New Music Director Appointed at Washington National Opera
Renowned Conductor Robert Spano Takes the Helm
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The Washington National Opera has made an exciting announcement regarding a new addition to their team. Conductor Robert Spano has been appointed as the company’s new music director, filling a position that has been vacant since 2018. Spano’s initial three-year term will begin in the fall of 2025, but he will be unofficially assuming the role of music director designate immediately. It is important to note that WNO’s principal conductor, Evan Rogister, will continue serving until the end of the 2024-2025 season.
Maestro Spano’s Vast Experience
Robert Spano, a highly esteemed conductor and music director, currently leads the Fort Worth Symphony Orchestra and the Aspen Music Festival and School. He formerly held the position of music director of the Atlanta Symphony Orchestra for 20 years, during which he earned four Grammy Awards. In addition to his Washington National Opera appointment, Spano will also be serving as the principal conductor of the Rhode Island Philharmonic as their search for a music director continues.
Promising Career in Opera
Despite being widely recognized for his symphonic expertise, this new role will mark Spano’s first venture as the head of an opera house. However, his track record in the operatic realm is remarkable. Among his accomplishments are conducting Nico Muhly’s “Marnie” at the Metropolitan Opera in 2018 and leading two “Ring” cycles at the Seattle Opera in 2005 and 2009. Spano’s dedication to the promotion and performance of new music by contemporary composers makes him an ideal choice for the Washington National Opera.
Positive First Encounter
In 2022, Spano had his inaugural performance leading the Washington National Opera Orchestra during the Kennedy Center’s 50th-anniversary celebrations, conducting the four-part piece “Written in Stone.” WNO General Director, Timothy O’Leary, expressed that Spano’s appointment was unanimously supported by all stakeholders.
“Part of our mission as a national opera company is about shaping the future of the art form,” O’Leary stated during a phone interview. “And [Spano] has really kind of personified this gift for leading new works and giving them life.”
Looking Ahead
During an interview from his residence in northern Georgia, Spano shared his thoughts on his upcoming tenure at the Washington National Opera.
The interview has been edited for length and clarity.
Q: This is your first time leading an opera house. What does that mean for you at this point in your career?
A: When I was planning my departure, I was thinking of dedicating more time in my calendar to opera. I consider myself lucky because I was able to continue a balance between symphonic and operatic conducting throughout my life. However, being the music director of an opera house is truly like a miracle and an exciting opportunity for me.
Q: So why does the distinction between symphonic and operatic conductor persist to the extent that it requires luck to overcome?
A: Labels have played a significant role in this matter. People tend to categorize conductors based on their specialization in specific genres and it becomes a challenge to break free from those labels and explore other areas.
Q: What were your impressions of the Washington National Opera Orchestra when you conducted “Written in Stone”?
A: They were exceptional. Their willingness and enthusiasm to engage with new works were truly impressive. Not every orchestra readily accepts the challenge of new compositions. Working with the Washington National Opera Orchestra has been a great experience as they have brought tremendous life to the music.
Q: What is the extent of your role and involvement as the music director in the programming of WNO productions?
A: I am accountable to Artistic Director Francesca Zambello. My primary responsibility lies in the care and direction of the orchestra. While I cherish the collaborative role, the final decisions regarding programming and casting rest with Francesca. However, I look forward to working closely and discussing various aspects of the productions with her. Having some authority invested in specific individuals brings a healthy collaborative dynamic.
Redefining Opera’s Reach
When asked about the future of opera and broadening its accessibility to a wider audience, Maestro Spano acknowledged the challenges faced by the performing arts industry post-pandemic. However, he expressed confidence in the collective desire to sustain and revitalize the art form.
“There has never been a time in history when opera didn’t matter,” Spano remarked. “While we are grappling with declining audience numbers, it is important to persist in our belief that opera is valuable to everyone. Much like a Phoenix, we will rise again.”
Please note that a previous version of this article contained incorrect information. The article has since been corrected.
