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As different as the works are, certain themes resonate across the season. Each opera is a snapshot of a society in upheaval. In each story, we see how the choices of individuals have the power to remake the worlds they live in. Fidelio foregrounds the struggle of ordinary citizens against a shadowy government, while Macbeth focuses on the ruling class. Gods and Mortals , a Wagner evening, portrays individual quests—for power, for justice, for love—on an epic scale. And in our holiday opera, Jungle Book , a tightly knit community considers the risks of giving asylum to an outsider.

When we face large-scale problems, it is easy to feel that individual choices don’t make a difference. We come to the theater—just as people have since the time of the Greeks—to remember the power each of us holds. In that vein, we have chosen works demonstrating how our individual choices can reverberate, for good or for ill. We are thrilled to return to our beloved Opera House, a grand stage for grand ideas, for four operas and two concerts this season. In the Terrace Theater, we have an intimate space for recitals, holiday performances, and the three world premieres presented annually under the auspices of the American Opera Initiative.

Every Washington National Opera production represents the work of a legion of people behind the scenes and onstage, and it is you, our audience, who complete the experience with your enthusiasm, your presence, your support. We hope you are as proud of our productions as we are!

We want to hear from you about anything; many of you reach out to us at WNO online, and in letters. Your thoughts and feedback are not just important, they are invaluable to us. Please always feel free to share your insights and perspectives.

Your engagement is not just appreciated—it is what makes our work meaningful and impactful.

Jaquino, another prison worker, tells Marzelline that he has chosen her for his wife, but she is more interested in Fidelio. Rocco tells his daughter that he approves of her choice but cautions the young couple that their financial security depends on staying in Pizarro’s good graces. Fidelio responds that nothing is more important to him than Rocco’s trust and asks to be allowed to assist with the prisoners in solitary confinement, hoping to discover Florestan alive among them.

Pizarro arrives at the prison and, after posting a watch, takes Rocco aside and orders him to murder Florestan. When Rocco refuses, Pizarro resolves to do the deed himself; Rocco need only deal with the remains. Leonore, overhearing, is determined to save her husband. As Fidelio, she asks Rocco to allow the lower-security prisoners to take some air in the courtyard. Rocco hesitates, then agrees. The moment of hope quickly turns dark when Rocco informs Fidelio of the task that awaits them.

Intermission

Florestan reflects on his plight and dreams of freedom. Rocco and Fidelio make their way through the dark toward the condemned prisoner. When they reach Florestan, he pleads with Rocco to send word to his wife, Leonore. Deeply affected, Fidelio asks Rocco for permission to give water and bread to Florestan, who still does not recognize her as his wife.

Pizarro arrives, but before he can kill Florestan, Leonore reveals her identity. Undeterred, Pizarro prepares to kill them both. They are surprised by the arrival of the former Prime Minister, who explains that the Commander has been overthrown. Pizarro, his murderous plot is exposed, is arrested.

Florestan and the other prisoners are set free.

—Kelley Rourke is dramaturg for the Washington National Opera.

Beethoven was the fourth composer to set a version of Bouilly’s story; his Fidelio (Vienna, 1805) was preceded by operas composed by Pierre Gaveaux (Paris, 1798), Ferdinando Paer (Dresden, 1804), and Simon Mayr (Padua, 1805). To create a German version of the libretto, Beethoven turned to his friend Joseph Sonnleithner (1766–1835); in addition to his literary skills, Sonnleithner had experience as both a lawyer and theater director, which proved useful when the censors—as expected—objected to the opera’s subject matter.

Thanks to Sonnleithner’s efforts, the initial ban on Fidelio was lifted, but the timing for the premiere could not have been worse. A week earlier, Vienna had come under occupation by the French; the aristocracy fled, banks closed, and commerce came to a halt. By imperial order, theaters remained open, and in this atmosphere, Fidelio had its barely attended debut. The poor attendance was not entirely to blame for the poor reception; Beethoven’s circle, excited by some aspects of the work but troubled by others, lobbied for him to revise the work. The composer enlisted librettist Stephan von Breuning (1774–1827) to rework Sonnleithner’s libretto; when the second version was complete, it was shorter by some 500 measures and played in two acts instead of three. The new version was more warmly received, but after a dispute with the theater manager over his payment, Beethoven withdrew the work. Nearly a decade later, Beethoven revisited Fidelio again, this time working with librettist Georg Friedrich Treitscheke (1776–1842). This version was a success, and Fidelio has remained in the repertory ever since. While Enlightenment ideals pervade the entirety of Beethoven’s catalog, the story of Leonore and Florestan, with its celebration of freedom, makes the composer’s vision explicit.

To placate the censors, the episode from the Reign of Terror was originally moved to 16th-century Spain. Regardless of when and where a production is set, Fidelio ’s focus on ordinary people—rather than powerful political leaders—has ensured that the opera continues to feel both relevant and personal to anyone who witnesses it. At its center is Florestan, a man who has been imprisoned and condemned because of the threat he presents to Pizarro, an unscrupulous man who uses his limited power to serve his own ends. Rocco, a low-level civil servant, feels he must follow orders to ensure his livelihood; likewise, Marzelline and Jaquino accept the circumstances of their existence without much question.

But Leonore’s love and concern for Florestan will not allow her to be complacent, and her resolve, along with a timely appearance by the Prime Minister, not only frees Florestan but also brings down Pizarro, ensuring that he will not continue to silence his enemies.

In 1961, the English lawyer Peter Berenson called attention to the plight of “prisoners of conscience” being held all over the world in violation of the United Nations’ Universal Declaration of Human Rights. The milestone Declaration had been adopted by the UN in 1948, setting down, for the first time, fundamental rights to be universally protected. Describing a “sickening sense of impotence,” Berenson set forth a challenge: “If these feelings of disgust all over the world could be united into common action, something effective could be done.” The stories that Berenson published had a galvanizing effect, eventually leading to the establishment of Amnesty International, which has continued to provide a way for individuals to work for the protection of human rights all over the world.

Fidelio is sometimes criticized for its seeming inconsistency; its early domestic scenes, centering on Jaquino’s jealousy of, and Marzelline’s interest in, Fidelio, seem trivial compared to the work’s larger themes. But the juxtaposition of domestic drama and heroic liberation is precisely the point: the battle to defend truth and justice, and to protect human rights, is one that relies on the participation of ordinary citizens. “Virtue unnerves the villain,” Florestan tells Leonore in the opera’s closing scene. “Love guided my efforts,” she replies, “and true love knows no fear.”

Those familiar with the work may notice a few minor adjustments. The full title of the source play is Leonore, ou l’amour conjugal . I thought it would heighten the drama if we began with a snapshot of Leonore and Florestan’s family life in the moments before it was shattered by Pizarro. I wanted to foreground the terrible stakes by contrasting their love with Pizarro’s violent lust for power.

At Washington National Opera, we consider many things when it comes to casting. The vocal demands Fidelio puts on its leading characters is tremendous, and I am thrilled by the powerhouse international roster we have assembled in the leading roles. The role of the Prime Minister is an interesting case; it is one of those minor/major roles that includes only a small amount of singing and stage time but requires a tremendous amount of presence, since that character’s appearance signals a new world order. I knew immediately that I wanted to see WNO favorite Denyce Graves in that role, and I was thrilled when she accepted. Casting a woman may be a departure from Beethoven’s initial ideas about the role, but I believe it is firmly in line with his Enlightenment ideals.

From this potent period in history came many works that had patriotic and political themes around unjust imprisonment and heroic rescue. Florestan and Leonore risk their lives to right the wrongs of an immoral system. It is a story that feels unfortunately fresh as we witness the ongoing detention of prisoners of conscience all over the world. May this story of love and bravery inspire us all to live our ideals.

—Francesca Zambello

Depending on where they appear, a trouser role could represent a male emperor (Caesar), a youthful sidekick (Cherubino in The Marriage of Figaro ), or a gender- bending figure (The Forest Bird in The Ring ) who may be more difficult to classify. A trouser role is evidence of the tradition and history of opera for over 400 years.

“We accept trouser roles easily, but we have not accepted gender-bending or nontraditional uses of it as readily in recent years. On the other hand, when thinking about this, I have often wondered why we can’t cast any artist as long as they can sing a certain role. One of the first operas I ever directed was Viva la Mamma, a meta opera about opera singers by Donizetti. It opened at the Barns at Wolf Trap, and one of the characters is a Vestal Virgin. I admit it was a bit camp, but I cast the tenor Darren K. Woods in the role, and he brought down the house dressed in drag. This was my first gender-bending attempt.

“In Fidelio , the character of Florestan is a political prisoner whose wife, Leonore, disguises herself as a prison guard to rescue her husband before he is executed. (Spoiler alert: Florestan is indeed freed, as Don Fernando, the prime minister, announces an end to tyranny.) Along with Leonore, I have always wanted a woman to be the “other savior,” facilitating the moment when Florestan is released from his chains. In conversation with Denyce Graves, she was willing to take on the role of Don Fernando, which we have renamed The Prime Minister. As such, she represents the political salvation of the protagonists and the country.”

A New Take on an Old Role

For Washington, D.C. native Denyce Graves , the decision to take on the Prime Minister role stems from her philosophy about advancing the art form. She explains:

“The mission of the Denyce Graves Foundation (DGF) is centered on the idea of inclusivity. Singing the role of The Prime Minister with WNO in this ‘unconventional casting’ is very much in alignment with my focus as artistic director of the DGF. This allows for a broader range of talent to be showcased, irrespective of traditional expectations related to physical appearance, gender, race, or ethnicity.

“This approach enhances artistic interpretation by casting artists based on their vocal prowess and interpretative abilities rather than their conformity to traditional roles, and directors can explore new dimensions and deeper nuances in characters. This can lead to fresh and innovative productions that resonate more profoundly with contemporary audiences.

“It also reflects modern values. Opera, like all art forms, evolves with society. Unconventional casting aligns with modern values of diversity, equity, and inclusion, helping opera stay relevant and accessible to a wider audience. It challenges outdated norms and stereotypes, promoting a more progressive and dynamic cultural landscape.

“I am excited and proud to have been asked to sing the role of The Prime Minister. This is also a series of firsts for me: it will be my first time singing Beethoven, and Fidelio was the first opera I ever saw as a child, which happened to be at Washington National Opera!”

Another factor is WNO Artistic Director Francesca Zambello. The first time I worked with Francesca was in the ’90s. We did a very special production of Billy Budd, a return of the original four-act version to Covent Garden. I've loved working with her forever. I just have so much admiration for her work. So the opportunity to collaborate with her more is fantastic.

What do you like particularly about conducting opera?

Oh, there are so many things. One is the beauty of the human voice. I love singers. And collaborating and performing with singers is a special kind of joy. I also love the extension of the art form into so many things. I love the attention paid to the visuals of set design, of costumes. There’s so much richness to the full spectrum of what happens in an opera. And then just as a musician, I am fascinated with how dramatic time works in relation to musical time. Sometimes those things are hard to reconcile. But in opera there are different ways of addressing that problem. I mean, in a sense, the invention of recitative and aria was a way to address that.

What draws you to the WNO Orchestra?

The first time I worked with this orchestra was Written in Stone during the 2021–2022 season. That was four commissioned works. It’s not every orchestra who would be so committed to bringing new work to life like that. They were absolutely wonderful. They play all kinds of music at the Kennedy Center. I think having that kind of schedule makes the orchestra very versatile and capable of many things. That, to me, is a virtue.

You are most identified with Atlanta. And now you are coming to D.C. What do you think of that prospect?

The most time I ever spent in D.C. was when I was doing Written in Stone. It was wonderful because I didn’t know the city. I had worked with the National Symphony Orchestra and I had visited as a tourist and done those kinds of things. But to be in the city—I just had the most wonderful time. D.C. is unique. It’s certainly not a New England city. But it’s not really a southern city. It has a really different feel. I am happy to explore more.

That difference in perception is what she brings to her direction of Washington National Opera’s Macbeth , which runs November 13–23 in the Opera House.

There are also the differences between the play and the opera and between the original version of the opera premiered in 1847 in Florence and Verdi’s own revision for 1865 Paris performances. To reconcile these differences, the director must make choices. (This WNO production uses the 1865 version, with Macbeth’s death scene from the original.) Corner sees it befitting Macbeth, as it is about “the choice, the power of choice, and consequences of choice.” Furthermore, “I want to make sure that in exploring this piece, we are focused on the choices one man makes for his own ambition and not solely on the evil female spirits who led him astray.”

“One of the hardest elements of the piece has always been the explanation of the female chorus as a group of 20-plus witches, instead of Shakespeare’s original three,” says Corner. “I have always wondered: What two men walking in the forest run into 20 women, and fail to make some sort of comment on the amount of women there?”

Verdi himself considered the group a main character. In a letter to his French publisher Léon Escudier, he wrote, “…the main roles of this opera are, and can only be, three: Macbeth, Lady Macbeth and the chorus of witches. The witches dominate the drama; everything stems from them.” But Corner wondered, “What would happen if Macbeth and Banquo couldn’t see the witches? What if the chorus of women were spirits, souls of the dead lost in the wars? What if it is their conjoined power that allows them to create three manifestations in the corporeal world, and these manifestations are what Macbeth and Banquo see? I want to explore those possibilities.”

The set designer Erhard Rom created a non-specific setting. “While the costumes indicate mid-19th century, we’re placing the action in an abstracted version of Verdi’s own time to show that the work speaks to all times and places,” says Rom, who has over 250 production credits all over the world and is also the set designer of this season’s Fidelio , Soprano Ewa PÅ‚onka, who conquered WNO audiences as Turandot last season, returns to sing the daunting role of Lady Macbeth. She says both roles need a heavy, full, dark voice that can “cut through  the orchestra like a sharp knife with resonance.” But Lady Macbeth also needs agility and lyric quality. “As the character of Lady Macbeth is torn psychologically between a real and imagined world, inner and outer dialogue, she’s undergoing a psychological personality split in order to withstand terrible thoughts and deeds with which she had paved the bloody way to the crown.”

All this is conveyed through Verdi’s blood-curdling music. “Verdi’s music is so dramatic,” says Corner. “I love that you just trust the music to do its thing. I see my job as trying to create a capsule for the audience in which they experience his music, the artistry of the cast onstage and in the pit, as well as Shakespeare’s reflection of the human condition.”

—David Hsieh is the Senior Press Representative, Classical, at the Kennedy Center.