Washington National Opera, Kennedy Center agree to “amicable” divorce
Washington National Opera is leaving the Kennedy Center.
The decision to seek an “amicable early termination” of its affiliation agreement with the Kennedy Center was approved by the WNO board. The resolution calling for the split states that it will move all of its performances out of the Kennedy Center Opera House as soon as possible.
The move follows WNO artistic director Francesca Zambello’s press comments last November publicly speculating about the potential for this separation.
The bombshell news was leaked to the New York Times in an article posted late Friday night. In that article Kennedy Center representative Roma Daravi stated that the center agreed that the time had come to end the relationship with WNO.
“After careful consideration, we have made the difficult decision to part ways with the W.N.O. due to a financially challenging relationship,” she said. “We believe this represents the best path forward for both organizations and enables us to make responsible choices that support the financial stability and long-term future of the Trump Kennedy Center.”
In a social media post, Kennedy Center president Richard Grenell agreed, adding that ending the arrangement would give the Kennedy Center the flexibility to bring in operas from around the world. “Having an exclusive Opera was just not financially smart,” he wrote. “And our patrons clearly wanted a refresh.”
As of Saturday morning, all mention of Washington National Opera has been removed from the Kennedy Center’s website, and pages for all performances remaining in the WNO season have vanished. That included an American Opera Initiative program (January 24), productions of Scott Joplin’s Treemonisha (March 12-22), Robert Ward’s The Crucible (March 19-29), Leonard Bernstein’s West Side Story (May 8-23), and the WNO Gala on May 16.
The shocking move dissolves a relationship that was brokered in 2011. That collaborative partnership rescued WNO from the brink of bankruptcy, due to reported debts up to $12 million in the wake of the 2008 financial crisis.
The company will depart from its most suitable venue, the Kennedy Center Opera House, where it has been in residence since the founding of the Kennedy Center in 1971. “To ensure fiscal prudence and fulfill its obligations for a balanced budget,” the statement reads, “WNO will reduce its spring season,” although no specifics are given.
Prior to the affiliation agreement, WNO was an independent company, a state it returns to now in the midst of its 70th anniversary season. The statement lists causes for the break-up as demands from Kennedy Center leadership for all productions to be fully funded in advance, the reduction of centralized support services previously provided by leadership, and the need to balance “popular works with lesser-known operas that serve diverse audiences.”
According to the statement, “the planned separation is intended to be an amicable parting that gives both organizations flexibility to pursue their respective goals. The affiliation was never intended to be permanent.”
As a result, the future looks dangerously uncertain for Washington’s only full-time opera company, with details on new performance venues to be announced in coming weeks. Long-time WNO supporters need not be reminded of the company’s last temporary relocation outside the Kennedy Center, in the hideous acoustic at DAR Constitution Hall.
2 Responses to “Washington National Opera, Kennedy Center agree to “amicable” divorce”
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Posted Jan 10, 2026 at 7:00 pm by Bruce Johnston
Mr Downey,
First of all, thank you. I have been reading your good words for
many years.
I think it is a big mistake for the WNO to leave the KC. They
could stay at the center and make some frugal changes. I don’t doubt that the main reason they are leaving is political.
I have, many times, told folks not to boycott the KC. Our president does not own it. A boycott does not hurt him, it hurts the musicians we love. Interesting that you mentioned that the KC came to the aid of a struggling WNO.
I know that the NSO cannot leave the KC. Well, I should say it is close to impossible. They are so deeply entangled, entwined financially. I don’t want them to leave. Each musician is a KC employee, as I know you know. They would be unemployed. I think it not possible for the NSO as an independent entity to pay the musicians and Noseda.
Trump is temporary.
Posted Jan 11, 2026 at 11:19 am by Chris Robey
The commentator above has it right.
While the finances may be murky to an outside observer, such as myself, the politics are obvious and deeply regrettable. I’ve enjoyed both the NSO and WNO for many years at the Kennedy Center, but programming has become more political in the last several decades, particularly in the absence of international companies and content.
This preceded the current Administration. Perhaps the stated intent of KC management to invite other companies into the Opera House can resolve that.
Thank you.