Review: AMERICAN RHAPSODY at Kennedy Center

An evening of the myriad modes of music that constitute the American Experience was celebrated at the Kennedy Center’s production of American Rhapsody. The evening was a rich treasure trove of the glory that is American music from opera, spirituals, modern composers, classic songwriters, and Broadway - encompassing the works of composers as diverse as Aaron Copland, Kevin Puts, Samuel Barber. Gene Scheer, Scott Joplin, Kurt Weill, John Adams, Jennifer Higdon, André Previn, Michael Daugherty, Joan Tower, Leonard Bernstein, Richard Rodgers, George Gershwin, Cole Porter, and Irving Berlin.

The artistic touchstone of the Washington National Opera Gala 2025, the presentation of American Rhapsody was directed by Eric Sean Fogel with an extremely sensitive and polished sheen. Mr. Fogel’s staging of the various scenes and excerpts from the original works, opera, and theatre was multi-layered with eye-catching movements and gestures –Mr. Fogel is an exceptionally talented choreographer as well. (A basic backdrop of platforms, stairs, and a raised platform accompanied by superb projection designs by Blake Manns also enhanced the staging). Lighting design by A.J. Guban and sound design by Mark Rivet was exceptional.

After a much-welcome introduction to the artistic directors, management, and donors responsible for the evening and (later in the evening---an overview of the history of the WNO) --- this dazzling evening of arias, duets, song, and orchestral pieces came alive. In a succession of nineteen vocal and orchestral performances this enchanted evening of extraordinary vocals, orchestrations, and instrumentals stimulated the senses.

Esteemed conductor Marin Alsop brilliantly etched the many moods of each piece with an expressive and sensitive baton. Ms. Alsop’s conducting was especially fluid and conducive to each operatic vocal or orchestral piece as one number followed another with seamless control yet, a concurrent, natural source of artistic vision.

The Washington National Opera Orchestra played with aplomb and the requisite mood was enhanced for each of the operatic, orchestral, and theatrical moments presented. Particularly compelling were the purely orchestral performances as in the beautifully orchestrated “Teton Range” from the moving All Things Majestic (by composer Jennifer Higdon) and Fanfare for the Uncommon Woman which possessed an explosive and almost cacophonic, pulsating energy.

Acclaimed soprano Renée Fleming commanded much of the evening by dint of her sheer versatility. Ms. Fleming’s soprano is supple yet full of unerring delicacy and pathos. Ms. Fleming sang modern composer Kevin Puts’ almost elegiac meditation on the environment “Evening” with a haunting plaintive tone.

Ms. Fleming sang the tantalizing classic “So in Love” from the famous Cole Porter classic Kiss Me, Kate. This romantic song was enlivened with an erotic and lush edge by Ms. Fleming as she blazingly heightened the inherent sexual masochism of Porter’s lines (“So taunt me, and hurt me, deceive me, desert me, I’m yours, till I die ---.”) What is often just a romantic song transformed into a veritable torch song of desire in the hands of Ms. Fleming.

Another highlight of the evening was the alternately wistful, droll, melancholic, and ethereal delivery of Ms. Fleming as she sang the aria “I Can Smell the Sea Air” (from composer André Previn’s opera A Streetcar Named Desire). Ms. Fleming originated the role of Blanche DuBois in this opera and playwright Tennessee Williams must be smiling from the heavens (illuminating projection design of the sea by Blake Manns).

Acclaimed and world-renowned baritone Thomas Hampson delivered a powerful and tear-inducing rendition of “Letter to Mrs. Bixby.” Mr. Hampson sang this song of condolence (an evocative projection of the Lincoln Memorial in the background) with a searing gravity; the song is part of the song cycle Letters from Lincoln by composer Michael Daugherty.

Mr. Hampson’s captivating baritone was resonant and full of droll wit in his duets with Ms. Fleming. Particularly memorable is the aria “The Night is Young” from John Adams’ modern opera Nixon in China.

Mezzo-soprano Denyce Graves has long been an opera favorite with a large following. Ms. Graves’ majestic and sonorous, distinctive mezzo-soprano has deepened into a burnished and mature resonance.

Ms. Graves’ operatic rendition of the traditional and spiritual song “Deep River” was extremely moving and ruminative in tone. As Ms. Graves stood upon a raised platform in an elegant deep and richly designed gown, she commanded rapt attention and sustained applause.

Ms. Graves rendition of modern composer Gene Scheer’s “American Anthem” vocally portrayed how far America has come and how much farther we must go as people striving for opportunity and justice.

In an excerpt from Scott Joplin’s early opera Treemonisha, arranger and pianist Damien Sneed performed with finesse on the keys while dancer Jenelle Figgins danced gracefully with balletic movement.

An explosive and propulsive “Tonight Quintet” from Leonard Bernstein’s West Side Story was performed by Viviana Godwin, Nicholas Huff, Michelle Mariposa, Jonathan Patton, and Sergio Martínez. This now classic song was sung with striking precision.

Gershwin’s up-tempo classic “Fascinating Rhythm” delivered a pleasant change of pace from the vocals. Dancer extraordinaire Thomas Sutter tap-danced with an unceasing exuberance, agility, and charismatic style.

The ever inspiring “Make Our Garden Grow” from Leonard Bernstein’s Candide was a brilliant finale to the Gala evening’s proceedings. Voltaire’s satiric salute to the persistent optimist in all of us is extremely vital in these times of polarization. The entire cast performed this beloved classic with an air of gratitude and concurrent hope.

This Gala evening brought my thoughts back to the many memorable moments I experienced at the Washington National Opera. Stellar productions such as The Ring Cycle, Dialogues of the Carmelites, Tosca, Aida, Elektra, and La Bohème burn inside my mind. Modern operas such as Dead Man Walking, Champion, Appomattox, and Grounded are also very meaningful to me as challenging works that may destined to be essential parts of the operatic canon (when assessed by future generations).

Continual commendation to WNO General Director Timothy O’Leary and WNO Artistic Director Francesca Zambello for their responsible and innovative leadership of the Washington National Opera.

An evening to make the Gods envious, American Rhapsody is a clarion call to the importance of the arts in a civic-minded world and a testament to the artistic contributions of the Washington National Opera.

Running Time: One hour and thirty minutes without intermission.

American Rhapsody was presented on Saturday, May 3, 2025, at 8:30 pm by the Washington National Opera in the Opera House at the Kennedy Center located at 2700 F Street, NW, Washington, DC, 20566. The program was presented in English with projected titles.