After a tumultuous summer at Central City marked by a labor dispute, a threatened walk-out by stage directors and the mid-season departure of its administrative head, the beleaguered company has righted its ship with Thursday’s announcement of Scott Finlay as president and CEO.

When Pamela Pantos was unceremoniously let go as CEO in July, Finlay had been promoted to chief external affairs officer, having served in the company’s development department. A nationwide search for the permanent leadership position had begun, but ended with Finlay as an in-house choice.

In a company statement, Board co-chair Heather Miller referred to Finlay’s 12 years with Central City, noting that his tenure makes him “the perfect fit for us. He brings a deep understanding of the organization from both the artistic and administrative sides.”

A conversation with the Louisiana native, 56, revealed his love for Central City Opera, where his relationship began in 2011, thanks to Barbara Zarlengo, longtime director of development at Central City. “She brought me here and taught me all about working in development. I’d earned an undergraduate degree in Louisiana, studying voice. Then I transferred to CU to pursue a doctoral in development, which I didn’t complete.”

Finlay didn’t view this as straddling two fields, having the experience with music. “I thought of it as a good marriage of degrees,” he insisted. “I found it very comfortable talking with donors, and I felt comfortable at Central City. But then, in 2020 I felt I needed a little change in scenery. Sometimes you feel you’re in a rut, so you need to gain a perspective.”

He returned, refreshed, in 2022 and was named vice president of development. “It was like coming home,” he recalled. “I re-connected with donors, and I was ready to step up.”

After the departure of Pantos (about which he declined comment), Finlay shared leadership duties with Margaret Williams. His responsibilities included day-to-day fund-raising and managing educational activities, while Williams handled marketing (which she continues to do) along with business matters.

Now, Finlay must look past the crisis from last season and judge its successes and failures. Once the smoke cleared, he said, things weren’t too bad. “It’s a time of celebration. We have a $23-million endowment fund and we had robust audiences. In terms of revenue and attendance, we fell a bit short. But thanks to (‘Kiss Me,) Kate,’ we added 1,000 new households. In terms of reaching our annual budget, we are 85% there. Traditionally, we raise 50% of our budget in the fourth quarter, which ends December 31. Right now, we’re raising money as hard as we can.”

Next season lists three productions: Puccini’s “Girl of the Golden West,” which will be set in Central City, rather than in California, Finlay noted; Kurt Weill’s “Street Scene”; and Gilbert & Sullivan’s “Pirates of Penzance.” Casting has all been completed but will be announced at a later date, he said. Planning for the future extends far beyond next summer, Finlay noted. “We’re already thinking about our 100th season in 2032.”

Meanwhile, some serious staff hirings are also in the works. John Baril will continue as interim artistic director, serving principally selecting artists and repertory, while a search for a permanent position continues. Other staff openings will also be filled in the coming months, Finlay said. “It’s a great clearing for the company,” he said with enthusiasm.