Washington National Opera’s AOI program, now in its 12th season, generates new operas, largely by young people, with original storylines presented at in the Kennedy Center at the beginning of each new year. Composers and librettists compete independently to be accepted into the program, typically paired afterwards. The three teams selected receive mentoring from an established conductor, composer, and librettist, among others and are given access to the resources of WNO. Members of WNO’s Cafritz Young Artists, many of whom have appeared in WNO’s main stage productions, provide the singing and acting talent, and members of the WNO Orchestra provide the music. Everyone involved has an impact on shaping the final product that moves from idea to the performance stage in about a year.
In recent past, ethnic, racial, and gender issues often provided the modern themes of the new operas, at least occasionally with romantic storylines. Each new opera this year provides a window for a different view of the impact of influences of cultural change on what it means to be human today. As I rode home Saturday night after seeing this year’s group, Bob Dylan’s song from 1964 titled “The Times They Are A Changin’” kept circulating in my head, only my brain kept inserting “Chang-ed” as the final word. We are now reaping what Dylan’s admonition foretold, and I doubt it has turned out like he thought or hoped. Seemingly, angst now dominates new generations as rapid changes in society take its toll and leaves many in society adrift. Based on the premieres of this year’s three 20-minute operas, if Dylan wrote the song today, the refrain might be “Oh, the times now, they are a worryin’”.
Tati
Sergio Martínex as Osvaldo, the organizer, Viviana Goodwin as Connie, the pregnant marine biologist, and Anneliese Klenetsky as the aggressive futurist. Photo by Bronwen Sharp; courtesy of Washington National Opera.
Leading off this year’s program was Tati by composer Kyle Brenn and librettist Lex Brown. A ‘food sovereignty organizer’ on the lam, a ‘marine biologist’ who is with child, and a ‘progress obsessed investor’ pushing whales as a viable habitat in a failing environment, are surviving inside a bioengineered blue whale with time running out. You’ve seen that one before, right? Jonah may come to mind, but I don’t think Jonah ever heard the word ‘bioengineered’. Well, like most parables there is serious work afoot here. One element of life is the struggle to survive and procreate with time and resources running out; one can see scientific progress as offering our best hope to control our environment but not necessarily maintaining a focus on our need for fulfilment; confronted with those choices, one might just reach for the Elavil (this option is not in the opera). Bass Sergio Martinez as the organizer wants to flee for potential safety and soprano Anneliese Klenetsky as the futurist who wants to see the first child born in a whale, were effective in their roles. Mother-to-be soprano Viviana Goodwin had the best vocals and made the most of them; her singing was a highlight of the evening. For Tati, Director Chloe Treat who cleverly directed all three works using minimalist sets gave us a periscope up the whale’s snout revealing a boat and possible escape close by, a meaningful bathing pool, and a failing whale heart offering nourishment. In an opera that must tell a story in only 20 minutes, it is difficult to get a gauge on the music. Composer Glenn’s music seemed an effective use of orchestral sounds as color and accents for the story, well done overall. Conductor George Manahan led a dozen members of the Washington National Orchestra providing the music for all three operas; the ensemble under his direction were marvelous. I enjoyed the original story and the performances in Tati though it was a lot to digest in 20 minutes and reading the program notes was to be recommended.
Cry, Wolf
Nicholas as Zach, Sahel Salam as Ethan, and Jonathan Patton. Photo by Bronwen Sharp; courtesy of Washington National Opera.
Second in the program was Cry, Wolf by composer JL Marlor and librettist Clare Fuyuko Bierman. This opera addresses an issue that has come to the fore in current times, young male isolation and loneliness and the impact it is having on them and why we should be worried. High schooler Ethan played by tenor Sahel Salam visits his brother Austin in college, played by baritone Jonathan Patton. Austin wants a girlfriend but is cowed by social media corrupting his self-image and pushed to become a lone wolf by companion Zach played by tenor Nicholas Huff. This opera had a highly scary and effective surprise ending as all three began a chorus of howling that brought shivers to my skin. Surely this is a worthy topic for a lengthier treatment delving deeper into the characters and factors influencing their behavior. The three vocalists all gave impressive acting and singing performances. The music for Cry, Wolf created angst on its own, punctuated with blasts from the drums and brass. Director Treat’s simple staging was adequate.
Mud Girl
left photo: Winona Martin as Maude and Kresley Figueroa as River. right photo: Michelle Mariposa as Poly 2 and Tiffany Choe as Poly 1 and Kresley Figueroa as River. Photos by Bronwen Sharp; courtesy of Washington National Opera.
Last in the program was Mud Girl by composer Omar Jajimi and librettist Christine Evans. Mezzo-soprano Winona Martin played Maude, a middle-aged homeless woman who has paired up with River, a young homeless woman played by soprano Kresley Figueroa, as they survive in a post-apocalyptic world living under a bridge surviving on frogs and mud fish. Maude has been warped and made fearful by the world she grew up in while River wants to embrace this new world she was born into. Maude seeks to protect River while River wants to explore the possibilities. Theirs were exceedingly compelling acting and singing performances. This opera also had one of my favorite creations, Poly, an AI creature made by River using plastics and other trash from the river. The special delight here was having Poly made up of two sopranos, Poly 1 featuring soprano Tiffiny Choe and Poly 2 being mezzo-soprano Michelle Mariposa. Fearful of what this is doing to River, Maude leads Poly to her demise in the edge of the water. River is distraught but begins to recite code which causes Poly to spring back to life in a surprise joyous but dubious ending, sort of a yay, I think. Poly 1 and Poly 2 were singing treasures. Director Treat’s staging showed that much suspension of disbelief can be achieved with relatively few but effective props and costumes. Composer Jajimi’s music gave us more to like, letting the strings provide some enjoyable sounds of melody.
After seeing the 2025 edition, I remain hooked on the American Opera Initiative. Each January, we are offered a plate of new opera hors oeuvres to sample in a program that takes a year to prepare and only an hour to consume. Kudos to this year’s composer mentor Gregory Spears and librettist mentor Tracy K. Smith. Beyond the compelling themes and inventive storylines, there was much to enjoy in the performances of these fresh artistic works. While modern anxieties ran rampant in all three new operas this year, the amazing creativity, talent, and professionalism displayed in each work provides a beacon of hope for our future.
The Fan Experience: This year’s AOI three new 20-minute operas were performed at 7 pm and 9 pm in the Kennedy Center’s Terrace Theater, without intermission, sung in English with projected supertitles in English. The composers and librettists were present and presented on stage for applause as well as the performers. These performances are typically sold out, so purchase your tickets for 2026 as soon as the Washington National Opera announces its new season.
This year, for the first time, the three operas will move outside the Kennedy Center for an additional performance in New York City in a co-presentation on January 23 with the Kaufman Music Center.
Parking in the Kennedy Center is typically plentiful at around $25 per day, with a small discount for Kennedy Center members when reserved ahead of the day. The Metro to Foggy Bottom and the free red Kennedy Center buses, from there to the Kennedy Center running every 15 minutes, are an excellent option. There is an advantage in getting there a bit early. KC frequently has multiple performances on its different stages overlapping that can create traffic jams.
There are snack stands in the main lobby, and on the Terrace level, the KC Café offers food cafeteria style at moderate prices; fine dining is available on the Terrace level in the Roof Terrace Restaurant. Food and drinks except water are not allowed inside the opera house, but you can purchase reusable capped containers with your drinks that you can take inside.