“Poi Tristano,” Puccini wrote in sketches for the final duet and coda he didn’t live to write for his final opera Turandot. We surmise he had something delirious in mind, something to set beside the Wagnerian ecstasies of the second act of Tristan und Isolde. Audiences never seem to mind the tacked-on ending by Franco Alfano, who was a composer of renown in his time, but the pros keep hoping for a better solution. At least three others have been attempted, including one by the renowned experimentalist Luciano Berio. Now, the Washington National Opera steps into the fray with a new dénouement scripted by the playwright, screenwriter, and Succession producer Susan Soon He Stanton and set to music by the Grammy-winning Christopher Tin, whose credits include the soundtrack for Sid Meier’s video game Civilization VI. And what, we wonder, do they have up their sleeves? In the familiar scenario, the bedazzled hero melts the man-hating heroine’s heart of ice. Will she throw him under the bus this time? At the premiere, out of reverence, the legendary Arturo Toscanini laid down his baton at the point where Puccini laid down his pen. Speranza Scappucci, who conducts in Washington, won’t have this option. —Matthew Gurewitsch