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Royal Opera House Covent Garden London Wc2e 9Dd Tel: +44 20 7240 1200 9 ANNUAL REVIEW ANNUAL 2008/ VALUE ROYAL OPERA HOUSE ANNUAL REVIEW 2008/9 OUSE PERA H O AL OVENT GARDEN OVENT Y C ONDON WC2E 9DD ONDON WC2E WWW.ROH.ORG.UK Registered Charity no. 211775 Charity no. Registered L RO TEL: +44 20 7240 1200 TEL: +44 20 7240 Managing Editor, Dan Foulkes for Milknosugar for Dan Foulkes Managing Editor, ANNUAL REVIEW 2008/9 ROYAL OPERA HOUSE ANNUAL REVIEW 2008/9 CONTENTS R R BOARD OF TRUSTEES DEVELOPMENT COMMITTEE CONTENTS Simon Robey (Chairman) Simon Robey (Chairman) Baroness Blackstone The Countess of Chichester The Countess of Chichester Peggy Dannenbaum Sir David Clementi Thomas Lynch Peggy Dannenbaum Simon Robertson Sir Nicholas Hytner Dame Gail Ronson Sir Frank Lowe Danny Wyler Thomas Lynch Lady Young of Graffham Professor Margaret Maden Nicholas Prettejohn ENGAGEMENT, EDUCATION AND CHAPTER TITLE PAGE Heather Rabbatts ACCESS COMMITTEE Simon Robertson Professor Margaret Maden (Chairman) Dame Gail Ronson DBE Peggy Dannenbaum The year at a glance 6 Anthony Salz Charlie Leadbeater Dame Sue Street DCB Abigail Pogson 1 Perspective 10 Kenneth Tharp OBE Simon Robey Robert Wallace Kenneth Tharp 2 Quality 21 Judith Weir CBE Rob Thomas Judith Weir 3 Scope 41 EXECUTIVE MANAGEMENT TEAM FINANCE AND AUDIT COMMITTEE 4 Participation 61 Tony Hall CBE – Chief Executive Nicholas Prettejohn (Chairman) 5 Enrichment 77 Monica Mason DBE – Director, The Royal Ballet Sir David Clementi Antonio Pappano – Music Director, Sir Nicholas Hytner 6 Innovation 89 The Royal Opera Thomas Lynch Simon Robertson Caroline Bailey – Director of Marketing 7 Finance 101 Simon Robey Elizabeth Bridges – Director of Personnel Dame Sue Street Reference 112 Deborah Bull CBE – Creative Director FOUNDATION ADVISORY CIRCLE Ruth Jarratt – Director of Policy Development Simon Robey (Chairman) Peter Katona – Director of Opera Casting Hamish Forsyth Jeanetta Laurence – Associate Director, Victoria Mather The Royal Ballet (from April 2009) Julian Metherell Stephen Michael – Managing Director, Royal Roland Rudd Opera House Enterprises (from July 2009) Sir James Sassoon Bernard Taylor n Christopher Millard – Director of Press Sir Brian Williamson and Communications John Mortlock – Deputy Director of Finance NOMINATIONS COMMITTEE and Company Secretary Simon Robey (Chairman) Kevin O’Hare – Administrative Director, Sir David Clementi The Royal Ballet Thomas Lynch GOVERNANCE AND MANAGEMENT Professor Margaret Maden Sally O’Neill – Director of Finance The direction and control of the Royal Opera House is determined by the Board Nicholas Prettejohn (from February 2009) of Trustees, which meets at least six times per year. The role of the Board is to Simon Robertson Elaine Padmore – Director of Opera direct the Royal Opera House strategy to ensure that it is on the right course Hazel Province – Director of Planning REMUNERATION COMMITTEE and that it is properly and effectively managed. The Trustees are also Simon Robey (Chairman) Paul Reeve – Director of Education responsible for the appointment of the Chief Executive, as well as the most Sir David Clementi senior management positions. The Chief Executive, with the assistance of the Amanda Saunders – Director of Development Thomas Lynch Executive Team, manages the day–to–day operations of the Royal Opera House. John Seekings – Director of Operations Nicholas Prettejohn 4 5 ROYAL OPERA HOUSE ANNUAL REVIEW 2008/9 THE YEAR AT A GLANCE RR PERFORMANCE ACCESS 309 19,000+ performances on the main stage students registered for our Student Standby scheme 380 70,329 performances on other stages people participated in Education events 710,000+ 50.7% total tickets sold of patrons were new to the ROH n n REACH FINANCE 80 £2+ regional On the Road events, nationwide, plus two exhibitions raised for every £1 received in public subsidy 13 10th countries our work was seen in: successive balanced full accounting year Australia, Austria, Belgium, Canada, Cuba, Denmark, Eire, Germany, Japan, Luxembourg, Netherlands, South Africa, Spain, USA 73% of resources directed to frontline 1,553,850 performance, education and outreach ROH YouTube views 6 7 M ROYAL OPERA HOUSE ANNUAL REVIEW 2008/9 R I L PRICING A DECADE OF ACHIEVEMENT In the ten years since the Royal Opera House reopened to the general public 50%+ on 4 December 1999,we have consolidated our position as one of the world’s E of tickets less than £50 leading cultural institutions. We are defined by world–class facilities, stages and performances, and recognized globally for our unrelenting pursuit of 11,000+ excellence and our continuing efforts to increase participation and widen free tickets for daytime performances access to our work. During the past decade we are proud to have staged thousands of opera and ballet performances and attracted millionsS of 24,225 visitors. In the last ten years we have hosted myriad exhibitions, events and workshops and supported schools and colleges across the country. tickets for mixed Royal Ballet Throughout the day, every day, there is always something to inspire at the programmes frozen at 2007/08 prices Royal Opera House. The Royal Ballet has bedded into its new home led by T n Monica Mason. It has produced exceptional work, evolved groundbreaking choreography through Wayne McGregor and others and facilitated the emergence of great new dancing talent. Under the musical direction of INVESTMENT Antonio Pappano The Royal Opera has replenished the core repertory with some significant new productions and introduced a number of pieces neverO before seen at Covent Garden. As well as some spectacular Italian and 10%+ German operas, Pappano has reintroduced French repertory and increase in investment in performance, commissioned new works to great critical and audience acclaim. Deborah education and outreach Bull has shaped ROH2’s programme across all of our spaces to create a multifaceted body of work which develops and nurtures new artists and n appeals to a broad cross–section of audiences. This year also represents nearlyN ten years of Tony Hall’s leadership in shaping the organization for the 21st INCOME century. His vision has resulted in the Royal Opera House leading in digital developments and new technologies. We have increased our reach through new initiatives: developing education and embracing opportunities to lead 38%+ regeneration projects in bold and innovative ways, such as in Thurrock and increase in year–on–year DVD sales Manchester. Throughout this period we have developed our internationalE partnerships and touring to wide acclaim. Our building is world–class. After £96.4million a decade in our new home we will continue to ensure that we do it justice total income with the quality of our work and our ambitions for the future. S 8 MILEST ONES ROYAL OPERA HOUSE ANNUAL REVIEW 2008/9 CHAPTER 1 PERSPECTIVE RR PERSPECTIVE TH: This has been an amazing year. I think it has really highlighted the multilayered nature of the Royal Opera House – why it matters in so many different ways.Clearly there is value for the nation in the notion of having an organization that is world–class, which is absolutely the best in its field.We are,after all,internationally recognized as being one of the leading opera houses on the planet. The greatest artists are drawn here, which puts the best in the world at the centre of what we do. Of course, you have to look at value from the point of view of our audiences. The joy of seeing opera, seeing ballet, seeing new performances, is absolutely enormous. We have to be a place that people love and think is worthwhile. Somewhere that moves them and amuses them. SR: You’re right. I think there’s a culture of excellence here which goes from the top of the organization right down to those who do the jobs furthest away from noun. artistic leadership. That’s a hugely important part of the RELATING TO SIGHT. DNA of this place, because I think people really feel it and it fits with the Royal Opera House’s standing in the A window into the world as an extraordinary living institution. It’s a very, very easy place to fall in love with, and to fall in love with Royal Opera House 2008/9 over and over again in different ways. in conversation with TH: Reaching out with fantastic opera and ballet is what Tony Hall, Chief Executive it’s all about. Today we’re able to reach all sorts of people and Simon Robey, Chairman. including those who before they come to us might not have even known that they would love or value or cherish what we do.For example somebody who was one of the 84,600 that watched us in the cinemas or the live n screens of La traviata with Renée Fleming, is sharing a really big moment. It went out to 24,600 people watching 10 11 ROYAL OPERA HOUSE ANNUAL REVIEW 2008/9 CHAPTER 1 PERSPECTIVE RR live on free big screens, 60,000 in cinemas in the UK and around the world, and then many more in subsequent relays and cinemas. There’s a huge value in that kind of reach if you can inspire a new passion in someone. SR: I suppose I see my role as helping to ensure that we’re always strong enough to be able to facilitate the kind of incredible productions and performances that SR: Absolutely.I’m overly fond of saying that this place is will inspire that passion. In the next few years, given the an excellent partner; but I really feel that it is. I mean I’ve extraordinary intersection of huge artistic challenges and seen it from the other side of the fence running Morgan ambitions, a very tough economic climate, uncertain Stanley in the UK. We’ve had important corporate political structures and the looming unique event of the partnerships here, and with the British Museum and one Olympics in London, my challenge with the Board is to or two other places.The Royal Opera House is a very,very be able to leave this organization in even better shape good partner.
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