Annual Report 2016 – 2017

1 1

Chairman’s Introduction 3 Contents General Director’s Report 4 Director of Opera’s Report 6 Outreach and Education: Inspire 16 Communications and Development 20 Financial Performance 26 Trustees and Committees 27 Donors and Supporters 28

Front cover image: Anne Sophie Duprels and Joel Montero in Zazà © Robert Workman

Left: Victoria Simmonds and John Savournin in Don Giovann i © Robert Workman

CHAIRMAN’S INTRODUCTION

Opera Holland Park had another successful year in only be done with the financial support of our donors, 2016/17, our second year as an independent company. sponsors and other supporters. We are immensely grateful to the many individuals and organisations that, in Most importantly, we continued to develop our artistic recognition of this, have increased their level of support excellence. Our four productions received excellent critical over the last two years. I very much hope that more of you and audience acclaim. Seat occupancy remained high at will be prepared to consider helping us in this way – you 94%. Our Inspire outreach programme continued to go will have received our Loyalty and Giving brochure setting from strength to strength. We are absolutely delighted that out the various schemes which are now available. Inspire has just received the 2018 International Opera Award for Education & Outreach. We greatly appreciate all the support we receive. Investec Wealth & Investment continues its excellent and Our fundraising activity made good progress in generating committed Title Sponsorship. We have now reached 21 additional donations and putting in place the foundations Founders and hope to increase this in the current year. for the growth required in future years. Significant savings Our Benefactors, Ambassadors, Envoys, Friends, Trusts, were made in production and operational costs and we Foundations and Corporates continue to provide vital continue to invest in improved and more cost-efficient support. Our many volunteers give us wonderful facilities. assistance throughout our activities. It is therefore pleasing that we were able to reduce our I should also like to thank all those working within Opera operating deficit by £226,000 (from £937,000 the previous Holland Park. Our two Directors, Michael Volpe and James year to £711,000) while at the same time developing our Clutton, our Management and staff who worked tirelessly artistic excellence and maintaining our commitment to to produce another successful year. I should like to pay Opera Holland Park’s unique mission of accessibility and particular tribute to the way in which the whole company affordability, combined with an extraordinary outreach responded to the tragedy of Grenfell Tower and the loss of programme and Young Artists Scheme. our friend and colleague, Debbie Lamprell. Our Trustees are We remain on track towards our medium term goal of an effective and constructive Board, working closely with reaching financial sustainability. Finding further significant the Directors and Management. Dr Martin Lockett stepped efficiency savings will be more difficult in future. It down in May having taken up a new position in China, therefore becomes even more important to achieve our and we thank him for his significant contribution. The targets for fundraising and non-ticket income. To assist, a Campaign Board is already giving valuable support to new Campaign Board was established early in 2017. I am our fundraising efforts. delighted that Stuart Corbyn has taken over from me as its Charles Mackay CBE Chairman from 1 January 2018 when he also joined the Chairman, Opera Holland Park Board of Trustees.

As an independent company, producing high-quality opera, even as cost-effectively as we do but with ticket prices substantially below those of other opera companies, can

Left: Elizabeth Llewellyn and Matteo Lippi in La rondine © Robert Workman

3 GENE RAL DIR ECTOR’S REPORT

The financial year saw the company consolidate the work Our primary business aims during the 2016/17 financial and success of our first year of independence. The 2017 year were to continue to reduce our overall costs, to use Season featured five operas, with three new productions focused investment of funds to improve facilities, and to and two revivals, including our family opera Alice , running continue to build our fundraising activity. It is pleasing to at a total house capacity of around 94% occupancy note that overall our expenditure was reduced and several throughout. Acclaim from the public and critics was markers of company performance have improved.This has significant as we continued to offer a broad mix of been achieved in a number of ways, including: repertoire. A comprehensive review of the season can be found in the following pages. Further cost efficiencies  Investment in previously rented facilities, particularly First and foremost, Opera Holland Park (OHP) is a creative the new toilets enterprise and we continue to maintain our strong commitment to the accessibility of our work, which  A change of production schedule includes extending our activity outside of the summer  Support and attraction of new partners and sponsors season. All that we do is in the service of the work on our  Continued growth of our Founders, with four new stage, which we believe makes a significant contribution to Opera Holland Park Chorus in Káťa major donors, bringing the total to 21 Kabanová the cultural life of London and plays a vital role in the  Developing a series of new fundraising and © Robert Workman development of the British operatic industry. stewardship events  Increased digital output and a commensurate reduction in other media advertising

The challenge of producing a season of opera on an important historical site in the heart of a London park continues to demand invention and creativity, and the company is maintaining its focus on developing new ideas with regard to patron experience and comfort. By the start of the 2018 Season, a major landscaping project carried out by the Royal Borough of Kensington and Chelsea on the terrace in front of Holland House will have been completed. This beautiful new scheme will provide a more accessible site for park users outside of our summer season.

4 The 2017 Season experienced one of the most challenging and extraordinary events in our history. Amid the tragedy of the Grenfell Tower fire and the death of our friend and colleague, Debbie Lamprell, the company found reserves of strength and community spirit to produce a moving performance of Verdi’s Requiem which raised £42,000 for the Rugby Portobello Trust.

The 2017 Season also marked the first year of a new three- year partnership with Investec Wealth & Investment, which continues to be a productive, creative and enormously supportive sponsorship, helping OHP spread its work far and wide. We are extremely grateful to the company and look forward to the next two years of our partnership.

Our team at OHP have made great advances, about more of which you will find in the following pages. In the 2018 Season we welcome new partners, donors and other sources of financial support. Our co-productions with Scottish Opera ( Ariadne auf Naxos , 2018) and with New York City Opera ( Isabeau , 2018/2019) extend the company’s international profile and reputation.

I would like to give praise and thanks to all of the Trustees, Campaign Board members, staff, volunteers and of course all the supporters of Opera Holland Park.

Michael Volpe General Director, Opera Holland Park

Aida Ippolito and Anne Sophie Duprels in Zazà © Robert Workman

5 DIRECTOR OF OPERA’S REPORT A lovely #OHPRondine tonight. @LiztheLyric proving again what a fabulous Puccini soprano she is, smoky bottom, velvety middle, soaring top

Puccini’s La rondine

The opening production of the season is always important. What the critics said… Set in the 1950s, this production worked wonderfully. It ‘A patchwork of Viennese waltzes and Parisian foxtrots, was felt that we needed glamour and elegance, so the street songs and heart-spinning arias, this show offers team of Martin Lloyd-Evans and takis were asked to direct sweet escapism and salty realism.’ and design La rondine following the success of their Anna Picard, The Times production of Die Fledermaus for Opera Holland Park in 2016. The three different locations in the piece were ‘OHP’s James Clutton always casts impeccably. Not only designed beautifully, and a particular coup de théâtre , the has he found a splendid Magda in Elizabeth, but also a top- dramatic scene change from Act I to Act II, will be class Italian lyric tenor, Matteo Lippi, as her ardent remembered by everyone who saw it. student/lover, Ruggero.’ David Mellor, Mail on Sunday Under the baton of Matthew Kofi Waldren, two fantastic artists led this cast: Elizabeth Llewellyn returned to OHP ‘This is an operatic confection that can be warmly after five years, and Matteo Lippi, who made his OHP recommended to anyone with a sweet-tooth and a soft debut. They had wonderful support from Stephen Aviss heart.’ and Tereza Gevorgyan. The remainder of the principal cast Rupert Christiansen, The Telegraph had come up through the ranks at OHP, as former members of the OHP Chorus, alumni of our Young Artists Scheme or both.

Floating home after a simply magical production @operahollandpk of #OHPRondine – Elizabeth Llewelyn of particular majesty – ma bravi tutti!

Stephen Aviss, Elizabeth Llewellyn, Tereza Gevorgyan, Henry Grant Kerswell, Sophie Dicks, Alistair Sutherland, Timothy Langston and David Stephenson in La rondine © Robert Workman

6 @ollyplatt the best production of DG I have seen. Claustrophobic and true to the score. Well done! #OHPGiovanni

Mozart’s Don Giovanni

Don Giovanni is often called the ‘director’s graveyard’. It is notoriously difficult to get right, so having a major success was even more rewarding. Conducted by Dane Lam, directed by Oliver Platt, and designed by Neil Irish, this production looked stunning and the claustrophobic nature of a cruise liner worked well. A uniformly great cast was led by the fantastic double act of Ashley Riches and John Savournin as the Don and Leporello. Lauren Fagan was superb in the role of Donna Anna; she returns to OHP as Violetta in La traviata , 2018.

What the critics said… ‘This show flows in a torrent of hot-headed emotions.’ Richard Morrison, The Times

‘[A] simple yet stylish Art Deco design... there is a credibility here that has eluded many directors.’ Hannah Nepil, Financial Times

‘Ashley Riches, tall, fair and handsome, sang the title role with a golden timbre laced with incipient seduction; John Savournin, moustachioed and besuited as Leporello, was his equally mellifluous fall guy.’ Mark Valencia, WhatsOnStage

A fabulous #OHPGiovanni last night. Great singing and acting and inventive staging. Bravi tutti @operahollandpk

Ashley Riches and Graeme Broadbent in Don Giovanni © Robert Workman

7 Victoria Simmonds, Ellie Laugharne, Ian Beadle, John Savournin, Ben Johnson, Lauren Fagan and Ashley Riches in Don Giovanni © Robert Workman

8 9 DIRECTOR OF OPERA’S REPORT Loved #OHPKabanova. Unique sound world of Janaček + Ostrovsky’s classical Russian play I studied at school + great psychological production! Janáček’s Káťa Kabanová

Eight years after we first presented this production, we revived it to great acclaim. Julia Sporsén was outstanding in the title role and both leading tenors, Peter Hoare and Nicky Spence, were on excellent form. What struck me, and some critics, was that this production showed just how far we have come as a company over those years. Although all the principal singers were excellent in 2008, it was in the supporting roles taken by singers like Clare Presland and Paul Curievici that the improvement in quality really showed.

Having the director Olivia Fuchs there for the entire rehearsal and production period – almost unheard of with a revival – gave it the feeling that we were building on what we created last time. It was also wonderfully corralled by the conductor Sian Edwards who made her OHP debut. This was a very successful production for us: personally, I think it was the best revival of the few we have presented.

What the critics said… ‘Julia Sporsén [is] searing in the title role.’ Clare Colvin, Sunday Express

‘Unbearably moving’ Richard Bratby, The Spectator

‘In this madly overstuffed summer of opera everyone will have had their favourite. This is mine.’ Mark Valencia, WhatsOnStage

‘This is an exemplary cast… the combination of Fuchs’ intelligent direction and the exceptional team who bring the piece alive already achieve something special.’ George Hall, The Stage

Julia Sporsén and the Opera Holland Park Chorus in Káťa Kabanová Still reeling this morn. post-#OHPKabanova. © Robert Workman I can still hear the wonderful score @nickythespence @JASporsen @laurawoodsmezzo @ClarePresland

10 Thank u @operahollandpk for great first half to #OHPzaza and HUGE thanks to @Investec 4 supporting it. More companies must support the arts! Leoncavallo’s Zazà

The audience and critical response was very good for our What the critics said… rarity in the 2017 Season. As usual, Anne Sophie Duprels ‘Duprels gives a performance of such emotional honesty proved herself to be the complete singing actor and whilst and dramatic integrity that it tears you in two.’ unusually for her she didn’t have to ‘die’ on stage, she still Tim Ashley, The Guardian gave a moving performance of extraordinary intensity. One of the challenges of a piece like this is the sheer amount of ‘An exemplary production by Marie Lambert that suggests roles needed. Though often not on stage for very long, they both the tawdry glamour of backstage and the rather need to be sung well, and although this causes issues with bleaker realities of a life of theatrical stardom. Peter Johane Ansell, Anne Sophie Duprels the casting, it gives us a chance to offer developing singers Robinson’s sensitive conducting honours the evanescent and James Cleverton with the Opera Holland Park Chorus in Zazà opportunities, which many of the younger artists took with fragrances of Leoncavallo’s skillful orchestration.’ © Robert Workman aplomb. Rupert Christiansen, The Telegraph

‘Anne Sophie Duprels excels in the title role, while Joel Montero’s vibrant Milio, Richard Burkhard’s long-suffering Cascart and Aida Ippolito’s cameo as Totò are the pick of a strong supporting cast. Peter Robinson’s expert conducting is a reminder that Leoncavallo was a resourceful orchestrator as well as a dependable librettist.’ Richard Whitehouse, The Independent

‘Only a singer of Duprels’s intensity could carry this off, and she does so with the visceral vocal and histrionic intensity that marks out her Butterfly at this address and elsewhere in the UK. She is a treasurable artist…’ Hugh Canning, Sunday Times

Congratulations to all involved in #OHPZaza @operahollandpk a stunning evening

11 DIRECTOR OF OPERA’S REPORT

Young Artists Performance of Don Giovanni

The Young Artists Scheme at Opera Holland Park was Even by its own high standards, this was probably the most launched in 2011 to give young emerging professional successful year for the scheme. The team was led by the singers, conductors, directors and répétiteurs the director Roxana Haines and the conductor Harry Ogg, who opportunity to rehearse and perform in a professional also worked extensively on our Inspire project. The environment. Unlike many other training or talent reputation of the scheme has built over the years; in 2017 development programmes, the Young Artists are given a we had a record numbers of applicants allowing casting to full rehearsal process, culminating in a public main-stage be better than ever, which in turns feeds the future of the performance with chorus and orchestra to a paying project. The Young Artists Performance itself was audience, this year, Don Giovanni on 22 June 2017. wonderful – a real triumph for all concerned, as well as being sold out.

BRAVI TUTTI @operahollandpk What the critics said… @JamesOHP for a fab Don Giovanni ‘Engaging and fully rounded performances from all last night. What a magical evening! concerned.’ #OHPGiovanni #OHPYoungArtists Robert Hugill, Planet Hugill

Eleanor Sanderson-Nash, Nardus Williams, Joel Williams, Darwin Leonard Prakash, Ricardo Panela and Julia Hamon in the Young Artists Performance of Don Giovanni © Alex Brenner

12 Still humming the tunes from Alice yesterday at @operahollandpk What a lovely production! Get tickets if you can! #OHPAlice Will Todd’s Alice’s Adventures in Wonderland

For the fifth year in succession on the Yucca Lawn of Holland Park, Alice's Adventures in Wonderland was hugely popular with audiences, selling out every performance and making OHP accessible to families who wouldn’t normally come to the opera. The sheer joy that Will Todd’s opera gives to families is incredible. We continued to run schools workshops around the performances and, once again, we held a Relaxed Performance for children with autism and their families. We continued to work with the RNIB to hold workshops and touch tours for children who are visually impaired. We also worked alongside the children’s charity Rainbow Trust. Another wonderful year of Alice .

Joanna Marie Skillett, Jim Cleverton, Fflur Wyn, Alys Roberts, Samantha Price and audience from Alice’s Adventures in Wonderland © Lucy Curtis

Royal Albert Hall Concert Series

OHP produced three events at the Royal Albert Hall (RAH) in 2016/17: A Celebration of British Opera in October 2016, Opera and the Silver Screen in October 2017 (a celebration of operatic music used in films), and a performance of Poulenc’s La voix humaine starring Anne Sophie Duprels in March 2017. All of these nights were successful in building a relationship with the RAH, creating new audiences and keeping our brand awareness going throughout the year and outside of the summer season.

Anne Sophie Duprels in La voix humaine at the Royal Albert Hall in March 2017 © Alex Brenner

13 DIRECTOR OF OPERA’S REPORT

Verdi’s Requiem

The 2017 Season is inextricably linked with the Grenfell Choir, and some big name guests from the classical music tragedy and the loss of our friend Debbie. It is a tribute to industry such as the conductor Edward Gardner and the the professionalism of the entire team at Opera Holland composer Mark-Anthony Turnage. Conducted by two OHP Park that, caught in the middle of this maelstrom of conductors, Sian Edwards and Peter Robinson, the emotion, they continued to perform at the very top of their performance was a very, very special moment for the abilities. Their professionalism, commitment and emotional company. At the end, the silence before the applause engagement make this season among one of the seemed to go on forever. company’s greatest achievements. We had approximately 60 musicians in the pit from our The tragedy was so close to us geographically and resident orchestra, the City of London Sinfonia. There were emotionally that we felt that we needed to do something to 120 chorus members on stage, four principals, two raise money. More importantly, we wanted to show conductors, a full complement of stage management, solidarity with our local community. company management, lighting and front of house staff… and the cost of all of this was precisely zero. A magical Verdi’s Requiem seemed to be the ideal piece, with a night. company made up of four OHP principals, a chorus made up of many Opera Holland Park principals, past and present James Clutton chorus members, members of Borough Market Community Director of Opera, Opera Holland Park

14 Curtain call at Verdi’s Requiem © Robert Workman

15 Inspire

16 OUTREACH AND EDUCATION: INSPIRE ‘Being given the chance to actually see an opera live, and enjoying it so much, has given [my daughter] something to really think about.’ Free tickets for young people recipient

In 2017, Opera Holland Park’s award-winning outreach and Giovanni for people with visual impairments, and the other education programme Inspire delivered 15 individual a Relaxed Performance of Alice’s Adventures in Wonderland projects and 60 Inspire sessions – all of which were free to accommodate children with learning disabilities or for participants – and engaged over 5,700 people. autism and their families.

Through extensive projects with schools, refugees, the Inspire ’s specially designed programmes have supported elderly and people with learning disabilities, Inspire enables almost 200 people living with dementia in 2017, using diverse groups to discover and participate in opera. In music to ease its symptoms, bring loved ones together 2017, Inspire carried out 20 educational Alice workshops through shared memories and enable participants to enjoy for over 300 children – of which 40% were from socially or a better quality of life. Following the success of our economically disadvantaged backgrounds – as well as a dementia programmes and our accessible performances, six-week multi-sensory project with students with special Opera Holland Park is delighted to be opening its doors in educational needs and disabilities. Alongside educational 2018 as London’s first dementia-friendly opera theatre; programmes, Inspire produced two projects with over 100 meaning that our theatre is accessible, our staff trained young refugees, introducing them to opera and welcoming and the theatre adapted for those living with memory loss. them into their new community through music, and opened In 2017/18 we look forward to working with 50 refugees to the theatre up to the general public for our free annual create a performance piece as part of a new project, Open Day. Inclusive projects such as these have enabled Refuge in Harmony. We will also be holding our inaugural Inspire to engage new demographics and make Opera Schools' Matinee, filling the main theatre auditorium with Holland Park an accessible and open community hub for over 800 children and young people. Our work with people everyone to enjoy. living with dementia will increase in 2018, with the aim of Opera Holland Park has continued to take opera out of the bringing musical aid to all those living with dementia in theatre and into community centres, churches, sheltered Kensington and Chelsea by 2022. housing and hospitals to engage, entertain and bring over Inspire and everything it stands for is central to what Opera 1,000 people together through music. Inspire ’s free public Holland Park believes in, and we are proud that this year concerts have taken place throughout the year in the project has been recognised by the prestigious 2018 partnership with AgeUK Kensington & Chelsea, Salvation International Opera Awards, winning the global award for Army and St Cuthbert’s Day Centre, and encouraged a Best Education & Outreach. Each Inspire project is uniquely greater sense of wellbeing to those who may otherwise be developed to engage with our main-stage productions, isolated from social activities. support our artists and embrace our community. We are Opera Holland Park aims to make opera and our theatre in fortunate to work with people from all backgrounds, Holland Park accessible to all. In 2017, our four hugely welcoming everyone into the Opera Holland Park family as successful ticket schemes enabled almost 3,000 people to equals. watch a main-stage opera for free, for £18 or through our Lucy Curtis 2-4-1 offer for Emergency Services staff. We provided two Inspire Coordinator, Opera Holland Park accessible performances in 2017, engaging almost 100 people; one an audio-described performance of Don

Alistair Sutherland with young participant in Alice’s Adventures in Wonderland workshop with young refugees and Fairbeats © Lucy Curtis

17 OUTREACH AND EDUCATION Inspire and everything it stands for is central to what Opera Holland Park believes in

11 London boroughs

39 organisations

FREE

2,892 15 free & discounted tickets to main-stage 60 individual projects shows in the season Inspire sessions

From left to right: Refuge in Harmony Insight Day, Playlist Live at AgeUK Memory Café, Alice SEN project performance at Jack Tizard School, Recipients of free tickets for older audiences, Opera for Thought at OHP Open Day 2017 © Lucy Curtis

18 ‘This workshop had a huge impact on our ‘There are so many orchestras and operas children, allowing their imaginations to really in London but I now know that this one is take off!’ Teacher at Alice's Adventures in for me.’ Opera for Thought participant Wonderland educational workshop

£ 100% 33% sessions free participants for participants over 60

5,713 people engaged 59% participants socially vulnerable 26% participants under 18 19 COMMUNICATIONS AND DEVELOPMENT

Development Marketing & Press

2016/17 saw Investec Wealth & Investment start its third We maintained our full house policy with 94% occupancy consecutive three-year contract as our Title Sponsor. By across all opera performances throughout the season, the end of this term Investec will have been our Title despite contending with the General Election and inclement Sponsor for nine years, and we are hugely grateful for its weather at the beginning of the season. Our rarity, Zazà , support as we begin our life as an independent charity. We was the fastest selling show of the season, demonstrating also continued to receive vital support from long-term the trust that our audience puts in us when it comes to sponsors including the Phillimore Estate and Handford producing this important repertoire. Wines, and we were delighted to welcome Viking Cruises, In 2017, we moved away from holding one Opening Night Carter Jonas and Intesa San Paolo as new supporters of party at the start of the season, and instead hosted our season. celebrations for each of the productions’ First Nights. Membership of our Founders, a group who support the Generously sponsored by Investec Wealth & Investment, continued artistic excellence of the company, grew by an these were high-profile, red-carpet events with a range of additional four supporters, reaching a total of 21. Between guests including celebrities, industry peers, donors and them they contribute £1.2 million to the Founders Fund, sponsors. The First Night parties were featured in a range exceeding our original income target of £1 million. We also of press outlets, including Tatler Magazine . The parties grew membership of our Benefactors by 120%, and we are increased our profile within the London scene and helped thankful for the generosity of these important donors. to solidify one of our most important selling points as a ‘Great Night Out’. Our Ambassadors, Envoys and Friends continue to be incredibly supportive, donating around £¼ million each year Our 2017 Season attracted huge press coverage in the and purchasing around 30% of the tickets for our season. form of reviews, features, interviews and opinion pieces In line with the Development Strategy, we increased the across all media channels – print, online, radio and amount of events that are held throughout the year for our television. Reviews and artistic press coverage again were supporters to engage with us, including additional lectures, extremely positive, with 4 and 5 star reviews across all drinks receptions and dinners. All events were well- productions. attended, and we aim to extend our range of events further in 2018.

Individual support grew with a Production Syndicate for our rarity Zazà and the development of the Young Artists Circle; a group of current and new donors who give dedicated support to our Young Artists. We consolidated our support from Trusts and Foundations, and developed our income around productions, Young Artists and our outreach and education programme, Inspire .

20 Capacity Number of % Occupied occupied seats

LA RONDINE 8,008 7,689 96%

DON GIOVANNI 10,010 9,193 92%

KáT’A KABANOVá 5,005 4,334 87%

ZAZà 5,005 4,913 98%

DON GIOVANNI Young Artists Performance 1,001 1,001 100%

ROYAL BALLET SCHOOL 4,004 3,620 90%

ALICE’S ADVENTURES IN WONDERLAND 1,500 1,500 100%

TOTAL 34,533 32,250 94%

As identified in our Marketing Strategy, we greatly Our 2016 production of Iris won the Broadway World increased our digital activity and social media engagement awards for Outstanding Achievement in a New Opera across all our channels in the 2017 Season. We reached Production. Simon Corder, Lighting Designer for The Queen over 1.4 million Facebook users, with a 1,500% increase in of Spades also won a Knight of Illumination Award for his engagements from the previous year. Our content on work on our opera. YouTube increased by 22%, with 11 new videos made The Royal Ballet School returned to OHP as part of our throughout the year, including trailers, audience reaction 2017 Season for their end-of-year summer performances. videos and behind-the-scenes footage. Audiences continued to be very strong, and we exceeded Engagement with our digital content continued to be our sales targets for these performances with 89% of strong, with one of our season trailers reaching over 40,000 tickets sold and a total audience capacity of 90%. They are views across all channels. We also reintroduced our confirmed to return in 2018. Instagram account to our social media output and have Opera Holland Park continues to be a hire space for increased our followers by 1,500% – a result of posting corporate hospitality, charities and other national regular, high-quality photography, particularly throughout businesses. In August 2017 we hosted the Luna Cinema the summer months. once again, as they showed four films: Jurassic Park, Four We intend to build on the success of our digital activity in Weddings and A Funeral, Casablanca and Dirty Dancing. the 2018 Season with a range of digital content curated Child Bereavement UK returned to OHP for a performance alongside a new yearly programme of events in of Don Giovanni , selling all tickets for the performance to collaboration with our Research and Repertoire Consultant, their members and supporters as a charity gala. a new member of the administration team. We will be Felicity Sutherland building awareness of our Inspire work through careful Head of Development and Communications, development of media contacts outside of the specialist Opera Holland Park musical press.

21 1,500% 94% 9 years increase in occupancy of sponsorship with Investec Wealth & Investment, engagement including a new three-year partnership

1.4 million 40,000 22% reach on views of just one more content on Facebook season trailer YouTube

22 £1.2 million £250k £42,000 contributed to the donated by Ambassadors, raised for the Rugby Founders Fund Envoys and Friends each year Portobello Trust

120% 30% growth in Benefactor of tickets bought by membership Friends and Supporters

Elizabeth Llewellyn and Matteo Lippi with the Opera Holland Park Chorus in La rondine © Robert Workman

23 35,250 seats occupied 4,786 seconds of applause 2,110 picnic tables sold 1,928 donors 1,001 seats in the auditorium 867 hours of rehearsals 540 hospitality guests 153 musicians 128 singers 66 Inspire events

24 2017 Season in numbers Julia Sporsén and Peter Hoare in Káťa Kabanová © Robert Workman

52 backstage creative staff 49 volunteers 39 performances 33 OHP debuts 9 conductors 5 operas 4 First Night parties 1 incredible season 25 FINANCIAL PERFORMANCE

£ £ 2016 2017

● Box Office 1,681,308 1,627,035

● Fundraising 286,912 377,168

● Friends Schemes 230,004 250,281

● Corporate Sponsorship 210,000 256,000 INCOME ● Commercial Activities 229,954 190,363

● Investment 23,891 11,069

● Gift Aid & Theatre Tax Credit 541,806 554,958

TOTAL INCOME 3,203,875 3,266,874

● Opera Production 2,029,844 1,724,776

● Inspire Events 29,956 32,560

● Staff incl Contracted & Agency 785,674 823,044

● Marketing 90,048 84,685 EXPENDITURE ● Fundraising 143,073 231,733

● Theatre/Operations 543,030 513,690

● Other Overheads incl VAT 469,772 500,141

● Depreciation 49,798 68,047

TOTAL EXPENDITURE 4,141,195 3,978,676

OPERATING DEFICIT -937,319 -711,802

Release from one off RBKC grant 937,319 711,802

NET OPERATING DEFICIT 0 0

Note Due to a change in accounting procedures money received from our Founders is now recognised as a draw down from the fund rather than a net amount received in the financial year. As a consequence the Fundraising figure for 2016 differs from the figure reported in the 2015/16 Annual Report. 26 TRUSTEES AND COMMITTEES

Board of Trustees Senior Management Ms Fiona Campbell (Company Secretary) Mr James Clutton – Director of Opera Mr Anupam Ganguli Mr Michael Volpe – General Director Ms Jessica Hepburn Mr Pradip Rajah – Head of Finance & Resources Mr Martin Kramer Ms Felicity Sutherland – Head of Communications Mr Charles Mackay CBE (Chair) & Development Sir Trevor Macdonald Campaign Board Martin Lockett – resigned on 31 May 2017 Mr Stuart Corbyn Finance Audit and Risk Committee Mr Tim Corner Mr Anupam Ganguli (Chair) Dr Genevieve Davies Ms Jessica Hepburn Mr Paul Giles Mr Charles Mackay CBE (Observer) Mrs Lynne Gillon Martin Lockett – resigned on 31 May 2017 Mr John Glencross Ms Jessica Hepburn Remuneration Committee Mr Martin Kramer Mr Martin Kramer (Chair) Miss Mei-Sim Lai OBE Mr Anupam Ganguli Mr Charles Mackay CBE (Chair) Mr Charles Mackay CBE Mr Nic McElhatton Ms Fiona Campbell Mr Alan Morgan Martin Lockett – resigned on 31 May 2017 Lady Ridley Nominations Committee Ms Isabelle Schirmer Mr Martin Kramer Mr Anthony Spiro Mr Charles Mackay CBE (Chair) Sir Robert Wilson Ms Fiona Campbell (Observer) Stuart Corbyn joined the Board of Trustees and became Chair of the Campaign Board on 1 January 2018.

27 DONORS AND SUPPORTERS

Title Sponsor Ambassadors Mr and Mrs Robert Lloyd Investec Wealth & Investment Mr and Mrs Anwar Al Qatami Dr Tracy Long Founders Lulu Bott The Loveday Charitable Trust Tim Ashley and John Booth Melanie Brown Stuart and Ellen Lyons Charitable Andrew and Fiona Brannon Mrs Annone Butler Trust Sir Malcolm and Lady Colquhoun Mark and Rosemary Carawan Charles and Annmarie Mackay Tim Corner and Eric Chomet Mr Gavin Choyce Paul and Ursula Manduca Dr Genevieve Davies David Colver Mr John McNamara Paul and Wendy Giles Claire and Ivor Connick Henry and Fiona McWatters John and Clare Grumbar Mrs Joan Constantinidi Sir Brian Neill Jenny Hodgson Mr and Mrs Andrew Cormack Mr and Mrs John O’Connell Christopher and Jo Holdsworth Hunt David and Suzanne Cowan Helene and Vincent Oratore Javett Family International Trust Jonathan and Belinda Davie Ellie Packer and Bob Freidus Angela and Richard Lascelles (Chorus Mrs Monique Doizi-Young Michael and Amanda Parker Founder) Mr and Mrs Allen Dyer Andrew and Cindy Peck Mrs Sally Lykiardopulo Mr David Emmerson Posgate Charitable Trust Charles and Annmarie Mackay Pat and Linda Farrell Mr Derek Power Alan and Jan Morgan Mr Tony Fathers Neil and Julie Record Mark Pigott KBE KStJ Mr and Mrs Richard Fernyhough Mr Chris Rokos Richard and Ginny Salter Mrs Eve Fowler Sir Timothy and Lady Sainsbury Susan and John Singer Mr and Mrs David Freeman Mr Ian G Salter Peter Smedvig and Family Mrs Jacqueline Gee Thomas Schoch Rupert J Wilson Lynne Gillon Martin Sherwood Maureen and Tony Wheeler Patricia and John Glasswell Sir David Sieff And those who wish to remain Mr John Glencross Susan and John Singer anonymous Mrs Grete Goldhill Mrs Wendy Spackman Philip and Maggie Gready Helen and Anthony Spiro Corporate Supporters Mr Benjamin Hargreaves Nandee and William Stockler Bluefin Jocelin and Cherry Harris Peter Stormonth Darling Carter Jonas Roger and Alison Heath Ms Eileen J Taylor Intesa SanPaolo Private Banking Clare Henderson Mr Michael Thomas QC The Phillimore Estate Mr John Henderson Henry and Rebecca Tinsley Viking Cruises John and Sue Heywood Sir Robert and Lady Wilson Benefactors Mr Allan Hodgson Antony and Carla Withers Mrs Latifa Kosta Mrs Kay Huffner Ms Anne Wood CBE Carl and Jackie Michaelsen John and Rowena Jackson And those who wish to remain Susan and Richard Price Nigel and Caroline Keen anonymous Mr Antony Thomlinson Martin and Wendy Kramer Mr and Mrs Jan Woloniecki George and Anne Law And those who wish to remain Paddy and Sue Linaker anonymous

28 General Donations Production Support Mr and Mrs David Freeman Constance Travis Charitable Trust The Lord Phillimore John S Cohen Foundation Maureen and Tony Wheeler Spears Stutz Foundation And those who wish to remain anonymous Production Syndicate Young Artists Mark and Rosemary Carawan Boltini Trust Mr Glenn Hurstfield D’Oyly Carte Charitable Trust Martin and Wendy Kramer Garrick Charitable Trust Mr Richard Leslie Golsoncott Foundation Mrs Wendy Spackman And those who wish to remain anonymous Trinity Buoy Wharf And those who wish to remain anonymous Young Artists Circle Mr Roger Amey Inspire Mr and Mrs PM Beckwith A4 Altruistic Mrs Elizabeth Bennett Barchester’s Charitable Foundation Ann Winifred Bird Carntyne Trust Diana le Clercq CHK Charities Mr Charles Cormick Marsh Christian Trust Mr John Edwards Ofenheim Charitable Trust Anupam Ganguli Lynne Gillon Mr John Heywood Mrs Susan Heywood Mr Brian Horwell Dr Judy Kane Mickworth Charitable Trust Stephen and Isobel Parkinson Jan Leigh and Jan Rynkiewicz Dr Tim L Short Nick Thomas and Eleanor Cranmer John Wates OBE Ms Ruth Wyman And those who wish to remain anonymous

29 OPERA HOLLAND PARK

Registered Address: Investec Opera Holland Park 37 Pembroke Road London W8 6PW

Theatre Address: Opera Holland Park Theatre Holland Park London W8 6LU

Box Office: 0300 999 1000 boxoffi[email protected]

Information:

020 3846 6222 k u . o c

[email protected] . n g i s e d y e l l o Company number: 04515375 y b

d e

Charity number: 1096273 n g i s e

VAT number: 249109205 d 30 30