KC NSO Presents: Alexandra Dovgan, March 2026 by Encore Magazine

Vladimir Volkov

THE DONALD J. TRUMP AND JOHN F. KENNEDY CENTER FOR THE PERFORMING ARTS

MARCH 14, 2026, AT 3 P.M.| CONCERT HALL

Alexandra Dovgan, piano

FRÉDÉRIC CHOPIN (1810–1849)

FRÉDÉRIC CHOPIN

CÉSAR FRANCK (1822–1890)

Barcarolle in F-sharp major, Op. 60 (1845–1846)

Piano Sonata No. 3 in B minor, Op. 58 (1844)

i. Allegro maestoso

ii. Scherzo: Molto vivace

iii. Largo

iv. Finale: Presto non tanto

INTERMISSION

Prelude, Chorale, and Fugue, FWV 21 (1884)

i. Prelude: Moderato

ii. Chorale: Poco più lento

iii. Fugue: Tempo I

SERGEI PROKOFIEV (1891–1953)

Piano Sonata No. 2 in D minor, Op. 14 (1912)

i. Allegro ma non troppo

ii. Scherzo: Allegro marcato

iii. Andante

iv. Vivace

THANK YOU TO OUR SEASON SPONSORS

The NSO Music Director Chair is generously endowed by Roger Sant and Congresswoman Doris Matsui Noseda Era Fund Supporters The Amici di Gianandrea

Patrons are requested to turn off cell phones and other electronic devices during the performance. Any video and/or audio recording of this production is strictly prohibited.

Welcome

Dear Friends,

As we celebrate the National Symphony Orchestra’s 95th season, I want to take a moment to express my heartfelt thanks to you—our devoted patrons, supporters, and friends. Your presence this evening, and your unwavering support throughout the year, mean more than words can convey. It is your love of music, your generosity, and your steadfast belief in the arts that delight this remarkable orchestra.

In 1931, Hans Kindler founded the NSO with a bold vision: to build a world-class symphony orchestra in the heart of our nation’s capital. Nearly a century later, that vision continues to be our driving force. Today, under the dynamic artistic leadership of Gianandrea Noseda, we are more inspired than ever to share powerful performances with our audiences. The NSO is not simply an orchestra; it is a family of artists joined together through a shared love of music, unity of purpose, and commitment to something greater than us.

The NSO is more than what you see on stage—it is a living, breathing institution devoted to enriching lives. Our robust education and community engagement programs reach thousands of students, educators, and families each year. Between our Youth Fellowship Program and Summer Music Institute, to Young People’s Concerts, we strive to make music accessible to everyone—especially the next generation.

This commitment to connect with broader audiences is also seen through our vibrant, genre-defying series, led by the remarkable Steven Reineke, our Principal Conductor and Artistic Advisor. Steven brings a wide-reaching musical vision to the NSO, bridging genres and generations. His programming has opened the door for new audiences to discover a love for orchestral music, while continuing to captivate longtime fans with the highest levels of artistry.

As we embark on this milestone season, we are reminded that our journey would not be possible without you. Thank you for being an essential part of this vibrant and enduring musical community.

With deepest gratitude and warmest regards,

Jean Davidson Executive Director National Symphony Orchestra

From the Music Director

Cari amici,

It is with immense joy and anticipation that I welcome you to the National Symphony Orchestra’s 95th anniversary season. This moment is more than a milestone—it is a celebration of our deep musical legacy and a renewed commitment to bringing powerful, moving performances to our community and beyond. This is only the beginning. The 95th season is filled with musical discovery, celebrated artists, and unforgettable experiences.

This season features iconic works that have stood the test of time, from classic masterpieces to thrilling contemporary music. The NSO also has the opportunity to share the stage with an exceptional lineup of guest artists and conductors—beloved icons and rising stars alike. Performing new music is something the NSO truly believes in. Make history with us as we present innovative new works, including five world premieres.

I am deeply grateful to share this journey with you. Your presence in the Concert Hall is what brings our music fully to life. Thank you for being a part of the NSO family—for your passion, your applause, and your unwavering support.

Con tutto il cuore,

Gianandrea Noseda

Music

Music Director, National Symphony Orchestra

Director, National Symphony Orchestra

Che la musica vi porti gioia e ispirazione—may music bring you joy and inspiration.

Notes on the Program

Barcarolle in F-sharp major, Op. 60

FRÉDÉRIC CHOPIN

Born March 1, 1810, in Żelazowa Wola, Duchy of Warsaw

Died October 17, 1849, in Paris, France

“His is an extraordinary path, for he has an extraordinary gift. He does not follow the old rules because he seeks those of his own.” This perceptive remark by Frédéric Chopin’s chief mentor at the Warsaw Conservatory finds a striking echo in the composer’s late works, where inherited genres are reshaped according to a highly personal musical logic.

Born Fryderyk Franciszek Chopin in Poland, the composer left his homeland in 1830, intending to tour abroad, only to find his return impossible after the suppression of a Polish uprising under Russian rule. By 1831, he had settled permanently in Paris, where he would remain until his death at the age of 39 in 1849. Fryderyk became Frédéric Chopin, at home in a liberal cultural climate sympathetic to the Polish struggle for self-determination and receptive to his singular musical voice. Family ties reinforced this sense of cultural affinity, as his father had been born in northeastern France before emigrating to Poland.

Composed in 1845–46, the Barcarolle in F-sharp major offers an intriguing example of Chopin seeking his own rules. The piece belongs to a late creative period that also produced the Polonaise-Fantaisie, Op. 61, and the Cello Sonata, Op. 65—compositions in which Chopin rethinks inherited forms and genre conventions, sometimes hybridizing them, sometimes engaging them with renewed structural seriousness. This period was also marked by declining health and the dissolution of Chopin’s long relationship with the novelist George Sand.

The generic term “barcarolle” derives from the Italian barca (boat) and originally referred to the songs of Venetian gondoliers. By Chopin’s time, such music was widely familiar through Italian opera, and his reverence for bel canto—especially the long-spun, florid melodies of Vincenzo Bellini—is unmistakable here. Cast in the lilting meter traditionally associated with the genre, the Barcarolle establishes a gently undulating rhythmic backdrop over which an ornate, singing melody emerges, at moments suggesting the intertwining of two voices in duet.

Yet, Chopin’s treatment of the genre far exceeds its customary dimensions. The pianist and musicologist Charles Rosen praised the Barcarolle as “one of the most impressive of Chopin’s longer movements,” likening it in ambition to an unwritten “Fifth Ballade.” What might once have functioned as a modest character piece becomes an expansive, architecturally ambitious fantasy.

The Barcarolle unfolds in a broad A–B–A design, contrasting two large thematic areas before returning to the compressed opening material while extending the second theme. Along the way, fantasy-like episodes and developmental passages blur the boundaries between song, variation, and free improvisation.

The contrasting section accelerates in tempo in a way that, as Rosen put it in The Romantic Generation, “gives an impression of great breadth,” as if the piece “had moved from a Venetian canal to the open sea.” The result is a late-style masterpiece whose atmosphere and harmonic daring would resonate with later composers, notably Claude Debussy, who shared Chopin’s independence of musical thought and determination to follow an individual path.

Piano Sonata No. 3 in B minor, Op. 58

FRÉDÉRIC CHOPIN

While Chopin has become closely identified with the concentrated poetry of his miniatures—pieces so expressive they seem to contain whole worlds within compact frames—he turned on rare occasions to the longer span of the piano sonata. The Sonata in B minor, Op. 58, written in 1844, stands as Chopin’s final and most fully integrated essay in the genre and is preoccupied with synthesis: the fusion of Classical formal discipline and Romantic lyricism. It dates from a comparatively happy and stable period Chopin experienced with his lover, George Sand, while the later Barcarolle belongs to a phase when that relationship was beginning to unravel. Much of the Sonata in B minor was written while Chopin was staying at Sand’s country estate in Nohant, a rural setting in central France that offered a quiet stability conducive to sustained creative work.

Beethoven remained a structural ideal throughout Chopin’s career, even if Chopin’s expressive instincts lay elsewhere. In this final sonata, Chopin achieves a fluent fusion of large-scale formal control with his fully mature musical language. By the 1840s, Johann Sebastian Bach had assumed renewed importance for him—not as a model to imitate but as a source of contrapuntal discipline and motivic concentration. The Sonata in B minor encapsulates Chopin’s voice at its most developed: bel canto–inspired melody, intricate rhythmic nuance, and a subtle contrapuntal logic that belies its surface elegance.

The Allegro maestoso unfolds through what the scholar Jim Samson characterizes as “a process of continuous development and transformation of motifs, a close integration of melody and accompaniment, and a density of contrapuntal working that are in every way worthy of Brahms.” The movement opens with a spiraling descent that gives way to stern chords, establishing a sense of contained drama.

A contrasting second theme shows Chopin in one of his most characteristic bel canto utterances: a long-spun, linear melody whose graceful unfurling recalls the world of the Nocturnes. This lyrical second theme upstages the opening material in the recapitulation. Throughout the movement, Chopin’s engagement with Bach—above all through his deep study of The Well-Tempered Clavier—is reflected in the harmonically probing development and the seamless interweaving of voices.

The ensuing Scherzo is remarkable for its radical concision. Recalling the sphinx-like presto finale of the Second Sonata in its mercurial energy, it seems to pass by in a single breath—a fleeting interlude more than a fully developed movement. The main idea spins like a musical whirligig, winding tightly around the central trio before vanishing almost as soon as it has appeared.

The influence of Italian opera comes to the fore in the Largo. Following an introductory passage that steers the key to B major, Chopin presents another of his Bellini-like melodies, enveloping it in ravishingly varied accompaniments. Pure rapture emerges in the middle section, and the Largo comes to rest after an unexpected harmonic sidestep.

A tense series of chords launches the agitated, racing theme of the Finale. The triumphant conclusion to come is anticipated by the high spirits of the contrasting episode in B major, which intervenes twice. One of the most demanding movements in a sonata already known for its formidable technical demands, the Finale presses forward with thrilling intensity, absorbing its virtuosity into a powerful sense of narrative momentum.

Chopin’s last piano sonata elevates the genre into a vehicle capable of sustaining both poetry and virtuosity. It stands as, arguably, the most fully realized development of his engagement with large-scale classical form in solo piano music, achieving a satisfying balance of Chopin’s signature lyricism and harmonic imagination with a newly confident structural command.

Notes on the Program

Piano Sonata No. 3 in B minor, Op. 58

CÉSAR FRANCK

Born December 10, 1822, in Liège, Netherlands

Died November 8, 1890, in Paris, France

Johann Sebastian Bach remains an underlying, often subtle point of reference across much of Alexandra Dovgan’s program. His legacy is at its most obvious in César Franck’s Prelude, Chorale, and Fugue, composed in 1884. Like Chopin, Franck drew from Bach a rigorous approach to counterpoint—the simultaneous use of independent but harmonically related melodies—and motivic continuity. In Franck’s hands, however, these principles are articulated with what might be called a more overtly architectural weight, anchoring a richly chromatic Romantic language in forms associated with the Baroque and Classical traditions.

Franck’s engagement with Bach was lifelong and deeply practical, shaped above all by his career as an organist. Far from a mere exercise in historical imitation, Prelude, Chorale, and Fugue fuses familiar forms from Bach’s oeuvre with a distinctly Romantic sensibility, creating a synthesis both retrospective and uniquely Franck’s.

The Belgian composer established his career in Paris, and his early years followed a familiar 19th-century pattern. Marketed as a child prodigy by his ambitious father, he was pushed toward a career as a pianist and composer of lightweight salon works, a path that ultimately proved ill-suited to his temperament. Only later did he find his true vocation as an organist, culminating in his long tenure at the church of Sainte-Clotilde on the Left Bank—a post he held until his death in 1890.

From this outwardly modest position, Franck exerted extraordinary influence as a teacher. Appointed a professor of organ at the Paris Conservatoire in 1872, Franck became a decisive force in French musical life, particularly in the years following the FrancoPrussian War, when the search for a distinctly French instrumental tradition gained urgency.

Despite his early start as a prodigy, Franck is one of the exemplary late bloomers in music history. Not until well into his fifties did he begin composing the secular instrumental works for which he is now best known. Prelude, Chorale, and Fugue belongs to this late creative flowering, dating from two years before his landmark Violin Sonata of 1886. Like the latter, it reveals an expressive intensity that surprised many contemporaries, given Franck’s reputation as a pious and reserved church musician. Regardless of whether later speculation about the personal sources of this passion can be substantiated, the emotional depth of Franck’s mature music is unmistakable.

Already in its title, the Prelude, Chorale, and Fugue openly invokes baroque models, but Franck treats these forms with considerable freedom. The Prelude recalls the spontaneous language of the organ loft, while the Chorale introduces a solemn, hymn-like theme whose weight and dignity anchor the piece. In the Fugue, contrapuntal rigor coexists with a highly chromatic vocabulary. Underlying it all is Franck’s characteristic use of cyclic form: thematic ideas recur and are transformed across the three sections, binding the whole into a single, continuous argument.

Piano Sonata No. 2 in D minor, Op. 14

SERGEI PROKOFIEV

Born April 23, 1891, in Sontsovka, Russian Empire

Died March 5, 1953, in Moscow, U.S.S.R

In Sergei Prokofiev’s own reckoning of the forces that shaped his musical personality, the first he named was what he called his “classical line”—a lifelong engagement with inherited forms that he traced back to the Beethoven sonatas he heard in childhood. That engagement is sharply defined in the Piano Sonata No. 2, composed in 1912 and revised two years later.

The Piano Sonata No. 2 is a product of Prokofiev’s final years at the Saint Petersburg Conservatory, where he was gaining an impressive reputation as both composer and pianist. He graduated in 1914 with unusual distinction, winning the Conservatory’s prestigious Rubinstein Prize by performing his own Piano Concerto No. 1—a characteristically provocative choice that underscored his self-confidence and originality. Prokofiev first performed the Piano Sonata No. 2 in Moscow that same year. The work is dedicated to his close friend and fellow student Maximilian Schmidthof, who committed suicide in 1913, after the sonata had already been composed. Prokofiev learned of his friend’s decision to take his life—made “for reasons that are unimportant,” according to Schmidthof’s devastating suicide letter—only when it was too late to try to stop him.

Like Chopin and Franck before him, Prokofiev absorbed the lessons of Bach and Beethoven at a deep level: clarity of voices, motivic economy, and an underlying respect for large-scale form. But where Chopin bends tradition from within, and Franck integrates it into a richly chromatic synthesis, Prokofiev subjects the sonata to stress. As the musicologist Richard Taruskin has observed, classical outlines remain intact even as they are placed under rhythmic, harmonic, and physical pressure. In the Piano Sonata No. 2, that strain manifests itself in percussive attack, biting dissonance, and passages of brutal, unrelenting aggression.

The first movement projects a pared-down sound world, built from spare textures, sharply etched rhythmic gestures, and registral contrast. A persistent two-against-three rhythmic friction gives the opening idea a taut, unsettled profile. The contrasting second theme introduces a subtle waltz inflection, its elegance edged with dryness rather than warmth. When the first theme later returns in the lower register, transferred to the left hand, its heavier sonority deepens the movement’s sense of tension and weight.

The brief Scherzo intensifies this concentration of energy. Sharply articulated rhythms and biting accents drive the music forward with a kind of sardonic momentum. Compact in scale and relentless in motion, the movement exemplifies Prokofiev’s emerging motoric style.

The Andante provides the sonata’s most sustained lyrical respite, allowing a clear melodic line to gather unexpected force at the climax. Near the close, the return of the opening material in a passage marked con tristezza subtly alters the movement’s expressive color.

The finale is marked by an explosive volatility, driven by aggressive figuration and percussive attack that anticipates the writing of the later sonatas. Energy pushed to manic extremes brings to mind a modernist tarantella. An unsettlingly lyrical episode intervenes, briefly interrupting the turbulence, only to be swept aside as the forward drive reasserts itself.

Meet the Artists

Alexandra Dovgan, piano

Alexandra Dovgan was born in 2007 into a family of musicians and began her piano studies at the age of four and a half. At the age of five, her talent emerged when she passed the highly competitive selection process to join the Academic Central Music School of the Moscow State Tchaikovsky Conservatory, where she studied under the renowned teacher Mira Marchenko. She is currently continuing her education at the Ateneo de Música y Danza in Málaga. Alexandra’s musical development has been greatly influenced by her creative communication with one of the most outstanding pianists of our time, Grigory Sokolov.

Alexandra is a prize-winner in five international competitions, including the Moscow International Vladimir Krainev Piano Competition, the International Young Pianists Competition “Astana Piano Passion,” and the International Television Contest for Young Musicians “The Nutcracker.” She was only ten when she won the Grand Prix at the II° International “Grand Piano Competition” in Moscow. Recordings of this event have travelled the world on Medici.TV and YouTube, moving musicians and piano lovers globally. Despite her young age, Alexandra has already performed in some of the most prestigious concert halls, including the Philharmonie and Konzerthaus in Berlin, the Théâtre des Champs-Élysées in Paris, the Musikverein and the Konzerthaus in Vienna, the Tonhalle in Zürich, Victoria Hall in Geneva, the Konserthuset in Stockholm, the Palau de la Música in

Barcelona, the Gulbenkian Foundation in Lisbon, and the Teatro Colón in Buenos Aires, receiving standing ovations and enthusiastic reviews. Since her acclaimed recital at the Salzburg Festival, Alexandra has impressed critics and the public alike with a remarkable series of international debuts. Among others, she performed with Gustavo Dudamel and the Mahler Chamber Orchestra, the Kioi Sinfonietta and Trevor Pinnock, the Tonhalle Orchestra Zürich and Paavo Järvi, the Stockholm Philharmonic and Ton Koopman, the Barcelona Symphony and Kazushi Ono, the Bergen Philharmonic Orchestra and Pietari Inkinen, and the Orchestre Philharmonique de Monte-Carlo and Kazuki Yamada.

Highlights of the 2025–2026 season include her debut at Carnegie Hall in New York and the Trump Kennedy Center in Washington, D.C., as well as at Amsterdam Concertgebouw, Orchestre National de France, Dresden Philharmonic, Hamburg Symphony, Lucerne Symphony Orchestra, and San Diego Symphony, with returns to Konzerthaus Vienna, Boulez Saal Berlin, Prinzregententheater Munich, and many others.

The distinguishing characteristics of Alexandra’s pianism are her spontaneous depth and consciousness, along with a sound of incredible beauty and precision. You will not find any element of showboating or mere technical demonstration in her playing; rather, there is an impressive concentration combined with purity of expression and creative imagination. She possesses a charismatic presence on stage and a distinct personality. In June 2024, Alexandra Dovgan received the prestigious Prix Serdang from Rudolf Buchbinder and Adrian Flury in recognition of her achievements and her already significant career.

National Symphony Orchestra

The 2025–2026 season is the National Symphony Orchestra’s 95th and Music Director Gianandrea Noseda’s ninth season. Gianandrea Noseda serves as the orchestra’s seventh music director, joining the NSO’s legacy of distinguished leaders: Christoph Eschenbach, Leonard Slatkin, Mstislav Rostropovich, Antal Doráti, Howard Mitchell, and Hans Kindler. Its artistic leadership also includes Principal Conductor and Artistic Advisor Steven Reineke.

Since its founding in 1931, the NSO has been committed to performances that enrich the lives of its audience and community members. In 1986, the National Symphony became an artistic affiliate of the John F. Kennedy Center for the Performing Arts, where it has performed since the Center opened in 1971. The 96-member NSO participates in events of national and international importance, including the annual nationally televised concerts on the lawn of the U.S. Capitol, livestreamed performances on medici.tv, and local radio broadcasts on WETA Classical 90.9 FM.

Since launching its eponymous recording label in 2020, the NSO has embarked on ambitious recording projects, including its first complete Beethoven Symphony cycle and the release of the first-ever cycle of George Walker’s Sinfonias, both led by Noseda. Recent projects include Four Symphonic Works by Kennedy Center Composerin-Residence Carlos Simon conducted by Noseda, and William Shatner’s So Fragile, So Blue, recorded live in the Concert Hall with the NSO under Steven Reineke. Forthcoming releases with Gianandrea Noseda include music by Gustav Mahler and William Grant Still, as well as Samuel Barber’s opera Vanessa.

The NSO’s community engagement and education projects are nationally recognized, and career development opportunities for young musicians include the NSO Youth Fellowship Program and its acclaimed, tuition-free Summer Music Institute.

Symphony

Loud and Clear

Terms to know in the Concert Hall, loosely defined.

An extended work with multiple sections—typically four movements.

A “symphonic” piece is a long piece with multiple interpretations of a musical idea. A repeated, transformed musical idea is called a theme.

Orchestra

A group of musicians who play together.

In the Western European tradition, an orchestra often includes the four major instrument families—brass, woodwinds, strings, and percussion. An especially large orchestra is called a symphony orchestra. A smaller orchestra is called a chamber orchestra

Movement

A section of a musical work. Movements are often separated by silences, and they typically differ in tempo—speed.

Sonata

Originally, a musical composition played on instruments. In modern usage, “sonata” can mean a piece for a soloist or an ensemble, often with two to four movements. If a work or a movement is written in sonata form, it is structured in three sections: exposition, development, and recapitulation.

Concerto

A piece pairing a technically advanced soloist with the support of an orchestra, usually in three movements. Though there may be multiple soloists, the contrast between a larger ensemble and a soloing group defines a concerto.

Chorale

A congregational piece sung by a chorus, or an instrumental piece in the harmonic style of a hymn.

Overture

An orchestral instrumental introduction to a dramatic musical work, such as an opera or a ballet. Composers, particularly those of the Romantic Period, sometimes composed independent concert overtures, intended to begin a larger musical program.

Suite

Multiple pieces intended to be performed together. Suites may take from larger works, such as an opera or a ballet.

Fugue

An often brief work with multiple melodic lines interpreting a single, recurring theme. J.S. Bach popularized the practice of pairing fugues with introductory preludes.

Tempo Markings

Largo - slow, broad

Lento - slow

Andante - moderately slow, walking pace

Moderato - moderate

Allegretto - slightly slower than allegro

Allegro - fast, bright

Vivace - fast, lively

Presto - very fast

Additional Markings

Poco - a little Meno - less Non tanto - not as much

Ma non troppo - but not too much

Più - more

Molto - very Animato - animated

Sostenuto - sustained Maestoso - majestically

Marcato - marked, accented

Mosso - with motion and speed

Con brio - with liveliness

Scherzo - a fast, playful section

National Symphony Orchestra Staff

ADMINISTRATION

Jean Davidson, Executive Director

Sabryn McDonald, Executive Assistant

EXECUTIVE TEAM

Kasama Apfelbaum, Vice President, Financial Planning & Analysis

Nigel Boon, Vice President, Artistic Planning

John Roloff, Vice President, Orchestra Operations

ARTISTIC PLANNING

Justin Ellis, Senior Producing Director

Ana Vashakmadze, Assistant Artistic Administrator

DEVELOPMENT

Laney Pleasanton, Manager, NSO Individual Giving

Pamela Wardell, Senior Director of Development

EDUCATION

Vanessa Thomas, Director of Education Activation & Engagements

FINANCE AND ADMINISTRATION

Eric Rubio, Director of Finance & Administration

HUMAN RESOURCES

Tony Amato, Director, Total Rewards

Chanel Kemp, Talent Acquisition Manager

Patrice McNeill, Director, HR Operations

Lisa Motti, HRIS Coordinator

Ericka Parham, Benefits Analyst

John Sanford, Senior Business Partner

MARKETING & ADVERTISING

Michael Granados, Marketing Manager, NSO, Fortas & New Music

Lily Maroni, Senior Manager, Advertising Communications

Elizabeth Stoltz, Advertising Production & Special Projects Assistant Manager

Derek Younger, Director, Sales & Ticketing Service

ORCHESTRA OPERATIONS & CONCERT PRODUCTION

Brooke Bartolome, Orchestra Personnel and Operations Manager

Joseph Benitez, Media & OPAS Support Coordinator

N. Christian Bottorff, Assistant Stage Manager

Cayley Carroll, Director, Production & Orchestra Operations

Karyn Garvin, Director of Orchestra Personnel

David Langrell, Stage Manager

Sufyan Naaman, Personnel and Auditions Coordinator

Ava Yap, Operations Assistant

PUBLIC RELATIONS

Amanda Fischer, Deputy Director of Public Relations

Kennedy Center Staff

Trump Kennedy Center Staff

KENNEDY CENTER EXECUTIVE LEADERSHIP

TRUMP KENNEDY CENTER EXECUTIVE LEADERSHIP

KENNEDY CENTER EXECUTIVE LEADERSHIP

President, John F. Kennedy Center for the Performing Arts

President, John F. Kennedy Center for the Performing

President, John F. Kennedy Center for the Performing Arts

President, John F. Kennedy Center for the Performing

President, John F. Kennedy Center for the Performing Arts

Chief Financial Officer

Ambassador Richard Grenell

Ambassador Richard Grenell Chief Financial Officer

Donna Arduin

Ambassador Richard Grenell Financial Officer

General Counsel

Donna Arduin

Chief Financial Officer Donna Arduin

Donna Arduin General Counsel

General Counsel

Berke

General Counsel Elliot Berke

Berke

Donna Arduin General Counsel

Berke

Senior Vice President, Development

Dale

Senior Vice President, Development

Vice President of Human

Dale

Senior Vice President, Marketing

Senior Vice President,

Osborne

Senior Vice President, Marketing�� Robin Osborne

Osborne

Senior Vice President, Special

Senior Vice President, Special Events

Donlon

Senior Vice President, Development Lisa Dale

Donlon

Vice President, Human

Vice President, Human Ta’Sha Bowens

Vice President, Public Relations Roma Daravi

Vice President, Operations

Executive Director, National Symphony Orchestra Jean Davidson

Vice President, Education

Vice President,

Vice President, Education

Vice President, Special Events

Vice President, Education

Bronagh Donlon

Vice

Vice President, Public

Vice President, Public Relations

Vice President, Facilities Matt Floca

Vice President, Public Relations

Chief Information Officer

Chief

Chief Information Officer

Vice President, Education Jordan LaSalle

Chief Information Officer

Executive Director, National Symphony Orchestra

Executive Director, National Symphony

Executive Director, National

Executive Director, National Symphony Orchestra

Executive Director, National Symphony

Chief Information Officer Bob Sellappan

General Director, Washington National

General Director, Washington

General Director, Washington National

General Director, Washington

Concert Hall Staff

Theater Manager

Theater Manager Allen V. McCallum Jr.

Theater Manager

Theater Manager Allen V. McCallum Jr.

Box Office Treasurer

Allen V. McCallum Jr.

Theater Manager Allen V. McCallum Jr.

Allen V. McCallum Jr.

Deborah Glover

Box Office Treasurer Deborah Glover

Deborah Glover

Box Office Treasurer

Deborah Glover

Box Office Treasurer Deborah Glover

Head Usher

Head Usher Cathy Crocker

Head Usher

Stage Crew

Cathy Crocker

Head Usher Cathy Crocker

Cathy Crocker

Head Usher Cathy Crocker

Stage Crew Zach Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb

Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb

Stage Crew Zach Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb

Zach Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb

Stage Crew Zach Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb

*Represented by ATPAM, the Association of Theatrical Press Agents and Managers.

Steinway Piano Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the Kennedy Center.

Steinway Piano Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the Trump Kennedy Center.

Steinway Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the Kennedy Center.

The box office at the Kennedy Center is represented by I.A.T.S.E, Local #868.

The box office at the Trump Kennedy Center is represented by I.A.T.S.E, Local #868.

The box office at the Kennedy Center is represented by I.A.T.S.E, Local #868.

The technicians at the Kennedy Center are represented by Local #22, Local #772, and Local #798 I.A.T.S.E.

The technicians at the Trump Kennedy Center are represented by Local #22, Local #772, and Local #798 I.A.T.S.E.

The technicians at the Kennedy Center are represented by Local #22, Local #772, and Local #798 I.A.T.S.E.

AFL-CIO-CLC, the professional union of theatrical technicians.

The technicians at the Kennedy Center are represented by Local #22, Local #772, and Local #798 I.A.T.S.E. AFL-CIO-CLC, the professional union of theatrical technicians.

AFL-CIO-CLC, the professional union of theatrical technicians.

The American Guild of Musical Artists, the union of professional singers, dancers and production personnel in opera, ballet and concert, affiliated with the AFL-CIO, represents the Artists and Staging Staff for the purposes of collective bargaining.

The American Guild Musical Artists, the union of professional singers, dancers and production personnel in opera, ballet and concert, affiliated with the AFL-CIO, represents the Artists and Staging Staff for the purposes of collective bargaining.

National Symphony Orchestra musicians are represented by the Metropolitan Washington, D.C. Federation of Musicians, AFM Local 161-710.

National Symphony Orchestra musicians are represented by the Metropolitan Washington, D.C. Federation of Musicians, Local 161-710.

National Symphony Orchestra musicians are represented by the Metropolitan Washington,

National Symphony Orchestra musicians are represented by the Metropolitan Washington, D.C. Federation of Musicians, AFM Local 161-710.

Thank You to Our Supporters

National Symphony Orchestra Board of Directors

Officers

Joan Bialek, Chair

Ashley Davis, Vice Chair

Stanley Pierre-Louis, Treasurer

Brian Boyle, Secretary

Executive Committee

Carl Bergeron, Chair, Pension Committee

Brian Boyle, Co-Chair, Development Committee

Ashley Davis, Chair, Nominating and Governance Committee

Shannon McCormick Davis, Co-Chair, Development Committee

Ronald D. Abramson

Anne K. Altman

Michael F. Brewer

Jean Davidson, ex officio

Barbara H. Franklin

Directors

Ernest Abbott

Andrita J. Andreas

Jane Lipton Cafritz

Ronya Corey

Pierre de Lucy

Debbie Driesman

Larry Driver

William Finnerty

Brian L. Gevry

David Ginsberg

Cindy Green

Thomas C. Green

Kathryn Jones

Christina Co Mather

Michael Mayton

Richard Moxley

Stephanie Guyett

Dana Hearn

Helen Jackson

Ann D. Jordan, Lifetime Dir.

Vlad Khomenko

Gerald L. Kohlenberger, ex officio

Michael Lipsitz

Jan M. Lodal

Timothy R. Lowery

Heidi Narang

David B. Novy

Michael Salzberg

Roger W. Sant

Susan Silverstein Scott

Tina B. Small

Cathy McCulloch

Sarah Mills

Jeanne Weaver Ruesch

Sheryl Schwartz

Jeffrey M. Senger

Jeff Shockey

Raghu Srinivasan

Courtney Straus

Stuart Winston

National Symphony Orchestra National Trustees

Officers

Gerald L. Kohlenberger, VA, Chairman

Ross Ain, DC, Vice Chairman

Ken Leibowitz, DC, Vice President of Membership

Purvi Patel Albers, TX, Vice President of Development

Jeannette J. Segel, AZ, Vice President of Special Events & Meetings

Ex-Officio Positions

Michael Mayton, AR, Past Chairman

Jessine Monaghan, DC, Past Chairman

Mary K. Abercrombie, ID, Past Chairman

Members

Susan Ain, FL

Ralph Baxter, WV

Jeri Crawford, NV

Nancy Jean Davis, FL

Gail Charnley Elliott, CT

Glenn Finch, VA

Mary Galvin, IL

Larry Kellogg, FL

Laura Kerr-Engstrom, OK

Tom Mims, FL

Theresa Thompson, VA

James Ward, NM

John Wohlstetter, SC

Stephen T. Young, GA

Thank You to Our Donors

Individual and Foundation donors contributing $1,800 or more to the National Symphony Orchestra annually are recognized in the following lists. For a full listing of Trump Kennedy Center supporters, please visit: tkc.co/Support

$500,000+

Anonymous

The Morris and Gwendolyn Cafritz Foundation

$100,000-499,999

Mr. Martin K. Alloy and Mrs. Daris M. Clifton-Alloy

Paul M. Angell Family Foundation

The Galena-Yorktown Foundation

$50,000-99,999

Anonymous (2)

Mrs. Byrle M. Abbin

The Andreas Family Foundation

Eve E. Bachrach

Joan Bialek and Louis Levitt, MD

$25,000-49,999

Anonymous

Ernest and Catherine Abbott

Ms. Anne K. Altman

Bender Foundation, Inc.

Brian and Sheila Boyle

Michael Brewer and Janet Brown

Shannon and Jim Davis

Pierre de Lucy and Jodie McLean

Ms. Kirby Heller and Mr. Stephen Dennett

Dr. Christine A. Dingivan

The Honorable Barbara H. Franklin

Ann and Tom Friedman

Mary B. Galvin

Brian and Kendra Gevry

David and Ellen Ginsberg

Cindy and Andy Green

Greg and Stephanie Guyett

Daniel Heider

$10,000-14,999

Anonymous (2)

Mary K. Abercrombie

Ross and Judy Ain

Mr. and Mrs. Michael Baly, III

Ralph H. Baxter, Jr.

Mr. and Mrs. Richard T. Crawford

Gail Charnley and E. Donald Elliott

Mr. and Mrs. Glenn Finch

$6,000-9,999

Janice and Larry Clark

Phil and Joan Currie

Mr. and Mrs. Dennis de Tray

Mr. Edward A. Farquhar

Henrietta “Etta” Fielek

Drs. Jorge R. Gallardo-García and Viviana Vélez-Grajales

Mr. Woolf P. Gross

Dr. Elaine S. Jaffe and Mr. Michael Evan Jaffe

The Dallas Morse Coors Foundation for the Performing Arts

Dr. Gary Mather† and Ms. Christina Co Mather

Dana A. Hearn and Kevin J. McCloskey

Thelma Z. Lenkin

Jacqueline Badger Mars

Eric Shin

Larry Driver

Tom and Pamela Green

Janet and Jerry Kohlenberger

The Honorable Jan M. Lodal

Stella Boyle Smith Trust, Catherine and Michael Mayton, Trustees

Ms. Judy Honig and Mr. Stephen Robb

Mr. Frank F. Islam and Ms. Debbie Driesman

Helen Jackson and Joseph Sassoon

Admiral Jay L. Johnson and Sydney McNiff Johnson

Kathryn and J. Stephen Jones MD

Michael and Terri Lipsitz

Cathy and Scot McCulloch

Kathe and Bill McDaniels

Mr. Devon McFadden and Ms. Ronya Corey

Sarah and Christopher Mills

Jessine A. Monaghan

RJ and Heidi Narang

David Novy

Melanie and Larry† Nussdorf

Stanley Pierre-Louis and Natalie Williams

Josh Harris

Frederic Harwood and Nedda di Montezemolo

Sarosh Khan

The Kiplinger Foundation

Richard S. and Karen LeFrak

Charitable Foundation

Ken Leibowitz

Glen M. Johnson

Helen and David Kenney

Jane Mary Kwass

Sharon and Alan Levy

Heidi and Bill Maloni

RADM Dan and Jackie March, USN Ret

Joan and John McAvoy

Leah Chang and Ryan Naftulin

Mr. Robert K. Oaks

Mellon Foundation

Roger Sant and Doris Matsui

The Leonard and Elaine Silverstein Family Foundation Fund for the National Symphony Orchestra

The Volgenau Foundation

The Moxley Family Foundation

Jeanne Weaver Ruesch

Jeffrey Shockey

Tina and Albert Small, Jr.

Drs. Robert and Gail† Wilensky

Howard and Geraldine Polinger Family Foundation

Steven Portnoy and Ryan Manning

Mrs. Harriet Rogers

Michael and Deborah Salzberg

Brad and Sheryl Schwartz

Susan Silverstein Scott

Jeffrey and Leigh Senger

Dr. Heather Turnbow and Mr. Raghu Srinivasan

John and Eunice Thomas

Nina Totenberg and David Reines

Jerry and Carol Trautschold

Mr. John C. Wohlstetter

Mr. Georges Markow-Totevy

Jeannette J. Segel

Fredda S. Sparks

The Linda and Isaac Stern Charitable Foundation

Theresa Thompson

Steve and Jena Young

Mr. Joseph A. Page and Ms. Martha Gil-Montero

Ashley Rose and Jerry Horak

Justin A. Shirk

Claire and Jack Tozier

Michael and Alice Weinreb

Dr. and Mrs. Peter L. Willson

$4,000-5,999

Anonymous (2)

Pennie and Gary Abramson

Ken and Liz Babby

David M. Bachman, M.D.

Dr. Mark Cinnamon and Ms. Doreen Kelly

George and Phyllis† Cohen

Helen Darling and Brad Gray

Gretchen and Douglas Davies

Tom Ehrgood

Robert Fahs

Jack Firestone

Alma Gildenhorn

Maggie Givens

Mr. and Mrs. Jurgen O. Gobien

Mr. and Mrs. Rolf Graage

Richard and Pamela Hinds

Joe† and Lynne Horning

$1,800-3,999

Anonymous (4)

Anja Allen

Mr. John Ausink and Ms. Elaine S. Simmons

Ann and Russel Bantham

Mr. and Mrs. Mitchell J. Bassman

Herschel V. Beazley

John† and Priscilla Becker

Elaine and Richard Binder

Robert Bleimann and May Chin

Jane B. Boynton

Mary Breiner

Ms. Linda Bunce

Mr. Vincent Careatti

Frank and Victoria Chang

Helen Chason

Susan Christie

Donna Christy

Robin Rowan Clarke

Robert M. Coffelt, Jr.

Mr. and Mrs. Anthony C. Collins

Sandra Cummins-Haid and Allen Haid

Col. and Mrs. James Dandridge II, Ret

Justin W. Danowski

Mr. Michael J. Dean

The Charles Delmar Foundation

Dr. Darrin and Mrs. April DeReus

Tracy Dietz

Peter and Sally DiGiovanni

Dr. Earl W. Donaldson

Aaron and Jackie Epstein

John Evans

Anita Fendrock

Ms. Nina M. Fite

Charles and Mita Forsyth

Dr. Stanley and Ronna Foster

Catherine French

Richard L. Gaiani

Carol Galaty and Kenneth Shuck

Ms. Pamela J. Garvie

Professor Joseph L. Gastwirth

Laura Genero, in memory of Elizabeth H. Genero

Brenda A. Pommerenke and Dr. Larry George

Karyn C. Gill and George M. Gill, MD

Dr. and Mrs. Michael Gold

Mr. Barry D. Goldberg

Jesse Goodman and Nicole Lurie

Thomas Graves and Jennifer Eubanks

Marianne Gustafson

Brian and Kaitlin Haggerty

Mr. and Mrs. Kevin Kampschroer

Isabelle Katzer

Henry B. & Jessie W. Keiser Foundation, Inc.

Erna and Michael Kerst

SooJung Kim

Edward Lenkin and Roselin Atzwanger

John and Jaime Martinez

Catherine McGuire

Sis and Jim McKay

In Honor of Jenny Mondie

Beret and Homer Moyer

Ronald Mueller and Larry Anthony

Ms. Madeline C. Nelson

Elise and Dennis Reeder

Jane† and David Reese

Admiral William Roberts and Patricia Roberts

Ms. Susan Z. Haller

Dr. and Mrs. H. Keith Hellems

Virginia Hendrickson

Lenese C. Herbert

Daniel Hicks and John McCall

Mr. and Mrs. J. Paul Horne

Christiane B. Huff

Stephen and Neda Humenik

Brian Hunter

Dr. Brian M. Ilfeld

Ms. Nancy E. Johnson

Ann L. Jones

Dr. Rachel Kaiser and Dr. Yves Konigshofer

Dr. Martha Kanter

Peter and Carol Kaplan

Irene and Louis Katz

Diane and Brian Keller

Stephanie Smith Kinney

Mr. and Mrs. William H. Kirchhoff

Jennifer Knoops

Mr. Michael and Young Hee Kreps

Janet Platt Lambert

Dr. and Mrs. Keith M. Lindgren

Michael Long

Judge and Mrs. Alan D. Lourie

Dr. Joyce S. Lowenstein

Mr. and Mrs. Frank Maddox

Hon. and Mrs. Kenneth L. Marcus

Dan and Karen Mayers

Ms. Kathleen T. McCollom

Mary Kay and Dorn McGrath

Susan McGrath

Alan and Ruth Melvin

Catherine Michaels

Mr. Jim Miller

Mr. Joseph J. Minarik

Arthur Mitchell

Clara Montanez

Susan and Fred Morhart

James Morris

Ms. Sakura Namioka

Kara Nath

Bruce and Son Young Nelson

Anna Nichols

Rich Oakley

David O’Connor

David and Marina Ottaway

Michael Pasich

Michael and Barbara Phillips

Tracy Pless

Mr. and Mrs. James J. Pohlman

Ellen and Roy Rosenthal

MG (Ret) and Mrs. Alan B. Salisbury

Steven and Donna Shriver

Christine J. Steiner

Dr. Barbara S. and Dr. Howard D. Stowe

Ms. Mary K. Sturtevant and Mr. Alan V. Asay

Paul and Chandler Tagliabue

Marilyn Walz Taylor

Charles Trozzo and Gail Rothrock

Mr. and Mrs. James G. Vaughter

Gloria M. Weissberg, PhD

Dr. Linda E. Wetzel

Kathleen G. Wicks

Mr. Christopher Wolf and Mr. James L. Beller, Jr.

David Worby

Mahy Polymeropoulos

George and Virginia Potts

Ms. Shannon Quill and Mr. Brian Miller

Jane Evans Ramsay

Mrs. Barbara Rapaport

William Reed

In Memory of Jane Reese

Henry & Anne Reich Family Foundation, Lee G. Rubenstein, Co-President

Thomas Richardson and Kyra Cheremeteff

Gerd and Duncan Ritchie

Mr. and Mrs. James P. Roach

Mr. and Mrs. William Ronsaville

Mr. and Mrs. Harry Rosen

Dr. Shirley Ross and Mr. Joseph Pinciaro

Robert and Fran Rubin

Mr. Charles A. Rubio, Jr.

Enric Sala

Ms. Patricia A. Sarcone

Mr. Ronald J. and Mrs. Rise F. Schlesinger

The Honorable Carol L. Schwartz

Cheryl L. Sharp

Byron and Elva Siliezar

Patricia L. Sims, Esq. and David M. Sims, Esq.

Ronald and Margaret Stehman

Douglas Struck

Evelyn A. Sweet

Kathy Szot

Kathleen M. Thies

Pauline Labbé Thompson

Kenneth Timmer

Steven and Prudence Traut

Raya Bakalov Treiser and Max Johnson

Capt. and Mrs. Eric Vanderpoel II, USN, Ret.

Laura and Kirk Wade

Pearl Y. Wang

Judy Ann and Richard Webster

Judith Weintraub

Ms. Rebecca Welch

Ms. Carla Wheeler and Mr. Jeffrey P. Naimon

Lawrence Wilkerson

Leslie-Ann Williams

Al Wilson

Dr. Ursula R. Wolfman

Robert Woodward and Elsa Walsh

Clinton B. Wright

Daniel Zak

Orchestrated Lives

Each month, the National Symphony Orchestra (NSO) spotlights a different musician. For this program, orchestra librarian Elizabeth Cusato Schnobrick discusses her team’s @NSO_Librarians Instagram page, the necessity of bowings, and what it takes to prepare a piece for performance.

Name: Elizabeth Cusato Schnobrick

Hometown: Anchorage, Alaska

Role: Principal Librarian

Years with the NSO: 17

How did you find your way to working as a professional music librarian?

I taught band and orchestra for eight years, and I was looking for something temporary to do as a sabbatical. I ended up doing an internship with the Philadelphia Orchestra that I thought would last for one year, but it became a career.

Could you explain the work of a music librarian in your own words?

We are tasked with getting the right music to the right place at the right time, so we work with Artistic Planning and conductors to figure out what editions they want to use and whether they have any specific markings or that need to be added to the parts. We work with Personnel to make sure that everybody knows how many musicians are needed, and with Operations to help them with information about what needs to fit on the stage. Every sheet of music that goes onto the stage is bespoke; it is for that specific moment in time. Even though a Beethoven symphony has been around for a really long time and there aren’t significant changes being made to it, if we pull a Beethoven out of the library, we still check every single page. Orchestra librarians need to have had performing experience to understand what a player sitting on the stage is experiencing and give them what they need to be successful.

What does it mean to “mark the bowings?”

To put it simply, string players either move their bow up or down, and there’s a specific notation for each of those two motions. Our string principals examine each piece of music and either create bowings from scratch or confirm that the bowings already in the part feel right to them. We then compare the principal parts against every part in their section to make sure that the penciled markings on each page are identical.

Can you tell me about the origin of the @NSO_Librarians Instagram page?

We were sitting around as a trio, talking about how people always have questions about what we do and who we are, and we had this idea that we would start an Instagram page to share what it’s like to be an orchestral librarian. In the initial stages, we thought it would be very how-to, but it has turned out to be more whimsical, which has been delightful. We really enjoy what we do and who we do it with, and I think that comes out in the posts.

If you could say one thing to NSO audiences, what would it be?

I think that music has the power to be life-changing. I think it finds us in the liminal spaces. I think that it is unifying and inspiring. Through the shared experience of live music, we can all become bigger and better than we were. I hope, when audiences come to our concerts, that is their experience.

This interview has been edited for length and clarity.

NSO Presents: Khatia Buniatishvili

Pianist Khatia Buniatishvili, “a rock star in the classical music world” (New York Post), explores the full range of Franz Liszt’s music, from lyrical intimacy to high-voltage power�

Please note: the NSO does not perform on this program

April 24, 2026 | Concert Hall

Support your ORCHESTRA

The mission of the National Symphony Orchestra is to engage audiences locally, across the country, and around the world through excellence in performance and education. Each year, the NSO offers approximately 150 concerts as well as some of the country’s most extensive community and educational programming. It regularly participates in events of national and international importance, including performances for state occasions, highlevel government events, and regularly televised holiday appearances for Capitol Concerts and local radio broadcasts on WETA, making the NSO one of the most-heard orchestras in the country.

Give your support in this 95th season by becoming a Member, joining the NSO Circles, or pledging a Legacy Gift. Visit tkc.co/SupportNSO or scan the QR code.

Thank You to Our Supporters

The Trump Kennedy Center Board of Trustees

National Symphony Orchestra Board of Directors

The Trump Kennedy Center President’s Council

The Trump Kennedy Center International Committee on the Arts

President’s Advisory Committee on the Arts

National Committee for the Performing Arts

National Symphony Orchestra National Trustees

The Trump Kennedy Center Circles Board

The Trump Kennedy Center Community Advisory Board

The Trump Kennedy Center Corporate Fund Board

The Trump Kennedy Center 50th Anniversary Committee

Corporate Donors

Individual and Foundation Donors

Endowment Gifts, Bequests, and Legacy Donors

Building the Future Campaign Donors

Visit tkc.co/Support for a full listing of donors and to learn how you can join us by becoming a Member.

Andrew Geraci

Philharmonia Fantastique: The Making of the Orchestra

Told through a mesmerizing hybrid of animated and live action filming, a magical Sprite embarks on a musical journey through the inner workings of an orchestra! Violin strings vibrate, brass valves slice air, and drumheads resonate like you’ve never seen before—all set to live music from the National Symphony Orchestra.

March 29, 2026 at 2 p.m.

Death and Transfiguration | Khachatryan plays Sibelius

Strauss traces the final moments of a life: memories surface, struggles fade, and a soul wins its final release. Under the baton of Simone Young, the NSO displays the full scope of Strauss’ vision. Sergey Khachatryan brings fire to Sibelius’ Violin Concerto.

April 2, 2026 at 7 p.m.

April 3, 2026 at 11:30 a.m.

April 4, 2026 at 8 p.m.

Bruckner’s Seventh | Gerlach plays Haydn

NSO Principal Trumpet William Gerlach takes center stage in one of the most celebrated pieces of his instrument’s repertoire—Haydn’s sparkling Trumpet Concerto. Gianandrea Noseda completes the evening with Bruckner’s grand Symphony No. 7, a drama of majestic horns and hushed violins.

April 10 & 11, 2026, at 8 p.m.

2025–2026 CLASSICAL SEASON PERFORMANCE CALENDAR

Death and Transfiguration

Khachatryan plays Sibelius

Thu., Apr. 2, 2026 at 7 p.m.

Fri., Apr. 3, 2026 at 11:30 a.m.

Sat., Apr. 4, 2026 at 8 p.m.

Bruckner’s Seventh Gerlach plays Haydn

Fri., Apr. 10, 2026 at 8 p.m.

Sat., Apr. 11, 2026 at 8 p.m.

Mozart’s “Jupiter” & Bach’s Brandenburg No. 1

Wed., Apr. 15, 2026 at 7 p.m.

Thu., Apr. 16, 2026 at 7 p.m.

Fri., Apr. 17, 2026 at 8 p.m.

NSO Presents*

Khatia Buniatishvili

Fri., Apr. 24, 2026 at 8 p.m.

Opera in Concert

Puccini’s Il trittico

Wed., Apr. 29, 2026 at 7 p.m.

Fri., May 1, 2026 at 7 p.m.

Gaffigan conducts Ives and Copland

Fri., May 29, 2026 at 8 p.m.

Sat., May 30, 2026 at 8 p.m.

Cann plays Coleman

Fri., June 5, 2026 at 8 p.m.

Sat., June 6, 2026 at 8 p.m.

Dalene plays Barber

Fri., June 12, 2026 at 8 p.m.

Sat., June 13, 2026 at 8 p.m.

*Please note: The National Symphony Orchestra does not perform in these concerts.

For 250 years, America’s story has been told through the voices of its artists, the rhythm of its music, the words of its writers, and the movement of its dancers. It is a story of resilience and reinvention, of dreams daring enough to redefine what was possible, and of creativity that has not only shaped a nation, but the world.

As the nation marks 250 years since the signing of the Declaration of Independence, the Center invites Americans everywhere to take part in 250 Years of US, a yearlong exploration of who we are, where we’ve been, and where we’re going. Through music, theater, dance, and visual art, 250 Years of US celebrates the boundless imagination of a people united by creativity.

SHARE THE JOY of the ARTS

A toast before the show. A meal with a view. A selfie in the foyer. At the Trump Kennedy Center, it’s not just about the performance, it’s the moments you share before and after the curtain rises.

Here, you’ll find joy and awe, surprise and wonder. When you come for a performance, you’ll leave with something more. Because what you feel—and who you feel it with— becomes the memory you both carry.

Take home... a musical memory.

Mozart Magic Flute Earrings

These exquisite earrings bring Mozart’s masterpiece to life with fluteinspired details that create a visual symphony. $42

NSO Cap and T-shirt

Our new National Symphony Orchestra cap and tee let you show your pride in our world-class symphony. $30 each

Make Your Own Music Mug

No better way to start your day than with a coffee mug imprinted with blank sheet music and sticker notes so you can compose your own melody. $20

Visit our two gift shops on Level A and in the Hall of States. Shop online 24/7 at tkc.co/shop

CURTAIN UP

Patrons share their first experiences at the Center.

Louisa and Savanah

My daughter Louisa went to her first Center performance in January 2024 at age five. It was a mother-daughter date with her friend Eliza and Eliza’s mom Joy. The girls both dressed as Elsa, and it happened to be a snowy day in D.C. The magic of Frozen, along with the wonder created by the atmosphere made for an unforgettable first experience!

Maka

I remember the first time I saw the Center. It was a tapestry of rainbow lights, holding its own in the vast D.C. skyline. I gaped as my mom drove us right up next to it. It was big, but somehow more welcoming than intimidating.

The grand hall led into yet another equally grand one, where I felt as if I were walking the red carpet, with imported

Louisa and friend Eliza, both dressed as Elsa, wait outside the Opera House to see Frozen.

crystal chandeliers far overhead. I thought that this in and of itself was magical, but the real magic was inside the theater. I whipped out my phone to take a picture of the illuminated ceiling, but as soon as the lights dimmed and the show started, I forgot phones existed. My mom and I were there to see & Juliet, and we were blown away by the acting, music, and lights that went into the production. At the end, my face hurt from smiling and my hands hurt from clapping, and it was worth it.

Diann

My family and I came to see The Princess Bride in Concert with the National Symphony Orchestra. Both of our boys play viola, and The Princess Bride is a very loved movie in our family so it was meant to be…

The best thing is, I have a service dog, Eugene, and we were welcomed without issue. The kindness started when I first emailed to see what seating was like to make sure that Eugene would fit under the chair. In the response to my email, I received kindness, dimensions, photos, and was asked to reach out to book my seats if I needed any assistance.

Overall, I was highly impressed with the hospitality of this venue. 10/10 will be attending another event!

Benjamin

As I watched the curtain rise on the opening night of the Stuttgart Ballet’s performance of Onegin, I felt a great sense of excitement swell within me. The sheer beauty of the dancers, sets, and costumes was almost overwhelming and reminded me that beauty truly is something objective, because that is the best way to describe this ballet: beautiful.

Following the bows, I could not get Onegin out of my head; something about it was so magnetic and hypnotic that I ended up returning twice more to witness the spectacle. Each night I sat in a different location around the Opera House, giving me a unique experience each performance, and each night, I picked up on new details and nuances that I had not been keen enough to see before.

While it would be impossible to name one scene as my favorite, the finale was so gut-wrenching and emotional that I will never forget what true passion looks like.

Diann’s children pose by the riverfront before The Princess Bride in Concert.

Create an experience... that will last a lifetime.

WEDDINGS AT THE REACH

REACH wedding rentals offer a variety of indoor and outdoor venues to create an unforgettable celebration of love. Situated on the south end of the Trump Kennedy Center Campus, the REACH is a premier Washington, D.C. event venue. With stunning views of the Potomac River, the largest green roof in D.C., and multifunctional event spaces, the REACH provides new elegance with a modern aesthetic.

Visit tkc.co/weddings or scan the QR code for more information.

Every step. Every turn. We’re with you.

From primary care to advanced expertise in cardiology, oncology, orthopaedics, and more—our top-rated providers make it easy to get the care you need.

It’s how we treat every person…with the best of our hearts, and the best of our minds.

The Keys give you a show above and below the surface. From art galleries to museums and live music, no place inspires more freedom of expression. In The Keys, you’re part of the performance.

VisitFloridaKeys.com/arts-culture 1.800.Fla.Keys