that SD Opera has left the Civic Theater and will stage music at Copley/Jacobs Symphony Hall. That space is a remodeled movie theater and has no wings and no orchestra pit.

monaghan: I have said all along that Ian Campbell put on some wonderful operas. I always congratulated him for those great operas. Some examples during his tenure: Tales of Hoffmann, Turandot, Tannhauser, Boris Godunov, Julius Caesar in Egypt, Masked Ball, Ariodante...the list goes on and on.

But he did not stop spending money when it was running out. He should have shifted gears as early as 2008. Cuts were made, but they weren't sufficient. He should have stopped importing the great European talent a long time ago. Other errors were made: the excessive pay he and Ann received, the dependence on a smaller and smaller in-group, etc.

Best, Don Bauder

eastlaker: Yes, that is the real story. Why was this eminently capable and sensible woman forced to resign when she wanted to make the kinds of reforms that are now being made? The answer to that question tells how long this dissolution attempt was in the works. Best, Don Bauder

Scott Marks: I think that assessment is harsh. People like Faye Wilson did great things for San Diego Opera over many years. Yes, big mistakes were made: spending too much over the final several years, paying the Campbells far too much, plotting to kill the opera without bringing in the community or even most board members.

But if you include the great things they did, they deserve praise. I hope they come back. I have been disappointed with their behavior. Best, Don Bauder

I keep thinking there is more collusion here, and extremely self-absorbed individuals only acting in their own (perceived) best interests. I also think that some of the board members who resigned are now recognizing that Mr. Campbell took them for a ride, but they aren't ready for a "walk of shame" back to the new SD Opera. Mrs. Cohn's bristlings aside, these board members had to know what they were planning on doing to the entire company was certifiably reprehensible.

eastlaker: One thing I have found out in 50 years of investigating financial scams is that a lot of people will never admit they got taken by a con man -- even as the crook sits in prison. When Charles Ponzi died, he still had followers who swore that he was abused by authorities. It's difficult to admit you were fed a line, especially in something as big as the opera's woes. Best, Don Bauder

eastlaker: I am delighted to hear the recital was a great artistic success. I hope it was as great a financial success.

Outdoor? Sounds like a good idea to me. Ravinia, Tanglewood -- big successes. (In the days before Santa Fe Opera was completely closed in, we sat in seats unsheltered by the rain a couple of times. But the opera was so good it never occurred to us to leave, even as we were soaked. Santa Fe also gets far more rain during opera season than San Diego.) Best, Don Bauder