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domestic and international. "I would like to bring in some really good avant-garde opera from abroad," Kaiser said in an interview this week. He expects that the company will increase its productions, back to seven or eight a year. "I am optimistic that at least by the end of my tenure, four years from now, you'll see a season that's more robust," he said.
122:'s Lisner Auditorium, albeit a small venue with limited facilities. However, as one critic noted: "There was no 'company' in the literal sense. Each production had to be conceived, planned, and arranged individually, and financial support had to be scraped up opera by opera. Improvisation was the order of the day".
699:
In addition to using the
Kennedy Center's opera house, Kaiser said he envisions using some of the facility's other performance spaces for smaller or newer operas that might not sell as many tickets. And he wants to expand the Kennedy Center's curatorial role by presenting the work of other companies,
56:
until the
Depression and World War Two years, and into the 1960s in various outdoor opera venues. However, with the establishment of the Opera Society of Washington in 1956–57, the way was laid for a company to function in the city, especially after the opening of the Kennedy Center in 1971 and its
451:
reported, seats at the
Kennedy Center were "almost as scarce" as football tickets, and "usually cost more." This expansion took place during the period of Feinstein's tenure when he greatly increased the number of performances per season, which had a phenomenal effect on ticket sales (the audience
387:
on 13 May 1977. As described by
Phillips-Matz, "at this point in the company's history, the programming was smart, varied, and exciting" but progress was suddenly brought to a halt by the July 1977 heart attack suffered by George London. He was never able to return to the company, but his legacy
345:
in 1972. This was to have a profound impact on the company, especially since George London, after retirement from the stage, became
Artistic Administrator at the Kennedy Center until its 1971 opening and then Executive Director of the Nation Opera Institute. He directed a production of
443:
1984-1996 Patricia
Fleischer Mossel become Director of Development, Marketing, and P.R., a new position in charge of all income, both earned and contributed. In 1996 to 2000 she became Executive Director until she retired in 2000.
110:
Characteristic of Thorpe and
Callaway's early years was a rejection of cuts to the scores, a rejection of opera in English translation, and a rejection of expensive scenery as well as of "fat sopranos" and "self-centered tenors".
320:
concludes that "his main achievement, though, was his artistic oversight, for by the mid-1970s critics were regularly covering the Opera
Society's extraordinary programming and grants were coming in from important foundations."
728:
first guest-conducted at
Washington National Opera. In February 2024, the company announced the appointment of Spano as its next music director, effective with the 2025-2026 season, with an initial contract of three seasons.
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as its new principal conductor, with immediate effect, with an initial contract through the 2021-2022 season. Rogister is scheduled to stand down as principal conductor of the company at the close of the 2024-2025 season.
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Three new faces were to bring "imagination and flair to the company" during the period up to 1977 and, by that date, another new face made a short but dramatic appearance in the company's history: bass-baritone
708:
as artistic advisor, and of the then-administrator of the company, Michael Mael, as executive director. In June 2017, Mael concluded his tenure with the company. The company's most recent music director,
64:
took over as general director in 1996, a post which he held until June 2011, after which the company, which was undergoing financial problems, came under the auspices of the
Kennedy Center administration.
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was that "by giving it a new name, a fresh image, and a lot of heft, he brought the company into the national and international opera scene and put it on the road to top rank of producing organizations."
447:
From 1987 to 2001, working under both Feinstein and Domingo, Edward Purrington became Artistic Administrator "at the time..(when the company).. was in the midst of a dramatic expansion. By 1995,
214:
However, there was not always such clear sailing, and the company was to experience a series of ups and downs in the first few years of the 1960s. Initially, there was further success: bringing
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Plácido Domingo, general director of the company from 2000 until 2011, began an affiliation with the opera company in 1986, when he appeared in its world premiere production of Menotti's
516:, in November 2009. However, in early November 2008 in view of the Great Recession, the company announced that the full cycle had been postponed. While the first three operas of the
945:
97:, was its first music director. Together, the two set out to seek funding and they found support from Gregory and Peggy Smith who provided $ 10,000 as seed money for a production of
1081:
Administration "News: Francesca Zambello Appointed Artistic Advisor for Washington National Opera; Michael L. Mael Named Company's Executive Director" on blogs.kennedy-center.org
452:
reportedly grew from 32,000 to more than 100,000). Washington National Opera = The Tenure of Patricia L. Mossel== Executive Director 1996-2000,Placido Domingo= Artistic Director
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631:. He placed the action at the time of the opera's premiere, 1842 in Milan. The 2014/15 includes a series of three 20-minute operas as part of its American Opera Initiative:
291:, took over the helm with the aim of giving it a "businesslike foundation" "it never had in its sixteen years, in spite of the excellent productions it has often achieved".
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713:, served in the post from 2010 to 2018. In September 2017, the company announced the appointment of Timothy O'Leary as its next general director, effective 1 July 2018.
316:, in attendance. She described it as "the best production she has ever seen". Other significant productions followed, but, in summing up Strasfogel's success, author
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1029:
228:– was "the most "ill-starred" opera in the Society's history", largely the result of singers' illnesses. But a later double bill of Stravinsky conducting
659:. Beginning in 2013, the American Opera Initiative also commissions emerging composers to write new operas and in recent years has commissioned works by
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In addition to running a fiscally sound company with packed houses, its deficit reduced by two-thirds, and exciting productions such as the city's first
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In September 2018, the company announced the extension of Zambello's contract as artistic director for an additional 3 years, and the appointment of
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However, as the 1960s progressed, further disasters were to follow. These included "a fiasco of unforgivable proportions", an English-language
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who had been involved in that company's early years when the composer regularly visited Santa Fe. However, the first Stravinsky production –
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During Domingo's tenure, because of "the company's solid reputation in the United States" and with the help of the opera's then-president, (
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494:"designating the company as America's 'National Opera' ". The change of name to Washington National Opera was announced in February 2004.
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Martin Feinstein succeeded London as General Director from 1980 to 1995 and "spent the next 16 years luring artists of the stature of
20:
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and other important productions and his association with the company continued into the 1980s with his introduction in 1984 of the
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which would be performed following the end of their summer season (which Calloway conducted) by the Washington Symphony Orchestra.
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1097:"Timothy O'Leary, General Director of Opera Theatre of Saint Louis, Named as Next General Director of Washington National Opera"
144:. It was very successful with both the public and critics alike. Successful presentations followed from November 1957 onwards:
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424:. His initiative began a Washington Opera tradition of cultivating young talent. Singers nurtured through the program include
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During this period of the 1970s another person was to enter the scene, stage director Frank Rizzo. There followed a stunning
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took control of the opera company effective on 1 July 2011. In the announcement, then-Kennedy Center President
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Following the departure of Plácido Domingo as General Director at the end of the 2010-2011 season, the
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Opera in Washington, DC had become established after World War I and it did flourish for a time as the
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full-page article on the company was headlined "Sparkle on the Potomac", and Howard Taubman of the
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Emily Langer, "Ed Purrington, who helped transform the Washington National Opera, is dead at 82"
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in the 1988/89 season. After ten years, his contract was extended through the 2010-2011 season.
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visited regularly, followed by headlines reading "Capital Revival" and "Sparkle on the Potomac"
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Bruce Duffie, "Conversation Piece: Martin Feinstein, General Director of the Washington Opera"
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for the opera company in 1974 and was courted to become General Director for the 1977 season.
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Also while under Strasfogel's tenure, the Opera Society made its move into the newly opened
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by Rene Orth. The American Opera Initiative continues and has produced works such as
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to Washington was the work of Bliss Herbert, then the Artistic Administrator of the
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By this time, the attention of the national press had been caught. A December 1958
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which caused Paul Callaway's resignation. Some drastic measures were called for.
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The pair set out to seek a new public and, beginning with the first production of
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Adam Bernstein, "Obituaries: Impresario Introduced D.C. To World's Stars",
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system, whereby an English translation appeared above the proscenium arch.
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After making initial appearances with the company from 1986 onwards, tenor
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saw cost and personnel savings, plus other advantages in the takeover:
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1171:"Robert Spano To Become Music Director of Washington National Opera"
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During the 2007/08 season, WNO produced three rarely staged operas:
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were given, while the 2009-2010 season featured Richard Strauss'
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Washington National Opera originally announced plans to perform
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1149:(Press release). Toronto Symphony Orchestra. 28 September 2018
980:"Washington National Opera – Performances – The American Ring"
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269:, under whose tenure were staged well-received productions of
912:, 23 April 2012, on washingtonpost.com. Retrieved 5 May 2012
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have already been produced during the previous WNO seasons (
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Seasons which have included important new or unusual operas
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Washington National Opera was established in 1957 as the
1058:"Kennedy Center to take over Washington National Opera"
544:, was given in a concert performance in November 2009.
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Four months later, the Society staged a double bill of
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Members of the Cultural Alliance of Greater Washington
1173:(Press release). Washington National Opera. 2024-02-06
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In May 2011, the company announced the appointment of
1197:. Washington, D.C.: Washington National Opera, 2006.
946:"Washington Opera Goes 'National' In Name and Vision"
252:
801:
Phillips-Matz, quoting critic Howard Taubman, p. 27
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Kennedy Center takes over Washington National Opera
118:on 31 January 1957, the company presented opera in
85:by Day Thorpe, the music critic of the now defunct
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490:), a bill was sponsored and passed in 2000 in the
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174:(conducted by the composer); and a December 1961
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1221:Current website of the Washington National Opera
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1232:Interview, 14 June 1990, retrieved 5 April 2010
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180:which resulted in an invitation from President
1282:Perhaps Love: Plácido Domingo with John Denver
477:, followed by performances in a production of
47:John F. Kennedy Center for the Performing Arts
19:For the earlier company of the same name, see
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1216:Archived website from the Placido Domingo era
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1636:Sesame Street… 20 Years & Still Counting
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461:The tenure of Plácido Domingo, 2000 to 2011
440:to the Washington Opera as music director.
265:Taking over as general manager in 1967 was
1298:Siempre en Mi CorazĂłn (Always in My Heart)
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1244:
1123:"Opera parts ways with its music director"
142:The Unicorn, The Gorgon, and the Manticore
1778:Music companies based in Washington, D.C.
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343:Kennedy Center for the Performing Arts
309:Rise and Fall of the City of Mahagonny
302:One early success was a production of
93:, the choirmaster and organist of the
29:(WNO) is an American opera company in
1569:The Private Lives of the Three Tenors
1535:Carreras Domingo Pavarotti in Concert
1330:This Is The Time: The Christmas Album
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1195:Washington National Opera 1956 – 2006
923:"How DC Made "National" Mean Nothing"
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678:Kennedy Center's Michael Kaiser, 2009
54:Washington National Opera Association
21:Washington National Opera (1919–1936)
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878:
392:Under Martin Feinstein, 1980 to 1996
1798:Performing arts in Washington, D.C.
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1773:Musical groups established in 1957
253:Changes in direction, 1966 to 1977
188:for some excerpts from the opera.
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1612:Mario Lanza: The American Caruso
1543:The Three Tenors in Concert 1994
783:, quoted in Phillips-Matz, p. 21
162:; a double bill of Schoenberg's
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982:. Apr 12, 2009. Archived from
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582:. During the following season
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1742:Palau de les Arts Reina SofĂa
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126:The early years, 1956 to 1966
104:Die EntfĂĽhrung aus dem Serail
95:Washington National Cathedral
1551:The Three Tenors: Paris 1998
1121:Anne Midgette (2017-06-21).
1056:Anne Midgette (2011-01-20).
637:Daughters of the Bloody Duke
538:in 2009), the fourth opera,
508:, a cycle of four operas by
120:George Washington University
7:
1030:"American Opera Initiative"
312:with the composer's widow,
83:Opera Society of Washington
35:Opera Society of Washington
10:
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1451:A Gala Christmas in Vienna
1193:Phillips-Matz, Mary Jane.
137:The Old Maid and the Thief
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1737:Washington National Opera
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456:Washington National Opera
361:Under George London, 1977
234:(along with Schoenberg's
27:Washington National Opera
1788:American opera companies
944:Page, Tim (2004-02-26).
861:in Phillips-Matz, p. 37)
749:Phillips-Matz, pp. 13/15
262:became general manager.
1435:Christmas in Vienna III
671:, and Frances Pollock.
505:Der Ring des Nibelungen
469:Plácido Domingo in 2008
318:Mary Jane Phillips-Matz
1691:Plácido Domingo Ferrer
1686:Awards and nominations
1443:Christmas in Vienna VI
1427:Christmas in Vienna II
1034:www.kennedy-center.org
1010:www.kennedy-center.org
896:Retrieved 30 July 2010
810:Phillips-Matz quoting
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665:Nicolas Lell Benavides
559:A View from the Bridge
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332:Canadian Opera Company
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16:American opera company
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1651:The Homer of Seville
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1475:The Enchanted Island
1459:Margarita la tornera
1376:Verdi baritone arias
1338:100 Años de Mariachi
1314:Goya: A Life in Song
875:Phillips-Matz, p. 41
848:Phillips-Matz, p. 37
832:Phillips-Matz, p. 33
792:Phillips-Matz, p. 27
758:Phillips-Matz, p. 19
635:by John Liberatore,
379:in 1976, another of
356:The Washington Opera
57:move there in 1979.
1706:Plácido Domingo Jr.
1580:Film and television
1419:Christmas in Vienna
1062:The Washington Post
951:The Washington Post
910:The Washington Post
892:The Washington Post
859:The Washington Post
767:Phillips-Matz, p.21
651:by Douglas Pew and
498:"The American Ring"
488:Michael Sonnenreich
385:The Washington Post
225:The Rake's Progress
1643:The Other Conquest
1515:Fire in Your Heart
1006:"Past Commissions"
894:, February 6, 2006
777:Herbert Kupferberg
706:Francesca Zambello
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426:Vyacheslav Polozov
422:Metropolitan Opera
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1558:Luciano Pavarotti
1467:The First Emperor
1322:De Mi Alma Latina
1228:The Opera Journal
986:on April 12, 2009
605:Ariadne auf Naxos
584:Gaetano Donizetti
514:The American Ring
240:) was a triumph.
168:and Stravinsky's
153:Ariadne auf Naxos
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1494:Perhaps Love
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1392:My Christmas
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1175:. Retrieved
1151:. Retrieved
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1105:. Retrieved
1103:. 2017-09-22
1100:
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1065:. Retrieved
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1009:
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984:the original
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963:. Retrieved
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1725:Don Rodrigo
1676:Discography
1658:Masterclass
1604:La Traviata
1572:(1996 book)
857:Paul Home,
564:G.F. Handel
529:Die WalkĂĽre
512:, entitled
492:US Congress
349:Die WalkĂĽre
314:Lotte Lenya
186:White House
43:Opera House
1767:Categories
1681:Repertoire
1177:2024-02-10
1153:2018-10-01
1132:2017-09-23
1107:2017-09-23
1101:Opera News
1067:2011-01-21
1039:2021-04-10
1015:2019-12-02
965:2018-05-16
733:References
669:Gity Razaz
653:Proving Up
304:Kurt Weill
1596:Pagliacci
960:0190-8286
812:Paul Hume
724:In 2021,
569:Tamerlano
535:Siegfried
526:in 2006,
518:tetralogy
402:La Boheme
336:surtitles
278:La bohème
237:Erwartung
165:Erwartung
134:'s opera
1717:El poeta
1653:" (2007)
1638:" (1989)
1517:" (1994)
1510:" (1990)
1503:" (1989)
1496:" (1981)
202:Newsweek
159:Idomeneo
37:and the
1728:(opera)
1720:(opera)
1669:Related
1486:Singles
1188:Sources
990:Feb 18,
929:Feb 18,
624:Nabucco
620:Verdi's
579:Elektra
284:Vanessa
184:at the
147:Fidelio
45:of the
1661:(2010)
1646:(2000)
1631:(1986)
1628:Otello
1623:(1984)
1620:Carmen
1615:(1983)
1607:(1983)
1599:(1982)
1591:(1982)
1554:(1998)
1546:(1994)
1538:(1990)
1478:(2012)
1470:(2007)
1462:(1999)
1454:(1998)
1446:(1998)
1438:(1994)
1430:(1994)
1422:(1993)
1403:(2018)
1400:Volver
1395:(2014)
1387:(2014)
1379:(2013)
1371:(2012)
1363:(2009)
1357:(2008)
1349:(2007)
1346:Gitano
1341:(1999)
1333:(1996)
1325:(1994)
1317:(1989)
1309:(1988)
1301:(1984)
1293:(1982)
1285:(1981)
1201:
958:
814:, the
643:, and
615:Hamlet
572:, and
99:Mozart
1368:Songs
1290:Adoro
821:'
738:Notes
649:Penny
608:and
480:Tosca
376:ThaĂŻs
1199:ISBN
992:2020
956:ISSN
931:2020
592:and
475:Goya
432:and
417:Goya
779:in
655:by
639:by
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