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Publication 2 Annual Report 2015 – 2016 1 1 Chairman’s Introduction 1 Contents General Director’s Report 2 Director of Opera’s Report 6 Review Highlights 8 Inspire and Community Work 10 Theatre Hire & Other Projects 13 Communications and Development 14 Financial Performance 16 The Business Model Going Forward 18 Company Information 21 Donors and Supporters 22 cover: Iris, 2016 left: La bohème, 2016 Photography © Robert Workman CHAIRMAn’S InTRODUCTIOn Since Opera Holland Park’s birth in 1996 the company Without the Royal Borough of Kensington & Chelsea, has grown immeasurably and now stands proudly Opera Holland Park would not be the very successful among the finest opera companies in the UK. For the opera company it is today and it is thanks to them that first 20 years of that astonishing development, Opera we have been able to establish ourselves as an Holland Park was part of The Royal Borough of independent charity. The Friends of Opera Holland Park Kensington & Chelsea and financially underwritten by charity were champions of the company since 2003, it, itself a unique and remarkable situation. raising significant income to support its work. Investec Wealth & Investment have been our excellent title In October 2015 Opera Holland Park became sponsors for the last six years, and we are delighted independent of the Royal Borough, merging the that they have just renewed for a further three years. company into the existing Friends of Opera Holland Our Founders have pledged significant support to Park charity. The 2016 Season was highly successful, ensure the continuing development of our artistic as you will see highlighted later in this review, with the excellence for which we are particularly grateful. And five main-stage operas all critically acclaimed. And we our other donors – Benefactors, Ambassadors, Envoys, played to packed and appreciative houses with an Friends, Trusts & Foundations and Corporates – have average seat occupancy of 98%. So our first Season as also continued to be very valued supporters. And our an independent charity has demonstrated even more many volunteers play such an important role in so compellingly the very distinctive character of Opera many areas of our activity. To all these supporters, a Holland Park – outstanding artistic excellence huge thank you. combined with a unique mission of accessibility and affordability – to which we remain fully committed. Lastly, a tribute to those working at Opera Holland Park itself. Our two Directors, our Management and Staff Our Inspire programme of Outreach and Education produced our best ever Season while at the same time work continues to go from strength to strength and working extraordinarily hard to set us up as an this year worked with over 30 organisations across the independent charity, with all the staff, systems and Capital, taking opera to those who would not normally processes required to take us forward – no mean task. experience this wonderful art form. And our new Trustees have rapidly coalesced into an Of course, none of this would have been possible effective, constructive and committed Board, working without the huge support that we have received over closely with the Directors and Management. the years. So, on behalf of all of us at Opera Holland Park, I should like to thank most warmly all of our key supporters. Charles Mackay CBE Chairman, Opera Holland Park left: The Queen of Spades, 2016 Photography © Robert Workman 1 GEnE RAL DIR ECTOR’S REPORT A first year of challenge and success Opera Holland Park was first established under the auspices of The Royal Borough of Kensington and Chelsea in 1996. The company was a department of the Libraries and Arts Service, which was responsible for How we managing the series of events at the outdoor theatre in Holland Park. By 2000, after a series of successful productions, including several in the got here late Italian repertoire for which the company has now become well-known, Opera Holland Park was producing the entire season at the theatre. In 2007, as success grew, a new 1,000-seat auditorium and extensive new canopy roof was purchased by RBKC. By 2014, it was decided that the future of the company would be better served by becoming an independent charity. The first, challenging year of any company is often said to determine the future of the entire enterprise. Opera Holland Park began the journey of independence from The Royal Borough of Kensington and Chelsea on 1 October 2015 and since then a great deal has been achieved. 2 opposite and left: Die Fledermaus, 2016, top: La bohème, 2016, bottom: Iris, 2016 Photography © Robert Workman Extracting the company from council structures presented unique Introducing services and facilities previously provided by the Royal problems but we were able to smooth this transition by absorbing the Borough meant that our first year was more administratively-expensive company into the structure of our existing Friends organisation, already an than previously and with increased fundraising targets, our staff structures independent charity. This meant that creating the functional charitable, were adapted to provide the human resources required to begin this financial and legal entity was a smoother process and was achieved in strategic process. Further on in this report you can read about the excellent time for the official handover date of 1 October 2015. progress we have already made in this respect. We have also been able to introduce the technical/IT structures necessary in a cost-effective and We have negotiated a lease of 25 years for the use of the theatre, which is efficient fashion and to acquire support services for HR, Legal and renewable. Office and Box Office space continue to be within council Accounting necessities. buildings, although we maintain entirely separate IT systems. The new Board of Opera Holland Park has quickly understood the unique A departure sum of £5 million was agreed between RBKC and the nature of the festival and has begun to contribute significantly to the company. £3.85 million was granted in cash, with transitional costs paid on strategic planning of the company. Led by Charles Mackay, the Board behalf of the company by the borough. £1.055 million was retained to functions in a flexible and efficient way, and Managers of the company are cover the costs of various infrastructure and facilities projects that are able to find quick resolutions to issues of importance. currently being explored (should these fail to proceed, this money will be paid to the company). Challenges have been faced , too; producing, marketing and operating a full opera season with much of the transition work still underway presented obstacles that the company needed to overcome to ensure that a successful season on stage – our core work, of course – would not be 3 jeopardised. Further in this document, I am pleased to say that you will find In the 2016 season OHP continued our long tradition of presenting rare, reports of a magnificent season both artistically and from an audience late Italian repertoire with a new production of Mascagni’s Iris , an opera support point of view. We also faced many staff changes as part of the that was last performed at OHP in 1997 and 1998. The season was natural progression of careers and the need to introduce new personnel to generally believed to be one of the strongest ever at OHP with great critical the company. This process is only now coming to a conclusion. acclaim for all of the productions. The strategic overview of the company expressed in the original Business There were 32 performances, including that of the Young Artists, with Plan and as presented in 2014/15, is now supported by key individual and operas being sung in Italian, English and Russian. The City of London comprehensive strategic plans covering the crucial Development, Sinfonia performed as our house orchestra for the 13 th year. Individual Giving and Marketing functions . New administrative processes introduced include: Administrative and technical strategies to provide greater economy and • A significant change towards online supporter recruitment processes, efficiency in the production of the season, the building of the theatre and freeing up significant administrative working time in the Friends office the management of out of season work are in progress at the time of writing . • Earlier booking periods and communications processes Our producing model has been adapted to allow for more focused • Longer-term planning seasons and space for further community and year-round work. From 2017, OHP will trial a season of four operas, increasing performances for Key staff structures and roles and working practices have been adapted the more in demand productions. A Schools Matinee will also be mounted and/or introduced in order to fulfil the increased targets that have been set. for the first time in 2018. 4 La Cenerentola , 2016 Photography © Robert Workman All are committed to working to the aims set out in three new and Audiences have been strong in 2016, with just under 92% paid occupancy interconnected five-year strategies to ensure that the company is on a across the season (£1.68 million ticket revenue) and our long-term course to produce break-even seasons by 2021. fundraising activity has produced almost £1 million additional funds pledged for our Founders Fund . Our outreach work via our Inspire Project The company has also engaged the services of several specialist has continued and our accessible tickets schemes, offering thousands of companies to deal with our HR, Legal and IT functions. people free or cheap tickets continues to be a core part of the company’s The transition year and the need to ‘catch-up’ as a company entity meant aims. that our cost base increased, as was planned and expected.
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