Francesca Zambello navigates challenges at Washington National Opera with creativity and resilience
Washington: Recently, Francesca Zambello got a surprising text from a singer during a performance of Macbeth. It was raining inside the Opera House! She rushed over to find water pouring through the chandeliers. Talk about a dramatic twist!
They had to quickly move the show to George Washington University’s Lisner Auditorium. Zambello called it a “semi-staged event,” with no fancy sets or orchestra pit—just the singers and musicians on stage. She joked with the audience, saying they’d have a fun story to share at Thanksgiving.
These days, Washington National Opera is buzzing for more than just unexpected rain. They’ve premiered new operas like Blue and Grounded, and they’re welcoming a new music director, Robert Spano. This month, they’re also showcasing three short operas as part of a program Zambello started to nurture new talent.
When we chatted, Zambello mentioned she had a sore throat and was worried about passing it on. She’s been in the opera scene for over 40 years, starting as an assistant director at the San Francisco Opera. Back then, she was just getting her feet wet, and the industry was quite different.
She reflected on how challenging it was for women in opera back then. Zambello believes her talent and persistence helped her break through, even when there weren’t many female role models. Now, she’s proud to see more diversity in the field.
Her casting policy is pretty cool—she aims for 50% of the performers to be non-white. She didn’t make a big announcement about it; she just did it. This approach has helped attract a more diverse audience to the opera.
Since the pandemic, attendance has dipped, but they’re still doing well compared to others. They’ve been focusing on smaller shows to keep the audience engaged throughout the season.
One of the upcoming short operas, Cry Wolf, tackles how media can influence young men politically. Zambello believes in programming that resonates with contemporary issues, even if the stories are set in the past.
She’s always thinking about how art can reflect and impact society. Zambello stays connected with the opera’s subscribers, often responding to their emails. Most feedback is positive, especially after the last-minute concert of Macbeth.
Opera fans are passionate, and Zambello appreciates that. She believes the connection people feel to the voice in opera is unique. It’s a primal form of communication that resonates deeply with audiences.
Living in DC and NYC, she makes it a point to see performances everywhere. Understanding different audiences is key, especially since what works in one place might not in another.
She’s noticed that getting people to come to live performances is tougher these days. There are so many factors at play, from economics to the allure of staying home. But she’s encouraged by the passion of operagoers who stick around for Q&As after shows.
In the end, Zambello’s leadership at Washington National Opera is all about creativity, resilience, and a commitment to making opera accessible and relevant.
