NSO, Bruckner's Seventh, Gerlach plays Haydn, April 2026 by Encore Magazine

Bruckner’s Seventh Gerlach plays Haydn

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

APRIL 10 & 11, 2026 AT 8 P.M. | CONCERT HALL

Gianandrea Noseda, conductor William Gerlach, trumpet Ω

JOSEPH HAYDN (1732–1809)

ANTON BRUCKNER (1824–1896)

Trumpet Concerto in E-flat major, Hob. Vlle:1 (1796)

i. Allegro

ii. Andante

iii. Finale: Allegro

INTERMISSION

Symphony No. 7 in E major, WAB 107 (1881–1883)

i. Allegro moderato

ii. Adagio

iii. Scherzo

iv. Finale

Ω NSO Principal Musician

THANK YOU TO OUR SEASON SPONSORS

The NSO Music Director Chair is generously endowed by Roger Sant and Congresswoman Doris Matsui

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

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 Director, National Symphony Orchestra

Gianandrea Noseda Music Director, National Symphony Orchestra

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

Notes on the Program

Trumpet Concerto in E-flat major, Hob. Vlle:1

JOSEPH

HAYDN

Born March 31, 1732, in Rohrau, Austria

Died May 31, 1809, in Vienna, Austria

When Joseph Haydn returned to Vienna in 1795 from the second of his two triumphant stays in London, he was the most famous and lionized musician in Europe. He had earned his renown by straddling the fine line between conservatism and experimentation throughout his career, and the Trumpet Concerto, composed when he was well into his seventh decade, shows that he had no intention of curbing his inventiveness.

During the time Haydn was in London, Anton Weidinger, a trumpeter in the Habsburg Court Orchestra in Vienna, was developing a new instrument that he called a “keyed trumpet”—rather like a bugle with saxophone keys—one of the many mechanical and acoustical experiments then attempting to expand the range and chromatic possibilities of the brasses. The inventor demonstrated his new keyed trumpet to Haydn, who was so taken with it—and with Weidinger’s skill as a performer—that he agreed to write a piece for him. Haydn’s enthusiasm notwithstanding, however, Weidinger’s invention was flawed in that its key mechanism dulled its tone quality, and the instrument found little acceptance among players. The invention hardly outlasted its maker, but the masterful Concerto Haydn composed for it has lived on.

Haydn’s concerto output was not large, probably because he himself was no virtuoso performer and did not need such works for his own concerts, as did Mozart. He had not written a concerted work for over 10 years when he tackled this one for trumpet in 1796, and it was to be not only his last piece in the genre, but also his final symphonic composition—“a fitting farewell to Haydn’s orchestral career,” according to the Haydn scholar H. C. Robbins Landon.

The work is in the traditional three movements, but the style of writing for the trumpet is decidedly advanced for its date of composition. No longer is the solo part restricted to just the notes available on the natural, valveless, buglelike instrument (a limitation that produced the fanfare-like melodies which characterize the baroque trumpet concertos), and Haydn reveled in the new instrument’s expanded possibilities for scalar and chromatic figurations.

The first movement opens quietly with an orchestral presentation of the thematic material. The trumpet takes up the principal subject before launching into the chromatic second theme. The development section and the recapitulation further exploit the agility and range of the solo instrument, and are an enduring testimony to the excellent ability of Haydn’s trumpet-playing friend. The Andante is a flight of serene melody whose chromatic middle section may have been influenced by the slow movements of Haydn’s younger friend and colleague, Wolfgang Amadeus Mozart, already dead five years in 1796. The spirited finale is a sonata-rondo, the hybrid form of which Haydn was so fond of for closing movements. It is not only a fine specimen of the perfect balance and structural clarity of a master composer at the height of his powers, but also a sparkling showpiece for the soloist.

Notes on the Program

Symphony No. 7 in E major, WAB 107

ANTON BRUCKNER

Born September 4, 1824, in Ansfelden, Austria

Died October 11, 1896, in Vienna, Austria

Anton Bruckner was an unlikely figure to be at the center of 19th-century music’s fiercest feud. He was a country bumpkin—with his peasant clothes, his rural dialect, his painful shyness with women, and his naive view of life—in one of the world’s most sophisticated cities, Vienna. Bruckner had the glory—and the curse—to have included himself among the ardent disciples of Richard Wagner, and his fate was indissolubly bound up with that of his idol from the time he dedicated his Third Symphony to him in 1877. While ‘Bayreuth Fever’ was infecting most of Western civilization during the last quarter of the 19th century, there was a strong anti-Wagner clique in Vienna headed by the critic Eduard Hanslick, a virulent spokesman against emotional and programmatic display in music who championed the cause of Brahms and never missed a chance to fire a blazing barb at the Wagner camp. Bruckner, teaching and composing in Vienna within easy range of Hanslick’s vitriolic pen, was one of his favorite targets. He called Bruckner’s music “unnatural,” “sickly,” “inflated,” and “decayed,” and intrigued to stop the performance of his works whenever possible. The composer felt that much of the initial rejection his symphonies suffered could be attributed to Hanslick’s slashing reviews. When honor and renown finally came to the composer late in his life, the Austrian Emperor, Franz Joseph, asked the old man what he would like most, and Bruckner requested that the Emperor make Hanslick stop saying nasty things about his music. It is little wonder that Bruckner sent an unusual request to the Vienna Philharmonic Society after they had scheduled his Seventh Symphony for its Viennese premiere in the wake of the work’s success in Germany. He thanked the Society for its kind consideration but asked them to withdraw the performance “... [because] of the influential critics who would be likely to damage my dawning success in Germany.” It was the admiration of Wagner and his music that both fueled Bruckner’s creativity and caused him to suffer at the hands of the most powerful critic of his day.

Bruckner’s Seventh Symphony is intimately linked with his devotion to Wagner. Like all of his instrumental works, it aims at adapting Wagner’s theories and harmonic and instrumental techniques to absolute music, securing a place for them in the symphony. In addition to that pervasive, general influence, the Seventh Symphony bears an even more direct connection with the ‘Master of Bayreuth.’ About a year after Bruckner had begun work on the score in September 1881, reports of Wagner’s deteriorating health began to filter back to Vienna from Venice, where Wagner had gone to escape the harsh German climate. Bruckner later wrote to his friend and devoted pupil Felix Mottl concerning the fall of 1882, “One time, I came home and was very sad. I thought to myself, it is impossible that the Master can live long. It was then that the music for the Adagio of my Symphony came into my head.”

To make the tribute unmistakable in the movement, Bruckner gave prominence to a quartet of ‘Wagner tubas’ (brass instruments of rich, burnished tone that are a cross between a horn and a euphonium), which were designed especially by Wagner for use in his operas. Most of the slow movement was already sketched when the news of Wagner’s death reached Bruckner on February 13, 1883, and he added the concluding section specifically as a memorial to his idol. He later referred to this magnificent Adagio as “Funeral Music—a Dirge to Wagner’s Memory.” Fittingly, it was played a dozen years later at Bruckner’s own funeral in Vienna and his burial in St. Florian.

After Wagner’s death, Bruckner went ahead with the Seventh Symphony and completed the score in September 1883. Arthur Nikisch, then only 29 and already moving into a dominant position as one of the era’s great conductors, planned the premiere for Leipzig in June 1884, but the performance had to be put off twice. Not only did Nikisch have to overcome the resistance of the anti-Wagner/Bruckner faction, but he also had to deal with the conservative Gewandhaus administration, which refused to have anything to do with the affair and insisted that it be moved to the Municipal Theater. They missed staging a hit, the first unspoiled acclaim Bruckner had ever known.

A good deal of the Symphony’s success must be credited to Nikisch, not just because he gave a splendid reading of the new work, but also because he invited the local critics to his home a few days before the premiere so that he could familiarize them with the music at the piano. Bruckner was moved and overjoyed by his reception in Leipzig, as one unnamed critic reported: “One could see from the trembling of his lips, and the sparkling moisture in his eyes, how difficult it was for the old gentleman to suppress his deep emotion. His homely but honest countenance beamed with a warm inner happiness such as can appear only on the face of one who is too good-hearted to succumb to bitterness even under the pressure of the most disheartening circumstances. Having heard this work and now seeing him in person, we asked ourselves in amazement, ‘How is it possible that he could remain so long unknown to us?’”

The Symphony made a triumphant procession through the major German cities. Though the work received the expected critical battering when it reached Vienna, the public was finally willing to grant the patient Bruckner his due, and he was recalled to the stage three or four times after each movement by the applause. Among the audience at the Viennese premiere was Johann Strauss, Jr., King of the Waltz. Strauss sent a telegram to Bruckner with a terse, but meaningful message: “Am much moved—it was the greatest impression of my life.”

The opening movement of Bruckner’s Seventh Symphony is on the grand, architectural scale that characterizes the greatest of his works. The long opening theme is succeeded by a more lyrical motive with a turn figure (a favorite melodic device of Wagner). After one of Bruckner’s characteristic ringing climaxes, the movement’s third theme appears, a quiet but somewhat heavy peasant dance presented in near-unison. The development section begins with an inversion of the opening theme, after which the various melodies of the

Notes on the Program

exposition are again assayed. The recapitulation commences quietly and without preparation, and includes the earlier themes in heightened settings. The coda is based on the first motive and rises to a stentorian close.

The Adagio, Bruckner’s memorial to Richard Wagner, consists of two large stanzas that alternate to form a five-part musical structure: A–B–A–B–A. The “A” section is dominated by a solemn chorale. The contrasting music is brighter in mood, with a hint of the lilting Austrian country dance, the Ländler.

The third movement, one of Bruckner’s great Scherzos, opens with a powerful, ostinato-like rhythm that supports the open-interval theme. The movement’s motives are combined and developed with an irresistible urgency. The central trio is slower in tempo, sweeter in mood, and lyrical in style.

The finale is based on two thematic elements: a dotted-rhythm motive and a hymnal theme over a wide-ranging pizzicato bass line. The movement follows a broad sonata outline, with some climaxes based on the dotted-rhythm melody. To round out the Symphony’s structure, the opening theme of the first movement is superimposed on the closing pages of the finale.

Meet the Artists

Gianandrea Noseda, conductor

Gianandrea

Noseda is one of the world’s most soughtafter conductors, equally recognized for his artistry in both the concert hall and opera house. Noseda is in his ninth season as music director of the National Symphony Orchestra in Washington, D.C., where his leadership has inspired and reinvigorated the ensemble. The renewed artistic recognition and critical acclaim have led to invitations to Carnegie Hall and international concert halls, as well as digital streaming and a record label distributed by LSO Live, for which Noseda also records as principal guest conductor of the London Symphony Orchestra.

Noseda became general music director of the Zurich Opera House in September 2021 and reached an important milestone in May 2024, conducting two highly praised complete Ring Cycles. He was recognized as Best Conductor by the jury of the German Oper! Awards, specifically for his Wagner interpretations. Noseda and the Zurich Opera will make history in March 2027 when Carnegie Hall presents them in the legendary hall’s first-ever Ring cycle.

Noseda’s discography of over 80 recordings includes dozens of critically acclaimed albums with a wide range of orchestras and repertoire for various labels, including Deutsche Grammophon and Chandos.

Noseda has conducted the most important international orchestras, opera houses, and festivals, and had significant roles at the BBC Philharmonic (chief conductor), Israel Philharmonic Orchestra (principal guest conductor), Mariinsky Theatre

(principal guest conductor), Orchestra Sinfonica Nazionale della RAI (principal guest conductor), Pittsburgh Symphony Orchestra (Victor de Sabata Chair), Rotterdam Philharmonic (principal guest conductor), and Stresa Festival (artistic director). From 2007 to 2018, Noseda served as music director of the Teatro Regio Torino, where his leadership marked the opera house’s golden era.

Working with the next generation of musicians is important to Noseda. In the summer of 2025, he led a tour of major concert halls in China, Korea, and Japan with Carnegie Hall’s National Youth Orchestra of the USA. In 2019, he was appointed the founding music director of the Tsinandali Festival and Pan-Caucasian Youth Orchestra in the village of Tsinandali, Georgia.

In autumn 2025, The Noseda Effect, a documentary about Noseda’s life and artistry, was released and is available on streaming services, including Carnegie Hall+, medici.tv, and Mezzo.

A native of Milan, Noseda is Commendatore al Merito della Repubblica Italiana, marking his contribution to the artistic life of Italy. He has been honored as Conductor of the Year by both Musical America and the International Opera Awards. He is also a recipient of the Puccini Award, whose past recipients include legendary opera stars Maria Callas, Birgit Nilsson, and Luciano Pavarotti.

Meet the Artists

William

Gerlach, trumpet

William Gerlach was appointed principal trumpet of the National Symphony Orchestra by Christoph Eschenbach in 2014. He grew up in Menomonee Falls, Wisconsin, where he studied with Mark Niehaus of the Milwaukee Symphony throughout high school. He attended Indiana University for his undergraduate degree under the instruction of John Rommel, and he spent time working on his master’s degree at Northwestern University and Rice University with Barbara Butler, Charles Geyer, and Christopher Martin. Gerlach has performed as guest principal trumpet with the New York Philharmonic and Philadelphia Orchestra. He has been a faculty member at the National Symphony Orchestra’s Summer Music Institute, Aspen Music Festival and School, DePaul School of Music, and Curtis Summerfest. He is currently adjunct faculty at the Peabody Conservatory in Baltimore, Maryland.

During the Spring of 2021, Gerlach teamed up with Russell Weismann to record Heroic Expressions, a collection of works for trumpet and organ by Henri Tomasi, Jean Langlais, and Georg Philipp Telemann. Gerlach is a Yamaha performing artist.

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.

Opera

A musical play with singers who perform a staged version of the dramatic text—the libretto.

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.

Tone poem

An orchestral piece meant to convey a non-musical subject such as an art piece, landscape, story, or mood.

Rhapsody

A one-movement composition without a strict formal structure. Rhapsodies often include improvisation and evocative contrasts.

Counterpoint

The interaction of multiple melodies to create a larger musical product.

Tempo Markings

Adagio - slow, at ease

Andante - moderately slow, walking pace

Moderato - moderate

Allegretto - slightly slower than allegro

Allegro - fast, bright

Vivace - fast, lively

Additional Markings

Non tanto - not as much

Ma non troppo - but not too much

Molto - very

Con delicatezza - with delicacy

Cantabile - in a singing style

Scherzo - a fast, playful section

National Symphony Orchestra

GIANANDREA NOSEDA , MUSIC DIRECTOR

The Roger Sant and Congresswoman Doris Matsui Chair

STEVEN REINEKE , PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

VIOLINS

Nurit Bar-Josef, Concertmaster

Ying Fu, Associate Concertmaster, The Jeanne Weaver Ruesch Chair

Ricardo Cyncynates, Assistant Concertmaster

Xiaoxuan Shi, Second Assistant Concertmaster

Jane Bowyer Stewart

Heather LeDoux Green

Lisa-Beth Lambert

Jing Qiao

Marina Aikawa

Peiming Lin

Derek Powell

Regino Madrid**

Meredith Riley**

Marissa Regni, Principal

Dayna Hepler, Assistant Principal

Cynthia R. Finks

Deanna Lee Bien

Glenn Donnellan

Natasha Bogachek

Carole Tafoya Evans

Jae-Yeon Kim

Wanzhen Li

Hanna Lee

Benjamin Scott

Malorie Blake Shin

Angelia Cho

Kei Sugiyama**

VIOLAS

Daniel Foster, Principal, The Mrs. John Dimick Chair

Dana Kelley, Assistant Principal

Denise Wilkinson

Nancy Thomas

Jennifer Mondie

Tsuna Sakamoto

Ruth Wicker

Mahoko Eguchi

Abigail Evans Kreuzer

Rebecca Epperson

Jacob Shack

Chiara Dieguez**

CELLOS

David Hardy, Principal, The Hans Kindler Chair, The Strong Family and the Hattie M. Strong Foundation

Raymond Tsai, Assistant Principal

David Teie

Rachel Young

Mark Evans

Eugena Chang Riley

Loewi Lin

Britton Riley

Noah Krauss

BASSES

Robert Oppelt, Principal

Richard Barber, Assistant Principal

Jeffrey Weisner

Ira Gold

Paul DeNola

Charles Nilles

Alexander Jacobsen

Michael Marks

HARP

Adriana Horne, Principal

FLUTES

Aaron Goldman, Principal

Leah Arsenault Barrick, Assistant Principal

Matthew Ross

Carole Bean, Piccolo

OBOES

Nicholas Stovall, Principal, The Volunteer Council Chair

Jamie Roberts, Assistant Principal

Harrison Linsey***

Kathryn Meany Wilson***, English Horn

CLARINETS

Lin Ma, Principal

Eugene Mondie, Assistant Principal

Paul Cigan

Peter Cain, Bass Clarinet

BASSOONS

Sue Heineman, Principal

David Young, Assistant Principal

Steven Wilson

Sean Gordon, Contrabassoon

HORNS

Abel Pereira, Principal, The National Trustees’ Chair

James Nickel, Acting Associate Principal

Markus Osterlund***

Scott Fearing

Robert Rearden

Geoffrey Pilkington**

TRUMPETS

William Gerlach, Principal, The Howard Mitchell Chair, The Strong Family and the Hattie M. Strong Foundation

Michael Harper, Assistant Principal

Michail Thompson

Tom Cupples

TROMBONES

Craig Mulcahy, Principal

Evan Williams, Assistant Principal

David Murray

Matthew Guilford, Bass Trombone

TUBA

Seth Cook**, Acting Principal

TIMPANI

Jauvon Gilliam, Principal, The Marion E. Glover Chair

Scott Christian, Assistant Principal

PERCUSSION

Eric Shin, Principal, The Hechinger Foundation Chair

Erin Dowrey, Assistant Principal

Scott Christian

Jason Niehoff*

KEYBOARD

Lisa Emenheiser*

ORGAN

William Neil*

LIBRARIANS

Elizabeth Cusato Schnobrick, Principal

Zen Stokdyk, Associate

Karen Lee, Assistant

PERSONNEL

Karyn Garvin, Director

Brooke Bartolome, Manager

Sufyan Naaman**, Coordinator

STAGE MANAGERS

David Langrell, Manager

N. Christian Bottorff, Assistant Manager

The National Symphony Orchestra uses a system of revolving strings. In each string section, untitled members are listed in order of length of service.

*Regularly Engaged Extra Musician

** Temporary Position

***Leave of Absence

National Symphony Orchestra Staff

ADMINISTRATION

Sabryn McDonald, Executive Assistant

EXECUTIVE TEAM

Kasama Apfelbaum, Vice President, Financial Planning & Analysis

Nigel Boon, Vice President, Artistic Planning & Co-interim Executive Director

John Roloff, Vice President, Orchestra Operations & Co-interim Executive Director

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

Chris Bonnell, Senior Manager, Advertising Design

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

President, John F. Kennedy Center for the Performing Arts

Chief

President, John F. Kennedy Center for the Performing

Chief Financial Officer

Ambassador Richard Grenell

Matt Floca

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

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, 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, Special Events

Vice President, Education

Bronagh Donlon

Vice President, Public Relations

Vice President,

Vice President, Public Relations

Vice President, Education Jordan LaSalle

Vice President, Public Relations

Chief Information Officer

Chief

Chief Information Officer

Chief Information Officer Bob Sellappan

Chief Information Officer

Executive Director, National Symphony

Executive Director, National Symphony Orchestra

Executive Director, National Symphony

Executive Director, National

General Director, Washington

General Director, Washington National

General Director, Washington

General Director, Washington National

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

Steinway Piano 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 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 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

Katherine Armstrong

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

Daniel Heider

Helen Jackson

Ann D. Jordan, Lifetime Dir.

Vlad Khomenko

Gerald L. Kohlenberger, ex officio

Michael Lipsitz

Jan M. Lodal

Timothy R. Lowery

Katherine Marshall

Heidi Narang

Michael Salzberg

Roger W. Sant

Susan Silverstein Scott

Tina B. Small

David B. Novy

Cathy McCulloch

Sarah Mills

Jeanne Weaver Ruesch

Sheryl Schwartz

Jeffrey M. Senger

Jeff Shockey

Raghu Srinivasan

Courtney Straus

Meaghan VerGow

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

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

Ex-Officio Positions

Michael Mayton, AR, Past Chairman

Jessine Monaghan, DC, Past Chairman

Mary K. Abercrombie, ID, Past Chairman

Laura Kerr-Engstrom, OK

Tom Mims, FL

The Rostropovich Legacy Guild

Theresa Thompson, VA

James Ward, NM

John Wohlstetter, SC

Stephen T. Young, GA

Members of the Rostropovich Legacy Guild have designated future gifts to support the National Symphony Orchestra’s artistic, educational, and community programs. The Guild honors cellist and former Music Director Mstislav Rostropovich, whose legacy continues to inspire the NSO.

Anonymous (4)

Patty Perkins Andringa

Rebecca J. Ault Trust

Mavis A. Walters and Thomas A. Baxter†

Michael D. Bolden

Dr. and Mrs. William P. Brose

John Cahill

Julia A. Carr

James M. Compton, Col USA (Ret)†

Mrs. Jane L. Donaghy

Christine M. Feinthel

Eleanor and Thomas W. Fina

Mrs. Nancy M. Folger

George† and Duffy† Ftikas

Olga M. Gazda

Mr. and Mrs. Jeffrey A. Gorman

Mrs. Susan D. Hamburger

Rodney† and Anne Haugh

Dana A. Hearn and Kevin J. McCloskey

Maria C. Higgins

Carla H. Jones-Batka

Maria and Stephen Lans

Virginia Cretella Mars

Catherine H. and Michael R. Mayton

Dr. and Dr. Omar Mazzoni

Patricia Morton†

Mrs. William E. Naylor, Jr.†

Phylliscity and John Oliff

Mr. Theodore C. Panglao

William and Cathy Pastor

Mr. W. Larz Pearson

Steven C. Price

Francis H. Rasmus

Ms. Jennifer Renner

Helen I. Rickels†

Mrs. George W. Riesz

Dr. Ann H. Rose

Carol Ruppel

Rita Shapiro and Edward F. Maclary

Peggy M. Siegel

Margaret Stehman

Elena Thompson

Mr. Rick Trevino

Stella Boyle Smith Trust

Mr. Dennis L. Stout and Mr. Daniel Studnicky

Rafael E. Urrutia and Joanne H. Urrutia Trust

Jenny Craig Wallace

Mr. Glenn D. White, Jr.

Drs. Robert and Gail† Wilensky

Mr. and Mrs.† Rance R. Willis

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+

AARP

Sandy and Bud Drutz

$100,000–499,999

Anonymous

Mrs. Byrle M. Abbin

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

Agnieszka and Witold Balaban

Boeing DC Commission on the Arts and Humanities

$50,000–99,999

Ernest and Catherine Abbott

The Andreas Family Foundation

Maria Bartiromo

Joan Bialek and Louis Levitt, MD

Brian and Sheila Boyle

Cestone Family Foundation

Ms. Ashley Davis

Shannon and Jim Davis

$25,000–49,999

Anonymous

Mary K. Abercrombie

Ms. Anne K. Altman

Eve E. Bachrach

Bender Foundation, Inc.

Michael Brewer and Janet Brown

BVLGARI

CityCenterDC

Clark Construction Group, LLC

Pierre de Lucy and Jodie McLean

Ms. Kirby Heller and Mr. Stephen Dennett

Will and Anna Finnerty

Ann and Tom Friedman

Mary B. Galvin

Brian and Kendra Gevry

David and Ellen Ginsberg

Cindy and Andy Green

$15,000–24,999

Anonymous (2)

Ross and Judy Ain

Ralph H. Baxter, Jr.

Mr. and Mrs. Richard T. Crawford

Patricia Duggan

Gail Charnley Elliott and E. Donald Elliott

Mr. and Mrs. Glenn Finch

$10,000–14,999

Anonymous (4)

Jeffrey S. Abramson

In Honor of Joan Bialek

Boyd Watterson Asset Management LLC

Ms. Nadine Cohodas

Paul Dans and Mary Helen Bowers

Betsy and Robert Feinberg

Foundation for Advanced Education in the Sciences

Dr. Gary Mather† and Ms. Christina Co Mather

Dana A. Hearn and Kevin J. McCloskey

Doug Kimmelman

Jacqueline Badger Mars

Thank You to Our Donors

$6,000–9,999

Mr. and Mrs. Michael Baly, III

Aaron Copland Fund for Music

Phil and Joan Currie

Mr. and Mrs. Dennis de Tray

Drs. Gilbert and Rona Eisner

Mr. Edward A. Farquhar

Henrietta “Etta” Fielek

Dr. and Mrs. Michael Gold

Mr. Woolf P. Gross

$4,000–5,999

Anonymous (2)

David M. Bachman, M.D.

Dr. Mark Cinnamon and Ms. Doreen Kelly

George and Phyllis† Cohen

Helen Darling and Brad Gray

Dimick Foundation

Ms. Thelma Duggin

Jack Firestone

Mr. and Mrs. Jurgen O. Gobien

Mr. and Mrs. Rolf Graage

Daniel Heider

Joe† and Lynne Horning

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

$1,800–3,999

Anonymous (4)

Anja Allen

Mr. John Ausink and Ms. Elaine S. Simmons

Ken and Liz Babby

Ann and Russel Bantham

Mr. and Mrs. Mitchell J. Bassman

Herschel V. Beazley

Robin Berrington

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

Janice and Larry Clark

Robin Rowan Clarke

Sandra Cummins-Haid and Allen Haid

Col. and Mrs. James Dandridge II, Ret

Mr. Michael J. Dean

The Charles Delmar Foundation

Tracy Dietz

Peter and Sally DiGiovanni

Cherrie W. Doggett

Dr. Earl W. Donaldson

Tom and Eileen Ehrgood

Charles and Mita Forsyth

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

Jesse Goodman and Nicole Lurie

Ms. Susan Z. Haller

Frederic Harwood and Nedda di Montezemolo

Dr. and Mrs. H. Keith Hellems

Virginia Hendrickson

Richard and Pamela Hinds

David and Elizabeth Hunt

Glen M. Johnson

Jane Mary Kwass

Edward Lenkin and Roselin Atzwanger

RADM Dan and Jackie March, USN Ret

Joan and John McAvoy

Mr. James E. Miller and Ms. Fynnette Eaton

Jewish Federation of Greater Washington

Isabelle Katzer

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

Helen and David Kenney

SooJung Kim

Vlad and Tanya Khomenko

Cynthia Krus and George S. Corey

Howard and Allison Lutnick

Sis and Jim McKay

In Honor of Jenny Mondie

Ralph and Gwen† Nash

Elise and Dennis Reeder

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

Mr. and Mrs. Kevin Kampschroer

Irene and Louis Katz

Diane and Brian Keller

Stephanie Smith Kinney

Mr. and Mrs. William H. Kirchhoff

Mr. Michael and Young Hee Kreps

Jurate and Carl Landwehr

Janet Platt Lambert

Dr. and Mrs. Keith M. Lindgren

Judge and Mrs. Alan D. Lourie

Dr. Joyce S. Lowenstein

Mr. and Mrs. Frank Maddox

Mary Kay and Dorn McGrath

Susan McGrath

Alan and Ruth Melvin

Patrick Michaels

Mr. Jim Miller

Mr. Joseph J. Minarik

Arthur Mitchell

Dr. Nazee Moinian

Clara Montanez

Susan and Fred Morhart

James Morris

Ms. Sakura Namioka

Kara Nath

Bruce and Son Young Nelson

Ms. Madeline C. Nelson

David O'Connor

David and Marina Ottaway

Andi Owen and Glenn Karpf

Tracy Pless

Mr. and Mrs. James J. Pohlman

Mahy Polymeropoulos

Brenda A. Pommerenke and Dr. Larry George

Mr. Robert K. Oaks

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

Ashley Rose and Jerry Horak

Claire and Jack Tozier

Michael and Alice Weinreb

Dr. and Mrs. Peter L. Willson

Admiral William Roberts and Patricia Roberts

Ellen and Roy Rosenthal

MG (Ret) and Mrs. Alan B. Salisbury

Steven and Donna Shriver

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

Marilyn Walz Taylor

Charles Trozzo and Gail Rothrock

Gloria M. Weissberg, PhD

Dr. Linda E. Wetzel

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

David Worby

The Honorable Chris Wright and Mrs. Liz Wright

George and Virginia Potts

Jane Evans Ramsay

William Reed

In Memory of Jane Reese

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

Gerd and Duncan Ritchie

Mr. and Mrs. James P. Roach

Mr. and Mrs. William Ronsaville

Dr. Shirley Ross and Mr. Joseph Pinciaro

Robert and Fran Rubin

Mr. Charles A. Rubio, Jr.

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

Cheryl L. Sharp

Byron and Elva Siliezar

Ronald and Margaret Stehman

Elizabeth Pendleton Streicher

Evelyn A. Sweet

Kathy Szot

Eileen and Michael Tanner

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.

Mr. and Mrs. James G. Vaughter

Dr. Jean Vike

Laura and Kirk Wade

Pearl Y. Wang

Judy Ann and Richard Webster

Judith Weintraub

Ms. Rebecca Welch

Lawrence Wilkerson

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, section percussionist and Assistant Principal Timpani Scott Christian discusses onstage awe, the importance of an audience, and the special relationship between bassists and percussionists.

Name: Scott Christian

Hometown: Red Wing, Minnesota

Instrument: Timpani and percussion

Years with the NSO: 7

What most distinguishes percussion from other instrument groups?

One of the things that I like about playing percussion is that it’s the only instrument group where you are supposed to know the whole family of instruments. If I were stuck practicing one instrument, I don’t know if my attention span would last that long. Yet it’s really difficult to keep all those instruments up at a high level, because there are only so many hours in a day. There are weeks when I might not be able to play a certain instrument, and I have to go through some basic exercises to get back to a performing level.

Are there any percussion instruments for which you wish composers would write more?

Not necessarily. I think that composers could learn the instruments better to be able to use them to their fullest potential. For example, Béla Bartók wrote for the timpani in incredible ways—challenging but completely doable. Sometimes we’ll get a timpani part that isn’t super thought out, or that could be doing a lot more. But, for composers, it’s a lot to learn what is and isn’t idiomatic to an instrument. Ultimately, if the music is less idiomatic but quite gripping, I would much rather work around those problems than play something that is technically virtuosic but lacking in connection.

In the February “Orchestrated Lives,” bassist Charles Nilles mentioned how the percussion section and the bass section have a special relationship, a real rapport. What do you think makes that relationship so special?

Charlie wishes that our relationship was special! No, no… I’ll just put it this way: the percussion section is not the meat and potatoes of the orchestra. We’re not always playing the melody, but we’re the spice. When we get a piece of music, it just says “triangle,” or it just says “cymbal;” it doesn’t tell us which cymbal we’re supposed to use. It’s a lot of fun for us to find the correct sound for that moment, and if the sound is wrong, it's like adding too much spice to a dish. If we go unnoticed, we’re doing our job, and I think it’s similar for the bass section. They’re so pivotal in creating that bass tone that everybody else can tune off of in their intonation.

Do you have a favorite onstage memory from your time at the NSO?

Generally speaking, when I look around and watch my colleagues play at such a high level, I just feel so lucky to be on stage with them. I also like to take moments to look out into the audience. I’m always amazed that all of us practice, come to rehearsals, and work on these small details, waiting for the finished product—and that product requires an audience to be there. I like to think about all the stuff that the audience has had to do to get to the concert. They’ve had to buy their ticket, pay for parking, or maybe change their outfit. All that preparation comes together. You say that the audience has to be there for the final product. What role would you say the audience plays in a live performance?

With an audience, there’s communication happening. Otherwise, it’s like an actor practicing their lines in front of a wall. Every concert is a little different. You might have somebody in the audience who’s known this piece since they were a kid, or somebody who’s hearing it for the first time. There might be somebody who really needs this moment—somebody who wanted to come to the concert, but it’s been a really tough week, and they’re barely able to stay awake. You have so many different people sitting next to each other, all focused on this one thing, and I think that that’s such a special moment. That’s what’s so interesting about music, versus a book where you can keep reading a passage over and over again, or an artwork that you can stand in front of as long as you want. It’s very ephemeral; it’s there, and then it’s gone.

This interview has been edited for length and clarity.

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

More Concerts this Season!

Noseda: Mozart & Bach

Experience the heavenly drama of Mozart’s Symphony No. 41, “Jupiter,” in the hands of Gianandrea Noseda, who opens the concert with Bach’s large-scale Brandenburg Concerto No. 1 and Jacques Loussier’s jazz-infused, neo-Bach Concerto for Violin and Tabla.

April 15 & 16, 2026 at 7 p.m April 17, 2026 at 8 p.m.

NSO Presents: Khatia Buniatishvili

Pianist Khatia Buniatishvili, “a rock star in the classical music world” (New York Post), performs works by Schubert and Liszt ranging from intimate poetry to high-voltage power.

April 24, 2026 at 8 p.m.

Puccini: 3 One-Act Operas Il

Trittico

Step into a world of passion, tragedy, and deception with Puccini’s trio of one-act operas led by Gianandrea Noseda. Il tabarro unveils a shadowy tale of love and betrayal along the Seine. Suor Angelica explores sacrifice behind convent walls. Gianni Schicchi turns deception into delight in a sharp-witted comedy.

April 29, 2026 at 7 p.m.

May 1, 2026 at 7 p.m.

2025–2026 CLASSICAL SEASON PERFORMANCE CALENDAR

Noseda: Mozart & Bach

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: 3 One-Act

Operas – Il Trittico

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

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

Appalachian Spring

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

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

Porgy and Bess & Coleman Piano Concerto

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

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

An American in Paris & Barber Violin Concerto

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.

NSO Presents: Khatia Buniatishvili

Pianist Khatia Buniatishvili, “a rock star in the classical music world” (New York Post), performs works by Schubert and Liszt ranging from intimate poetry to high-voltage power

Please note: the NSO does not perform on this program

April 24, 2026 | Concert Hall

HOME TO FIVE WORLD-CLASS THEATERS FOR RENT

UNIQUE EVENT AND MEETING VENUES

CATERING AND PRODUCTION SERVICES

INDOOR AND OUTDOOR SPACES

Build a unique event... on a creative campus. Visit tkc.co/rentals or scan the QR code for more information.

When life doesn’t stick to the script, we’re here for you.

From our connected urgent care network and on-demand 24/7 telehealth to lifesaving specialty care, we’re here when and where you need us.

Behind every visit at MedStar Health is a team of top-rated providers, who together make up one of the region’s most respected health systems.

It’s how we treat every patient…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