The Washington National Opera (WNO) announced on Friday that it will relocate its productions away from the Kennedy Center, marking a significant exodus following the political restructuring of the nation’s premier cultural landmark.
Seeking what it described as an “amicable transition,” the company intends to dissolve its current affiliation and return to its roots as an independent entity. The decision stems from the fiscal rigors imposed after President Donald Trump dissolved the previous board of trustees and installed a new leadership team to oversee operations.
To preserve its financial integrity and meet its budgetary mandates, the opera will scale back its spring repertoire and move scheduled performances to alternative venues across the capital.
While the WNO’s official statement avoided direct mention of the President, it follows the controversial rebranding of the site. Although Congress maintains the formal title of the John F. Kennedy Center for the Performing Arts, the building’s physical signage and digital presence now prominently feature the name “Trump Kennedy Center.”
Ric Grenell, currently serving as the Center’s interim executive director, defended the shift, stating that while the venue has funneled millions into supporting the opera, the company has continued to struggle with deficits. He noted on social media that the separation would grant the Center “the flexibility and funds” to host a more diverse array of global and domestic productions.
The WNO is not the first to distance itself from the venue; high-profile figures ranging from Hamilton creator Lin-Manuel Miranda to rock veteran Peter Wolf have previously withdrawn from scheduled events. The rebranding effort in December appeared to accelerate this wave of cancellations.
According to opera leadership, the Center’s revised business model—which necessitates that productions be fully funded in advance—is logistically untenable for the opera world. Unlike standard commercial theater, opera relies on long-term grants and donations that are often secured well after the planning phases of a production begin.
Furthermore, the WNO argued that the new requirements stifle their ability to use proceeds from blockbuster hits to cross-subsidize more experimental or lesser-known works.
“I have been immensely proud to be part of a national monument dedicated to the human spirit,” remarked Francesca Zambello, who has served as the artistic director for the past 14 years. She emphasized that the company remains committed to delivering a diverse portfolio of performances, spanning from “monumental classics to contemporary masterpieces,” regardless of the venue.
As of late Friday, several WNO productions, including West Side Story and The Crucible, remained listed on the Center’s official calendar during the transition period.
