Sour Note at the Met

What did officials and well-heeled board members of the Metropolitan Opera know about their star conductor and artistic director, James Levine, and when did they know it?

That question must be answered by ex-US Attorney Robert Cleary, who’s been hired to resolve allegations that Levine, an iconic figure in the opera world, preyed on teen boys.

The answers could determine the future of the Met, arguably the world’s most prestigious opera house and the nation’s largest nonprofit, with a $300 million budget.

Rumors have swirled for decades around Levine, along with suggestions of cover-ups and “hush money” to protect the artist who shaped the Met’s modern legacy.

Reportedly first alerted to the issue in 1979, the Met dismissed it as “scurrilous rumors.” Levine himself has repeatedly denied any inappropriate behavior.

But three men have now come forward. One contacted police, who in turn contacted the Met — which apparently never acted until The Post broke the news this past weekend. Now it has suspended Levine and canceled his remaining performances.

The whole episode is sadly reminiscent of the scandals roiling Hollywood and major media: Did no one really know, or was a money-making star routinely shielded?

That’s why Cleary has to go beyond the simple question of the allegations’ truth, no matter the potential fallout. Which could be considerable: The Met, faced with dwindling ticket sales, depends heavily on wealthy donors who may be less inclined to give to an institution mired in scandal.

That would be a shame; the Met has been a New York cultural glory since 1883. But it can’t remain so without full transparency — and, as needed, a thorough housecleaning.