Symphony in Exile: National Orchestra Cuts Season Amid Kennedy Center Turmoil
The 95-year-old ensemble will perform in six temporary venues while facing a projected 50% drop in ticket revenue.
By Riya Zhao ·
The National Symphony Orchestra opened its new season on Sept. 26 in Bethesda, Md., marking the first concert performed outside its long-time home. The event took place only 11 days after the John F. Kennedy Center for the Performing Arts in Washington, D.C., closed its doors on Sept. 15. This abrupt move leaves the 95-year-old ensemble without its primary performance space while it navigates a complex financial and administrative restructuring.
The closure followed a period of declining ticket sales, public boycotts, and a federal court battle over the addition of President Trump’s name to the building’s façade. Trump assumed control of the center in early 2025 after removing several board members and firing president Deborah Rutter. The Kennedy Center Board of Trustees has yet to finalize the orchestra’s budget for the current season, creating uncertainty for the musicians.
Music director Gianandrea Noseda stated the news of the closure was "absolutely unexpected." He described the reaction as a "cold shower" and noted his initial concern was finding a new home for the group. The orchestra has secured six alternative concert venues in the greater Washington region to fill the gap. Noseda extended his contract with the group through 2031, choosing to stay rather than seek a new post after the leadership changes.
Financial projections indicate a sharp decline in revenue. The Washington Post reported in August that ticket sales are expected to fall by about 50%, while donations will drop by roughly 25%. These figures reflect massive cuts to the Kennedy Center’s development department. The orchestra is also operating with a reduced staff, including the departure of executive director Jean Davidson in March, who cited the institutional turmoil as the primary reason for her exit.
The season is significantly shorter than usual, with the group playing approximately half the number of concerts typically scheduled. Anne Midgette, a former classical music critic for The Washington Post, noted that the ensemble is "so bound up with the Kennedy Center" that its survival was uncertain during the planning phase. The opening program featured works by Carlos Simon, Tchaikovsky, and Respighi, drawing a full house at the Music Center at Strathmore.
Associate principal double bassist Rick Barber, a member since 1995, described the months following the closure as a time of anxiety. He said the political divisions in the country do not affect his performance, but the financial uncertainty impacts the group’s stability. Noseda aims to reach new audiences in these different locations, viewing the displacement as an opportunity to broaden the orchestra’s reach. The group’s ability to maintain audience support in these temporary venues will determine its financial footing for the coming years.
