Title: Opera Cleveland
Content:  In subsequent years, two small Cleveland companies changed their names to incorporate the words "Cleveland Opera." In 2014, "Opera per tutti" became "Cleveland Opera Theater" and, in 2017, "Opera Circle" became "The Cleveland Opera." Neither institution is connected to the organization described above.
Title: Opera Quotannis
Content:  Opera Quotannis (OQ) was a New York-based opera company which was founded in 1990, with conductor Bart Folse as Music Director and stage director Brian Morgan (formerly of The New Opera Theatre) serving as Artistic Director. It specialized in experimental productions of both ancient and contemporary opera. The ensemble's first production was in January 1991, Gluck's Orfeo ed Euridice, with countertenor Derek Lee Ragin as Orpheus and soprano Tracey Mitchell as Euridice, with a period-instrument orchestra, at the Church of St Paul the Apostle in the Upper West Side. Later in 1991, they mounted Monteverdi's Il combattimento di Tancredi e Clorinda, again with a period orchestra.  In 1992, OQ produced the New York 
Title: Chicago Civic Opera
Content:  The Civic Opera was formed by reorganizing the bankrupt of the Chicago Opera Association in 1921. Opera Association general manager Harold F. McCormick resigned and was replaced by utilities magnate Samuel Insull, while sixteen of the eighteen directors were carried over from the old company. The new Civic Opera also fell heir to Mary Garden as musical director as well as all of the  costumes, scenery, and other resources of the defunct Opera Association. The Civic Opera Company was Chicago's first real world class Opera Company, it was also a "democratic" opera company, aiming for a popular audience. Productions were supposed to based upon what the people wanted, though they turned out to be the Italian repertory that the sponsors and the executives favored and the modern French operas beloved of reigning diva Mary Garden, while German works and operetta were 
Title: Opera Cleveland
Content:  Following the departure of David Bamberger, the company pursued financial policies that weakened it considerably. The decision was made to merge with another struggling company that operated largely in the summer, Lyric Opera Cleveland. The merged company was named Opera Cleveland and gave its first staged production in April 2007. Mismanagement plagued the company, however, and it became defunct in the fall of 2010.
Title: College Light Opera Company
Content:  The company was founded by D. Thomas Tull and Robert Haslun in 1969 immediately following the demise of the Oberlin College Gilbert & Sullivan Players who had performed in Falmouth from 1953 to 1966 Haslun had been an Oberlin College student himself and went on to become Secretary of the College, a post which he held from 1978 to 2007. Although many Oberlin students still participate in College Light Opera Company each summer, it is no longer officially associated with Oberlin College nor is it solely a Gilbert and Sullivan troupe. The company's repertoire now also includes comic operas and operettas by other composers as well as contemporary and classic Broadway musicals such as Evita, Jekyll & Hyde, Brigadoon, and Carousel. CLOC is run by a Board of Trustees with Mark A. Pearson as Executive and Artistic Director. Its aim is to provide young actors and musicians with the opportunity to perform with professional directors and conductors during an 11-week resident program while providing cultural and musical entertainment to the people of Cape Cod. It is a non profit organization.
Title: Cincinnati Opera
Content:  The company, originally named Cincinnati Opera Association, gave its first performance, Flotow's Martha, on Sunday, June 27, 1920. During its early years, the company was under the direction of Ralph Lyford, an American composer and conductor whose single opera ''Castle Agrazant would receive its world premiere at Cincinnati Music Hall on April 29, 1926, following Lyford's departure from Cincinnati Opera in 1925. From 1956-1990 the company ran a singing competition known as the American Opera Auditions.  For most of its first fifty years, Cincinnati Opera's performances were held at the Cincinnati Zoo Pavilion. During that time, many prominent singers appeared in the 
Title: American Opera Company
Content:  American Opera Company then brought seven weeks of opera to Broadway at New York's Gallo Theater, including a notable adaptation of Faust. In addition to familiar operas, Rosing subsequently selected several operas composed by American composers for production, including The Sunset Trail by Charles Wakefield Cadman, The Legend of the Piper by Eleanor Everest Freer, and Yolanda of Cyprus by Clarence Loomis. National tours followed for the next two years, but the Crash of 1929 caused bookings for the 1930–31 season to dematerialize. The group earned an official endorsement from President Herbert Hoover, calling for it to become "a permanent national institution", but it was not enough as the country sank into the Great Depression. Its last performances in New York were of Madame Butterfly and Yolanda of Cyprus at the Casino Theatre on Broadway in January 1930.
Title: Operatunity
Content:  Operatunity was a talent search&mdash; and Michael Waldman's film that documented it&mdash; in which the English National Opera conducted a nationwide search to find someone in the United Kingdom without professional opera experience, who could be coached to sing in a staged opera&mdash; Verdi's Rigoletto in the event&mdash; on the stage of  London's Coliseum Theatre in the company of world-class performers, part of the ENO's regular season.
Title: Opera Ireland
Content:  The Dublin Grand Opera Society (DGOS) was founded in 1941 by Captain (later Colonel) William O'Kelly and a group of opera enthusiasts with John McCormack as its patron. The shows were cast with local singers and a volunteer chorus. Initially the music was provided by the orchestra of the Irish Army music school, and later by the Radio Eireann Symphony Orchestra. The Society put on two one-week seasons of opera throughout the years of World War II. After the war ended the DGOS presented performances by European opera companies such as the Opera-Comique, Hamburg Opera and the Netherlands Opera. From the mid 1950s to 1966, the Society, concentrated on Italian opera with the help of sponsorship from the Italian government. During that time numerous Italian stars and rising stars of the day appeared there, including Luciano Pavarotti who sang in Rigoletto, La traviata, and La bohème. The Italian sponsorship ended in 1966, but the Arts Council of Ireland and the Bord Fáilte (Ireland's tourist board) continued to provide guarantees for any financial losses. New opera companies were brought in, including the Romanian National Opera and the Prague National Theatre.
Title: Florentine Opera
Content:  The Florentine Opera was founded in 1933 by John-David Anello. At that time, the group was called the Italian Opera Chorus, and it met at the Jackson Street Social Center. In 1942, the group became The Florentine Opera Chorus, remaining under the direction of John D. Anello. He explained that the change in name "was to honor the birthplace of opera as we know it. The craft originated in the Italian city of Florence, which has been known as a bustling center for the arts for many centuries." By this time, the chorus had grown to a group of 100 members of many nationalities, with a waiting list of over 100 more. In the program of the first "Opera Album" after the name 

Question: Verify the following claims with "True" or "False": What is the name of Operation Columbus's predecessor?
Answer: True