The Washington National Opera (WNO) has confirmed it will relocate its performances from the John F. Kennedy Centre for the Performing Arts, ending a residency that began in 1971. The dramatic move follows what the company's artistic director describes as a damaging 'takeover' of the institution by former US President Donald Trump.
The Trump 'Takeover' and Its Fallout
According to a report in the New York Times, the decision was announced on Friday. Francesca Zambello, the WNO's artistic director, had first raised the possibility of a move in November. She pointed directly to actions taken by Donald Trump, who in February declared himself the chair of the Kennedy Centre.
Following this declaration, Trump swiftly dismissed and replaced the centre's board and leadership. Zambello stated that this political intervention, coupled with the subsequent backlash, has led to a severe financial and reputational crisis for organisations performing at the venue.
A Collapse in Revenue and Donor Trust
The financial impact has been stark. Zambello revealed that ticket sales are approximately 40% lower than before Trump assumed the chairmanship. This decline is attributed to a widespread public boycott, with many former patrons vowing to stay away.
"Every day, I receive messages of protest from formerly loyal members of the audience," Zambello said. She shared examples of the vehement feedback, including one person who wrote, "I'm never setting foot in there until the 'orange menace' is gone." Another referenced historical parallels, asking, "Don't you know history? Don't you know what Hitler did? I refuse to give you a penny."
The disillusionment has taken tangible forms. Donor confidence is described as 'shattered', with some supporters going so far as to return their season brochures shredded in envelopes, accompanied by notes pledging never to return while Trump remains in power at the centre.
An Uncertain Future for a Cultural Institution
The departure of a flagship company like the Washington National Opera represents a significant blow to the Kennedy Centre's cultural standing. The WNO, recognised as the national opera of the United States, has been a cornerstone of the venue's programme for over five decades.
While the opera company searches for a new performance home, the situation underscores the profound impact of political controversy on arts funding and audience engagement. The incident highlights how institutional governance and perceived political affiliations can directly affect box office revenue and philanthropic support in the cultural sector.
The full consequences for both the Kennedy Centre and the Washington National Opera remain to be seen as this major shift in the capital's arts landscape takes shape.
