I have directed Porgy and Bess many times, and each time I step back into the world of Catfish Row, it feels incredibly rich and satisfying. The unforgettable music, powerful characters, and the hard-hitting story speak directly to the heart. To me it is, without a doubt, the greatest American opera ever written. The story, the lyrics and music are all extraordinary achievements, fusing all the operatic elements we love in a powerful work of timeless music and storytelling.
I first directed Porgy twenty years ago. During the two decades that have followed, we have navigated life-changing events in the world outside the theater. As I traveled with the production, the fears and hopes of the Catfish Row community often seemed to mirror the emotions we were experiencing in real life in our rapidly changing societal landscape.
I remember being in rehearsal in Washington, DC at the time of Hurricane Katrina, which gave new weight to the pivotal scene in which Jake and Clara are killed in a storm. In the production’s second outing, at Lyric Opera of Chicago, Barack Obama was elected president the night of our dress rehearsal, a real-life amplification of the hope that suffuses the opera’s final moments. The entire cast went together to Grant Park to celebrate as Obama accepted the nomination. Each time the production traveled—to Atlanta, Los Angeles, Cooperstown, and San Francisco—we found something in the lives of these characters that resonated with current events. And now I am thrilled to bring the work to the Kansas City Opera audiences.
When Gershwin was preparing to write Porgy and Bess, he set forth an audacious vision: “The production will be a serious attempt to put into operatic form a purely American theme. If I am successful, it will resemble a combination of the drama and romance of Carmen and the beauty of a Meistersinger, if you can imagine that.”
Like Carmen, Porgy tells the story of ordinary people, not the kings, queens, and cardinals that figure so prominently in so much of operatic literature. Gershwin’s sweeping score reminds us of the inherent majesty and magnitude of the human spirit, regardless of outer circumstances. As with any family, Heyward and Gershwin’s characters have a unique ability to influence one another—sometimes to hurt, sometimes to heal. Their complex interactions invite multiple interpretations, which also feels very true to the human experience. Some see Porgy’s leaving Catfish Row as a sad event; but for me, the ending feels hopeful. The community has supported Porgy, helping him face an uncertain future with optimism.
Is Porgy’s optimistic decision to strike out and leave Catfish Row foolish, or is it an indication of courage and strength? Each of us may have a different answer, but by reflecting on the question, we learn something about ourselves. As for myself, I will continue striving to hold on to the belief in a brighter future to come.
Don't miss The Gershwins®' Porgy and Bess, directed by Francesca Zambello, February 28–March 8, 2026, at the Kauffman Center for the Performing Arts. Get tickets now.
About Francesca Zambello:
Francesca Zambello (Director, Porgy and Bess) is an internationally-recognized opera and theater director, and has been the Artistic Director of Washington National Opera since 2013. She is also the Artistic & General Director of The Glimmerglass Festival, Emerita. She has worked at more than fifty international opera houses including The Metropolitan Opera, La Scala, Paris Opera, Bolshoi, Munich State Opera, Covent Garden, and Opera Australia. Read full bio.
