The Gotham Chamber Opera of fond memory was a boutique enterprise connoisseurs quickly took to heart and learned to trust. Founded at the turn of the new century by the conductor and artistic director Neal Goren, the company produced stylishly curated rarities, often in site-specific productions that enhanced their allure: Catán’s Rappacini’s Daughter in the Brooklyn Botanic Garden’s Cherry Esplanade, Hadyn’s The World on the Moon at the Hayden Planetarium, Cavalli’s Eliogabalo in The Box, a den of depravity that would have been right up the eponymous Roman emperor’s alley. After a hiatus of seven years (shades of the Flying Dutchman!), Goren is back, “launching the future” with his new Catapult Opera. As the opening salvo, he offers the American premiere of one of Yukio Mishima’s Five Modern Noh Plays as scored by the German-trained Japanese master Toshio Hosokawa. The spare but intense script explores the borderline between dream and reality, insanity and reason. Goren’s frequent collaborator Luca Veggetti is the choreographer-director. —Matthew Gurewitsch