Opera Endures at Kennedy Center Amidst Political Turmoil

WASHINGTON – Despite a year of controversy and accusations of political interference, the Washington National Opera (WNO) at the John F. Kennedy Center is proving remarkably resilient. A recent performance of Mozart’s Le Nozze di Figaro drew a surprisingly enthusiastic crowd, defying predictions of sparse attendance fueled by a growing boycott among some opera lovers.

The Kennedy Center has been embroiled in turmoil since shortly after President Trump’s inauguration, when he was selected as board chair by a newly appointed group. The ensuing period has been marked by dismissals, resignations, and a dramatic “rebranding” effort that critics say has alienated patrons and jeopardized the institution’s artistic integrity. Reports surfaced indicating a significant decline in both ticket sales and charitable contributions. Adding fuel to the fire, long-planned performances have been canceled or postponed to accommodate the 2026 FIFA World Cup Draw, sparking a congressional investigation alleging corruption and cronyism.

A Defiant Artistic Vision

WNO Artistic Director Francesca Zambello has emerged as a vocal defender of the company’s artistic mission. In a recent interview with Parterre Box, Zambello passionately argued against the boycott, stating, “By boycotting us, you are killing art!” Her sentiment reflects a broader concern within the performing arts community about the increasing politicization of cultural institutions.

The November 22nd performance of Le Nozze di Figaro – coincidentally the 64th anniversary of President Kennedy’s assassination – served as a powerful testament to the enduring appeal of opera and the dedication of the artists involved. Rather than the expected empty seats, the Opera House was filled with an eager audience, many dressed in formal attire. WNO General Director Timothy O’Leary acknowledged the challenging circumstances in a pre-performance remark, noting that “everyone these days needs a comedy,” a sentiment met with rousing applause.

Peter Kazaras’s inventive production of Figaro, enhanced by jokey colloquial English titles projected above the stage, delivered on that promise. The performance elicited hearty laughter from the audience, a welcome respite from the surrounding political drama.

Strong Performances Shine Through

The cast delivered consistently strong performances. Soprano Rosa Feola, fresh off a successful run as Susanna at the Metropolitan Opera, transitioned seamlessly to the role of the Countess. Joélle Harvey, acclaimed as a concert singer, commanded the stage as Susanna, while Le Bu, a rising Wagnerian, proved surprisingly adept at Mozart as Figaro. A notable casting choice – a male countertenor, John Holiday, as Cherubino – added a fresh perspective to the traditionally female role.

Veteran baritone Sir Willard White, making his WNO debut at age 78, delivered a memorable performance as Bartolo, initially outraged but ultimately reconciled by the revelation that Figaro was his long-lost son. Will Liverman’s portrayal of the Count Almaviva was intense, perhaps bordering on unsympathetic, while Feola’s shimmering soprano shone in arias like “Porgi amor” and “Dove sono.”

Beyond the Kennedy Center: A Thriving Concert Opera Scene

While the WNO navigates its challenges, the Washington Concert Opera (WCO) is flourishing, offering a compelling alternative for opera enthusiasts. Founded in 1986 by Stephen Crout, WCO consistently presents three works each season, focusing on rare and challenging repertoire.

The WCO’s recent production of Gluck’s Iphigénie en Tauride, featuring mezzo-soprano Kate Lindsey, showcased the company’s commitment to artistic excellence. Lindsey, who had been scheduled to perform the role at the Met before pandemic-related cancellations, delivered a haunting performance, though some critics noted her French diction could have been clearer.

A Future in Question?

The WNO’s future at the Kennedy Center remains uncertain. Reports suggest the company is exploring alternative venues, including DAR Constitution Hall and George Washington University’s Lisner Auditorium. The financial strain caused by the recent controversies and declining attendance could force a significant restructuring. According to the Statista, the number of arts and culture organizations in the U.S. has been steadily increasing, but their financial stability remains a concern, with 63% reporting operating deficits in 2020.

Despite the challenges, the recent success of Le Nozze di Figaro and the continued vibrancy of the WCO demonstrate the enduring power of opera and the dedication of the artists and audiences who support it. The coming months will be critical as the Kennedy Center and the WNO navigate a complex political landscape and strive to secure a sustainable future for this vital art form.