Did the Metropolitan Opera use funds from a donor for a production of which she would have disapproved? That’s the charge from representatives of the estate of Sybil B Harrington. “He who pays the piper calls the tune, even if that tune comes from beyond the grave. It’s matter of trust, and arts organisations should take great care that cavalier interpretation of testamentary wishes doesn’t end up putting potential donors off. Meanwhile, the Met can ill afford either the Harrington executors’ demand for restitution of $5 million or the attendant bad publicity.”