The REVIEW 2 0 1 2 / 1 3 CONTENTS Don Carlo Anja Harteros CHIEF EXECUTIVE CHAIRMAN EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
Cover image, previous page: Frederick Ashton Mixed Bill 2 BACK FORWARD CHIEF EXECUTIVE CHAIRMAN EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
ALEX BEARD, Chief Executive
It is a great pleasure and honour to introduce this Annual interpretations to be heard anywhere in the world, Review, my first as Chief Executive. At the point of writing including an extraordinary account of Wagner’s Ring cycle. it is just over six months since I joined the Royal Opera House, so this is almost the last moment at which I can These achievements have been laid on the soundest offer a new boy’s perspective on this remarkable, wonderful of musical foundations with the Orchestra of the Royal Opera organization. Tony Hall and all his colleagues at the Royal House and Royal Opera Chorus. The far-sighted investment Opera House have helped to build one of the world’s in double section heads was evident in the quality and leading creative forces. Their achievements are outlined, consistency of playing under the leadership of Vasko Vassilev and may be viewed, in the pages and footage to follow. and Peter Manning. Renato Balsadonna and colleagues have built what is widely regarded as the world’s foremost opera Throughout 2012/13 Kevin O’Hare and Kasper Holten chorus, as exemplified by their rousing account of ‘Va, showed us on stage why The Royal Ballet and The Royal pensiero’ in Nabucco. The Jette Parker Young Artists Programme Opera are regarded as two of the world’s greatest lyric theatre goes from strength to strength and it was marvellous to see companies. The evidence can be seen in the ambition and debutants from the latest cohort on stage, as well as returning quality of new commissions such as Christopher Wheeldon’s graduates such as Edgaras Montvidas and Matthew Rose. Aeternum, or George Benjamin and Martin Crimp’s Written on Skin, or in the hard work put in to refresh and re-present The Royal Ballet saw changes with the departure of Alina revivals of the quality of Mayerling and Don Carlo. Antonio Cojocaru, Tamara Rojo and Johan Kobborg and the Pappano inspired us all with some of the finest musical retirement of Leanne Benjamin and Mara Galeazzi. I
BACK TO CONTENTS 3 BACK FORWARD CHIEF EXECUTIVE CHAIRMAN EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
will report in subsequent Reviews on the next generation reaching out to new audiences, and opening opportunities of leading principals, but it is fitting to mark their to contribute to the work on the Royal Opera House stage. extraordinary contribution to The Royal Ballet here. Paul Reeve, who left us in September 2013 to lead Into We have taken steps to assure the future wellbeing of Film, has provided a great legacy for Jillian Barker to build the Company with the appointment of Gregory Retter, on as Director of Learning and Participation. Clinical Director of Ballet Healthcare, and Chance to Dance continues to inspire the next generation of talent The Royal Opera House connected with audiences well beyond Covent Garden throughout 2012/13. Our ongoing Beyond the stage, High House Production Park, Thurrock, productive relationship with the BBC took us into tens of is a brilliant example of what can be achieved through thousands of homes, via radio and television. There were live partnership, with the Royal Opera House acting as a catalyst relays of our productions to more than 300 cinemas in the UK, for positive change. Locating the Creative & Cultural Skills and a further 40 countries across the world; we took Tokyo Backstage Centre there, and the creation of a new youth by storm with Alice’s Adventures in Wonderland; and we inspired chorus, marks it as a beacon of creative endeavour in the audiences at Hobart Baroque in Australia with the Haydn eastern Thames Gateway, one of the UK’s most deprived areas. opera L’isola disabitata. It is this quality of work, range of It is now a hub of community energy, focus and engagement. activity, and breadth of reach that makes this place so special.
More generally, our learning and participation programme We achieved a break even financial out-turn balanced continued to change lives by inspiring fresh talent, budget as a result of the hard work and determination of
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staff from across the organization, whether in offering emphasize investment in artistic development through great customer care, delivering the highest quality new commissions, growing our international reputation, productions to the stage on tightly managed budgets, or improving experiences for audiences, while placing finding inspired ways to do more for less. The dedication learning and participation at our heart, and playing a full and professionalism of the people here is simply role in engaging people across the country. outstanding and underpins every aspect of our success. There will, of course, be more on all of this in the years The Royal Opera House is also blessed with a growing, to come in future Annual Reviews. But at this moment I committed and passionate audience. 675,000 people want to pay tribute to everyone at the Royal Opera House, experienced a production at Covent Garden with over 95% from Tony Hall and his predecessors to the ushers who of seats occupied, and 40% of seats available for under £40. make every night’s experience so welcoming, for creating This backing for what we do is also evident in the Friends, a remarkable institution and providing such a strong Patrons, sponsors and donors who have played an essential legacy for the future. role in supporting our programmes, and in helping us plan for a vibrant future despite reductions in public funding.
It is on these foundations of artistic excellence, broad reach, and committed support that we have embarked on a direction of travel for the period to 2020. This will
BACK TO CONTENTS 5 BACK FORWARD CHIEF EXECUTIVE CHAIRMAN EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
SIMON ROBEY, Chairman
I am delighted that Alex Beard has joined the Royal Opera vital for the cultural life of the nation House and look forward to supporting him and his that such funding be sustained as far Executive Management Team in building on the traditions as possible. of excellence, creative diversity and artistic boldness that are ingrained in the fabric of this place. That said, looking ahead it is clear that the future success of this organization is more than This continuity and development is enabled by sound ever vitally dependent on growing private sector finances. The bedrock of financial support continues to be support. We will maintain our expanding funding from Arts Council England. Despite significant commitment to self-reliance: in 2001 65% of funds real term reductions over recent years it is still the single, were self generated. In 2012/13 this has grown to 76%. largest individual source of funds after our box office income and enables the Royal Opera House to present a We are enormously grateful to all the Friends, Patrons, breadth of repertory and range of activity that would individuals, trusts and foundations and corporate otherwise be impossible. It also carries with it an supporters who share our commitment to enriching obligation, as one of the National Portfolio Organizations, people’s lives through opera and ballet of the highest to enable great art for everyone working in partnership quality. We are all hugely fortunate that so many give both with organizations large and small across the country. time and money to support the art forms that they love, to Although further real term reductions in funding are inspire today’s audiences while assuring the future inevitable, at a time of austerity in public finances, it is enjoyment of generations to come.
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Exceptional PHILANTHROPY
THE CHIEF EXECUTIVE, CHAIRMAN AND TRUSTEES OF THE ROYAL OPERA HOUSE WOULD LIKE TO EXTEND THEIR PARTICULAR THANKS TO THE FOLLOWING WHOSE CONTRIBUTIONS HAVE MADE SUCH AN EXTRAORDINARY DIFFERENCE TO THE 2012/13 SEASON.
The Annenberg Foundation The Helen Hamlyn Trust Mr Stefan Sten Olsson Lady Ashcroft David Hancock Yvonne and Bjarne Rieber Bank of America Merrill Lynch The Headley Trust Sir Simon and Lady Robertson Celia Blakey Marina Hobson OBE and The Hobson Charity The Robey Family BP Investec Tokio Marine Rogge Britten-Pears Foundation Aud Jebsen Rolex The Bunting Family Alfiya and Timur Kuanyshev Mrs Lily Safra Columbia Foundation of San Francisco The Linbury Trust The Jean Sainsbury Royal Opera House Fund Coutts & Co Thomas and Deirdre Lynch The Taylor Family Foundation The Peter Cruddas Foundation Bob and Tamar Manoukian Lindsay and Sarah Tomlinson Terry and Jean de Gunzburg The Metherell Family The Tsukanov Family Foundation Deloitte The Monument Trust Sir Siegmund Warburg’s Voluntary Settlement Sarah and Lloyd Dorfman Peter Moores Foundation Dr and Mrs Michael West Dunard Fund Oak Foundation Xstrata Mrs Aline Foriel-Destezet Mrs Susan A Olde OBE
BACK TO CONTENTS 7 BACK FORWARD CHIEF EXECUTIVE Eugene Onegin CHAIRMAN EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
PRESS GALLERY AWARDS OPERA BALLET EXCELLENCE
‘THE QUESTION IS ALWAYS “CAN WE DO BETTER”? THE ANSWER IS ALWAYS “YES”.’
Kasper Holten, Director of Opera, The Royal Opera
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PRESS GALLERY AWARDS OPERA BALLET
Press Gallery
“The Royal Opera’s “I want to see it again as “It’s still an astonishing “There are many “This is a fascinating work performance is beyond soon as possible, and of show – especially I celebrated Chopin from Wheeldon, and Barry the normal canons of how many new operas can imagine for newcomers to ballets. Ratmansky is Wordswoth conducts the praise. Stephen Langridge’s that be said? Actually, of Barry’s music which often taking on a tradition, Britten with sensitivity.” immaculately rehearsed three that have been sounds as if Stravinsky and and cheerfully finds his David Dougill, production is pitch-perfect premiered at The Royal Janáček have staggered out own place in it. 24 Preludes The Sunday Times in its clean-lined austerity, Opera in the past decade of a Shoreditch rave, both is a marvellous piece, and Christine Rice — Adès’s The Tempest, as high as kites. The The Royal Ballet’s best (Ariadne), John Tomlinson Birtwistle’s The Minotaur Britten Sinfonia delivers it new work in years.” (Minotaur), Johan Reuter and now this. Three with élan.” Zoë Anderson, (Theseus), as well as apparent masterpieces of Richard Morrison, The Independent Elisabeth Meister and opera from England in a The Times Andrew Watts in small decade is impressive, roles, are all superb.” indeed unprecedented. Rupert Christiansen, And they are all quite The Daily Telegraph different.” Michael Tanner, The Spectator
BACK TO CONTENTS 9 BACK FORWARD CHIEF EXECUTIVE Originally performed in 2008, Stephen Langridge’s production of The Minotaur CHAIRMAN Johan Reuter The Minotaur returned for its first revival at the start of 2013. Inspired EXCELLENCE PARTICIPATION by the Greek myth, and staged in a bullring, the production followed REACH Theseus’s journey into the labyrinth to rescue Ariadne from the NURTURE YEAR AT A GLANCE Minotaur. It was the 13th main stage opera to have been commissioned FINANCE by The Royal Opera since the first commission Gloriana in 1953, PHILANTHROPISTS and the second from British composer Harrison Birtwistle. Ryan PRESS GALLERY Wigglesworth conducted and he was joined by three principal singers AWARDS OPERA reprising their roles from the first run: John Tomlinson as the BALLET Minotaur, Johan Reuter as Theseus and Christine Rice as Ariadne.
GALLERY The work was accompanied by an Insights evening led by Ryan The Royal Opera’s The Minotaur Wigglesworth and members of the cast and creative team. The Royal Opera’s Written on Skin The Royal Opera’s The Importance of Being Earnest The Royal Ballet’s 24 Preludes The Royal Ballet’s Aeternum
Press Gallery return
BACK TO CONTENTS 10 BACK FORWARD CHIEF EXECUTIVE Written on Skin CHAIRMAN Bejun Mehta EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
PRESS GALLERY AWARDS OPERA BALLET
GALLERY The Royal Opera’s The Minotaur The Royal Opera’s Written on Skin The Royal Opera’s The Importance of Being Earnest The Royal Ballet’s 24 Preludes The Royal Ballet’s Aeternum
Written on Skin was a collaborative project through which five European opera houses from four countries co-commissioned a major piece by British composer George Benjamin, working with playwright Martin Crimp. The pair originally partnered on Benjamin’s first opera, Into the Little Hill, which had its London premiere in 2009 in the Linbury Studio Theatre and was revived there in 2010. Written on Skin was their first full-length opera, based on an Occitan ballad from the 13th century. The production also gave Benjamin his debut as a conductor at the Royal Opera House, and was subsequently broadcast on BBC Radio 3 and released on DVD by Opus Arte. It was generously Press Gallery return supported by the Peter Moores Foundation through its Swansong Project and Columbia Foundation, San Francisco.
BACK TO CONTENTS 11 BACK FORWARD CHIEF EXECUTIVE The Importance of Being Earnest CHAIRMAN Full cast EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
PRESS GALLERY AWARDS OPERA BALLET
GALLERY The Royal Opera’s The Minotaur The Royal Opera’s Written on Skin The Royal Opera’s The Importance of Being Earnest The Royal Ballet’s 24 Preludes The Royal Ballet’s Aeternum
The Royal Opera presented the first UK staging of The Importance of Being Earnest by acclaimed Irish composer Gerald Barry at the Linbury Studio Theatre in June 2013, with the support of the John S Cohen Foundation. Barry’s wildly ambitious score bridged a range of genres from Modernism to Avant-garde to Baroque. Memorable moments included Gwendolen and Cecily’s battle of wits performed through megaphones to the accompaniment of 40 rhythmically-smashed plates. Directed by Press Gallery return Ramin Gray the opera won the prestigious Royal Philharmonic Society Award for Large-Scale Composition.
BACK TO CONTENTS 12 BACK FORWARD CHIEF EXECUTIVE 24 Preludes was Russian choreographic star Alexei 24 Preludes CHAIRMAN Fumi Kaneko and Nehemiah Kish Ratmansky’s first work for The Royal Ballet and met with EXCELLENCE PARTICIPATION great acclaim. Former Artistic Director of the Bolshoi REACH Ballet, Ratmansky is much admired for his revitalization of NURTURE YEAR AT A GLANCE narrative ballet and for taking classical conventions in new FINANCE directions. 24 Preludes was generously supported by Celia PHILANTHROPISTS Blakey and Richard and Della Baker.
PRESS GALLERY AWARDS OPERA BALLET
GALLERY The Royal Opera’s The Minotaur The Royal Opera’s Written on Skin The Royal Opera’s The Importance of Being Earnest The Royal Ballet’s 24 Preludes The Royal Ballet’s Aeternum
Press Gallery return
BACK TO CONTENTS 13 BACK FORWARD CHIEF EXECUTIVE Aeternum CHAIRMAN Nehemiah Kish and Marianela Nuñez EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
PRESS GALLERY AWARDS OPERA BALLET
GALLERY The Royal Opera’s The Minotaur The Royal Opera’s Written on Skin The Royal Opera’s The Importance of Being Earnest The Royal Ballet’s 24 Preludes The Royal Ballet’s Aeternum
Christopher Wheeldon’s arresting ballet Aeternum, scheduled during the Britten 100 Celebrations, was stunningly choreographed to Britten’s score Sinfonia da Requiem with its themes of war and death. It featured the talents of Marianela Nuñez and the Britten Sinfonia and was a winner of 2014 Olivier Awards for both dancer and production. Aeternum Press Gallery return was generously supported by Celia Blakey and The New Ballet Works Syndicate.
BACK TO CONTENTS 14 BACK FORWARD CHIEF EXECUTIVE Robert le diable CHAIRMAN Marina Poplavskaya and John Relyea EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
PRESS GALLERY AWARDS OPERA BALLET AWARDS
2014 OLIVIER AWARDS OPERA AWARDS 2013 Best New Dance Production – Aeternum Conductor of the Year – Antonio Pappano The Royal Ballet at the Royal Opera House Written on Skin winner: choreographed by Christopher Wheeldon 2013 British Composer Award – Outstanding Achievement in Dance – opera category Marianela Nuñez Grand Prix – Musique Contemporaine, Aeternum, Diana and Actaeon and Viscera Académie Charles Cros 2013 for The Royal Ballet Grand Prix du Syndicat de la Critique 2013 Outstanding Achievement in Opera – Premiere of the year – Opernwelt 2013 Bryan Hymel International Opera Award (UK) 2013 Les Troyens, Robert le diable and Rusalka South Bank Sky Arts Awards for The Royal Opera Critics’ Circle 2013 Best Classical Choreography – Christopher Wheeldon for Aeternum by The Royal Ballet De Valois Award for Outstanding Achievement – Leanne Benjamin
BACK TO CONTENTS 15 BACK FORWARD CHIEF EXECUTIVE Written on Skin CHAIRMAN Barbara Hannigan EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
PRESS GALLERY AWARDS OPERA BALLET OPERA
The Royal Opera presented 18 productions in the main auditorium including the first revival of Keith Warner’s production of Wagner’s Der Ring des Nibelungen and six new productions: Robert le diable (Meyerbeer), Eugene Onegin (Tchaikovsky), Nabucco (Verdi), La donna del lago (Rossini), Gloriana (Britten) and Written on Skin (Benjamin) - which was one of a number of critically acclaimed 21st century operas. These included the revival of Harrison Birtwistle’s The Minotaur and, in the Linbury Studio Theatre, the first staging of Gerald Barry’s The Importance of Being Earnest and Netia Jones’s innovative production of György Kurtág’s Kafka Fragments. The Royal Opera also unveiled ambitious commissioning plans for future Seasons to 2020.
BACK TO CONTENTS 16 BACK FORWARD CHIEF EXECUTIVE Raven Girl CHAIRMAN Sarah Lamb, Thiago Soares EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS BALLET PRESS GALLERY AWARDS OPERA During Kevin O’Hare’s first Season as Director of The Royal Ballet, the Company performed 11 productions BALLET and mixed bills. This included two Royal Ballet premieres, Fool’s Paradise by Christopher Wheeldon and Viscera by Liam Scarlett. There were also four world premieres, Raven Girl by Wayne McGregor, Aeternum by Christopher Wheeldon, Hansel and Gretel by Liam Scarlett, 24 Preludes by Alexei Ratmansky, with Jerome Robbins’s In the Night returning to the repertory after an absence of many years.
The immense legacies of Frederick Ashton and Kenneth MacMillan on the respective 25th and 20th anniversaries of their deaths were honoured throughout the Season and in a special Mixed Bill. The programme ended with Ashton’s Margeurite and Armand, a ballet that in his lifetime was danced exclusively by Margot Fonteyn and Rudolf Nureyev. The baton was then passed to Sylvie Guillem who danced it with Nicolas le Riche and Jonathan Cope in 2000. This latest revival starred two couples: Tamara Rojo with Sergei Polunin, and Zenaida Yanowsky with Frederico Bonelli. It marked Rojo’s farewell to The Royal Ballet after more than 12 years leaving to become Artistic Director of English National Ballet.
BACK TO CONTENTS 17 BACK FORWARD CHIEF EXECUTIVE Welcome Family Performance CHAIRMAN EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
YOUNG PEOPLE ADULTS & FAMILIES ROH BRIDGE DIVERSE AUDIENCES PARTICIPATION
‘OPENING DOORS TO INVITE PEOPLE IN IS CENTRAL TO EVERYTHING WE DO. THAT EXPERIENCE CAN BE LIFE-CHANGING.’
Kevin O’Hare, Director, The Royal Ballet
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YOUNG PEOPLE ADULTS & FAMILIES ROH BRIDGE DIVERSE AUDIENCES YOUNG PEOPLE
One Big Stage was a main stage performance featuring two new Last year Chance to Dance inspired more than 1,500 children and their commissions that involved 300 young people including our Youth teachers in the London boroughs of Lambeth, Southwark and, for the Opera and Chance to Dance companies, participants from three Centres first time, Thurrock, thanks to the support of the J Paul Getty Jnr. Trust. for Advanced Training, and the Hallé Youth Orchestra. Youth Opera The programme began in 1991 to provide access to ballet for children Company members also formed the children’s chorus for Royal Opera who would not otherwise have the opportunity. Since then, more than performances of La bohème throughout the Season. 23,500 have taken part in demonstrations and workshops in their schools and over 1,250 have participated in regular ballet classes. Dance is now Our annual Fanfare competition returned for its fourth year giving part of the National Curriculum but there is a shortage of teachers that 11-16 year olds the opportunity to create 30-second fanfares used front feel able to lead dance activities in the classroom. Consequently, in of house to encourage audiences to take their seats. We received over parallel to Chance to Dance, we run Dance Dynamic, an INSET 200 entries from young people across the UK with ten winners selected, programme for primary and secondary teachers that augments their spanning the country from Cornwall to Cumbria. This group then skills and confidence to empower them to head creative dance projects. worked with professional composer Duncan Chapman and musicians from the Orchestra of the Royal Opera House to arrange and orchestrate Street Stories is a partnership between the Royal Opera House and East their original ideas. The young composers subsequently came with their London Dance which engages young people aged 14-21, who may families and teachers to work with Antonio Pappano and the Orchestra currently be excluded from arts activities for a variety of reasons, in the of the Royal Opera House to record their final pieces. These new creation of contemporary performance pieces. 16 emerging artists, from fanfares are played in rotation each night at the Royal Opera House a range of disciplines, were split into groups and asked to create material and are heard by over 675,000 audience members across the Season. and production ideas for the young participants to make a dance piece
BACK TO CONTENTS 19 BACK FORWARD CHIEF EXECUTIVE Beginners CHAIRMAN Youth Opera Company EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
YOUNG PEOPLE ADULTS & FAMILIES ROH BRIDGE DIVERSE AUDIENCES
from to perform in the Linbury Studio Theatre. They were all given advice and mentoring by leading artists including Wayne McGregor, Will Tuckett and Lucy Carter. Following a sharing of work and ideas in July 2013, three artists were chosen to progress to being part of Street Stories 2013/14 to create a new piece with around 40 young participants from Stratford and Newham in London.
RM19 is a newly formed singing group aimed specifically at young people in Thurrock aged 11-25. The group grew out of the Thurrock Community Chorus to cater for the specific interests and needs of this younger age group. 528 young people came to a singing workshop in Thurrock and 51 are now members of RM19 - participants come from a range of backgrounds with a variety of reasons for joining the group. RM19 now meets fortnightly at the High House Production Park for three-hour sessions with workshops incorporating opera, pop, rock, beatboxing, rap, composing, improvisation and arrangement.
BACK TO CONTENTS 20 BACK FORWARD CHIEF EXECUTIVE Monday Moves CHAIRMAN EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
YOUNG PEOPLE ADULTS & FAMILIES ROH BRIDGE DIVERSE AUDIENCES ADULTS AND FAMILIES
Monday Moves is a weekly dance class for blind and partially sighted engage with singing. The intergenerational Chorus focuses on operatic adults. Sessions take place in one of The Royal Ballet’s studios at the repertory as well as other choral music and currently has around 90 Royal Opera House where a creative approach to classical ballet singers. Members develop their skills in singing and musicality, technique encourages awareness of postural alignment, balance and including reading music, through full and sectional rehearsals. The kinaesthesia. The French ballet terminology gives all participants a group gave two performances of its programme Awake in Chorus at the common movement language which enables quick and accurate Backstage Centre in Thurrock and the Paul Hamlyn Hall at the Royal response to vocal instruction. Working in a large, familiar dance studio, Opera House - a joint performance with the Chorus of the Royal Opera with no unknown obstacles, encourages a confidence in movement House. It also performed a Christmas concert in Thurrock with music which transfers into daily life. There are currently 30 members of the by Verdi, Rutter and a selection of Christmas carols, and then prepared company. During 2012/13, Monday Moves celebrated its 25th anniversary a new programme of Verdi, Wagner and Sondheim performed at the with a special workshop and sharing of work for friends and families. Roundhouse as part of the Voice Now festival and at FUSED, a choral The class teachers, David Pickering and Liz Foster, were joined by Royal festival in Thurrock. Ballet dancers who helped make the creative session, inspired by Sir Frederick Ashton’s Monotones I & II, memorable for all. It is a mark of Sounding Out encourages families to be creative together through a the success of the programme that some participants have been coming series of workshops and activities. The sessions offer the opportunity to for 25 years, and that new members continue to join every year. experience opera, music and dance by participating as a family to explore ideas and learn new skills. We partnered with both Thurrock The Thurrock Community Chorus provides an exciting and inspiring and Westminster local councils to engage hard-to-reach community opportunity for local residents, and people that work in Thurrock, to groups with little or no experience of the Royal Opera House or the arts.
BACK TO CONTENTS 21 BACK FORWARD CHIEF EXECUTIVE Family Sundays CHAIRMAN EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
YOUNG PEOPLE ADULTS & FAMILIES ROH BRIDGE DIVERSE AUDIENCES
In Thurrock we worked with the Troubled Families Unit and Catch 22 The Royal Opera House Insight Programme offers new and existing which helps at risk groups; in Westminster we worked with the Family audiences unique access across opera and ballet to our artists, Learning team. Sounding Out brought 85 family members together to productions and backstage crafts. During 2012/13 we held more than discover the story and characters of Alice’s Adventures in Wonderland 50 events reaching 8,167 attendees with 97% capacity attendance in the through design, words and music before coming to the Royal Opera Clore Studio Theatre, the Linbury Studio Theatre and venues beyond House to experience a matinee performance. the Royal Opera House, including the Thameside Theatre in Thurrock. The programme included Royal Ballet in Class, In Conversations with In partnership with Contact the Elderly, a charity which works with over leading artists, pre-performance talks, Royal Ballet and Royal Opera 75s who are housebound and isolated, more than 100 older people masterclasses, orchestra rehearsals and behind-the-scenes insights with visited the Royal Opera House to see opera and ballet performances technical staff. We also continue to share material from Insights including Mayerling, The Nutcracker, Alice’s Adventures in Wonderland and through a variety of digital channels, including YouTube, Soundcloud Tosca. They also had opportunities to meet staff, learn more about the and iTunes U. productions and to enjoy socializing over a tea party. In addition, we piloted a new initiative working with older people who are prevented from seeing performances at the ROH because they do not feel able, comfortable or confident visiting an unfamiliar place. Working in residential homes we took a singer and pianist and introduced residents to opera, teaching the brindisi (drinking song) from La traviata and encouraging them to create their own drinking song to the same tune.
BACK TO CONTENTS 22 BACK FORWARD CHIEF EXECUTIVE Street Stories 2012 CHAIRMAN EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
YOUNG PEOPLE ADULTS & FAMILIES ROH BRIDGE DIVERSE AUDIENCES ROH BRIDGE
The Royal Opera House is one of ten national Bridge organizations share and collaborate) and supporting Southend Libraries to across England. Bridge is an Arts Council England initiative which commission research into why teenagers frequently fail to engage connects children and young people to the breadth of art and culture. with local libraries. It forges links between schools, young people and communities, and artists, arts organizations, museums and libraries across the country. ROH Bridge Annual Report ROH Bridge works in Hertfordshire, Essex (including Thurrock), Bedfordshire and North Kent. It facilitates learning projects that meet gaps in provision, build networks, enable schools to access cultural opportunities, develop the capacity and skills of cultural organizations to deliver learning projects, and to co-invest financially in projects. Artsmark is Arts Council England’s flagship programme to enable schools and other organizations to evaluate, strengthen and celebrate their arts and cultural provision. Seven Artsmark Advocates are working directly with schools across the ROH Bridge region. Arts Award is a unique qualification that supports young people to develop as artists and arts leaders. Open to anyone aged 7–25, Arts Award is embedded in 70% of ROH Bridge partnerships. Examples of ROH Bridge’s work over the last Season include investing in the Essex Dance Teachers Network (enabling different kinds of dance teachers to learn,
BACK TO CONTENTS 23 BACK FORWARD CHIEF EXECUTIVE CHAIRMAN EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
YOUNG PEOPLE ADULTS & FAMILIES ROH BRIDGE DIVERSE AUDIENCES DIVERSE AUDIENCES
We continue to offer tickets at a wide range of prices (currently starting at £3, colleges, special educational needs/pupil referral units and hospital schools. with 40% under £40, for main stage) for all performances in our theatre. The 2012/13 Season’s schedule included performances of La bohème, The Royal Opera House also provides free events such as the Deloitte Onegin, Tosca, a new ballet Triple Bill, and La Bayadère and Gloriana. Ignite festival and opportunities to experience performances at low or no More than 9,982 people attended and over half of schools came from cost through cinemas, BP Big Screens, digital media and BBC broadcast. beyond Greater London, with some travelling from as far away as Newcastle upon Tyne, South Wales and Cornwall. A travel fund was Our Welcome Performances for Families, supported by the Annenberg available to schools that needed support covering transport costs to Foundation, attracted over 3,766 new family members to see Swan Lake and from the Royal Opera House. in October 2012 and The Nutcracker in January 2013. The Paul Hamlyn Christmas Treat offered subsidized tickets to first time attendees to The During 2012/13 we launched our Student Ambassadors group: a collection Royal Ballet’s The Nutcracker and brought 1,771 people to the Royal of passionate students from around the country who work to encourage Opera House; we worked in partnership with The Sun newspaper to students to attend a Royal Opera House performance. Our Student Standby reach audiences who might not have considered attending. At all of scheme is free to join and gives students the opportunity to experience these events we offered a range of pre-performance activities including live opera and ballet performances, at cut price rates, via our dedicated dressing up, music and movement workshops, trying out musical Amphitheatre student evenings where tickets are heavily subsidized. This instruments and visiting backstage craft stalls in the Paul Hamlyn Hall. complements our £10 Standby scheme which offers last minute tickets for certain performances. 5,451 students took advantage of the scheme with The Taylor Family Foundation Schools’ Matinees offer heavily subsidized performances of Onegin, a new ballet Triple Bill of Apollo, 24 Preludes and tickets to primary and secondary schools, higher and further education Aeternum, Tosca and Die Zauberflöte. 700 Tosca tickets sold out in 12 minutes.
BACK TO CONTENTS 24 BACK FORWARD CHIEF EXECUTIVE Don Carlo CHAIRMAN Anja Harteros and Jonas Kaufmann EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS REACH
‘IT’S ALL ABOUT CONNECTION: BUILDING BRIDGES TO OUR WORK TO INSPIRE AUDIENCES – FIRST TIME AND REGULAR, YOUNG AND OLD, IN LONDON, ACROSS THE UK, AND FURTHER AFIELD.’
Alex Beard, Chief Executive
BACK TO CONTENTS 25 BACK FORWARD CHIEF EXECUTIVE Raven Girl CHAIRMAN Sarah Lamb EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
AUDIENCES 95% occupancy across 415 performances 675,000 attendances at the Royal Opera House 215,000 UK cinema attendances and 131,000 in 40 other countries 55,000 UK attendees of The Nutcracker 22 free BP Big Screens around the UK 28,000 enjoyed BP Big Screen Tosca 37% of our Covent Garden audience lives beyond Greater London 44% of our Schools’ Matinee audience lives beyond Greater London 80% of our cinema audience lives beyond Greater London
BACK TO CONTENTS 26 BACK FORWARD CHIEF EXECUTIVE Hansel and Gretel CHAIRMAN Steven McRae EXCELLENCE PARTICIPATION REACH PERFORMANCES NURTURE YEAR AT A GLANCE AND PRODUCTIONS FINANCE 10 productions of new commissions PHILANTHROPISTS 18 new productions 415 performances 12 performances by visiting companies
BACK TO CONTENTS 27 BACK FORWARD CHIEF EXECUTIVE The Rite of Spring CHAIRMAN Kristen McNally and students rehearsing EXCELLENCE PARTICIPATION LEARNING AND PARTICIPATION REACH NURTURE 47,964 people took part in learning YEAR AT A GLANCE and participation activities FINANCE PHILANTHROPISTS 25,569 people came for the first time through targeted schemes 20 student ambassadors 2 community choirs
BACK TO CONTENTS 28 BACK FORWARD CHIEF EXECUTIVE Eugene Onegin CHAIRMAN Pavol Breslik EXCELLENCE PARTICIPATION REACH BROADCAST AND ONLINE NURTURE YEAR AT A GLANCE 5 television and 22 radio UK broadcasts FINANCE 180,000 viewers of Eugene Onegin PHILANTHROPISTS 290,000 viewers of BBC4 documentary Pappano’s Essential Ring Cycle 3 million people have watched ROH live steaming since 2012 4,000 downloads per month from iTunes U 600,000 visits to the site per month on average 2.1 million minutes of footage streamed from the ROH YouTube channel each month Broadcast and distribution partners included: the BBC, The Space, Sky Arts, Guardian online, Telegraph online and Mezzo 144,000 Facebook friends 108,000 Twitter followers
BACK TO CONTENTS 29 BACK FORWARD CHIEF EXECUTIVE Deloitte Ignite CHAIRMAN Tony Allen and Niaja Centric Orchestra EXCELLENCE PARTICIPATION REACH The fifth year of our annual, free, three-day Deloitte NURTURE YEAR AT A GLANCE Ignite festival was curated by critically acclaimed FINANCE artist Yinka Shonibare. For Deloitte Ignite 2012 he PHILANTHROPISTS created Africa Weekend, a celebration of traditional and contemporary arts and culture from the continent, featuring cinema, visual arts, dance, music, workshops, food and a club night. It brought together a variety of artists from different cultures and traditions to create an arresting and diverse programme. Over 10,000 people came to the festival, an increase of more than 20% on the previous year’s attendances, 58% of whom were first time visitors to our Covent Garden home.
BACK TO CONTENTS 30 BACK FORWARD CHIEF EXECUTIVE The Firebird CHAIRMAN EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
OPERA BALLET ROH PEOPLE YOUNG PEOPLE SUSTAINABILITY NURTURE
‘TALENT IS A CAUSE FOR CELEBRATION. DISCOVERING IT, SUPPORTING IT, AND HELPING IT TO FLOURISH, IS INCREDIBLY IMPORTANT.’
Antonio Pappano, Music Director, The Royal Opera
BACK TO CONTENTS 31 BACK FORWARD CHIEF EXECUTIVE The Royal Opera House is the leading commissioner in the UK for new Yasmine Naghdi and Christopher Carr, rehearsal CHAIRMAN opera and ballet. A typical Royal Opera season now includes one full-scale EXCELLENCE PARTICIPATION commission, six new productions in the main auditorium and a busy REACH contemporary opera programme in the Linbury Studio Theatre that can NURTURE YEAR AT A GLANCE include as many as six world premieres. The Royal Ballet is investing in FINANCE new one-act ballets (approximately five per season) and building the PHILANTHROPISTS repertory of full-length narrative work (averaging one per season) as OPERA well as developing a distinctive role for the Linbury Studio Theatre BALLET ROH PEOPLE as a laboratory for contemporary ballet. We aim to promote ballet YOUNG PEOPLE and opera’s place at the centre of contemporary culture, increasing SUSTAINABILITY relevance and impact through the creation of new work that reflects, responds to and engages with the world to inspire the broadest possible audiences.
BACK TO CONTENTS 32 BACK FORWARD CHIEF EXECUTIVE The Minotaur CHAIRMAN John Tomlinson EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
OPERA BALLET ROH PEOPLE YOUNG PEOPLE OPERA SUSTAINABILITY
We partner UK organizations who produce and tour: Glyndebourne, Scottish Opera, Welsh National Opera, Opera North, Aldeburgh Music, Music Theatre Wales, The Opera Group, London Sinfonietta, Birmingham Contemporary Music Group and Britten Sinfonia.
The Royal Opera’s Jette Parker Young Artists Programme has provided more than 50 opera artists with a two-year programme of coaching from leading international names, training and appropriate performance opportunities. Graduates include Sally Matthews, Marina Poplavskaya, Matthew Rose and Andrew Kennedy.
The Royal Opera is partnering the Guildhall School of Music and Drama and Sound and Music to equip composers, beginning their careers, to make opera.
BACK TO CONTENTS 33 BACK FORWARD CHIEF EXECUTIVE Hansel and Gretel CHAIRMAN Laura Morera EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
OPERA BALLET ROH PEOPLE YOUNG PEOPLE BALLET SUSTAINABILITY
The award-winning Ballet Black returned to the Linbury Studio Theatre for its eighth season which also showcased dance work from Phoenix Dance Theatre, Wayne McGregor | Random Dance, Bern Ballett, Jean Abreu Dance, The Royal Ballet and The Royal Ballet School.
The Royal Ballet has a dynamic choreographic ladder that develops both UK and international talent. Led by three renowned choreographers - Wayne McGregor, Christopher Wheeldon and Liam Scarlett - it includes performance opportunities, structured mentoring, workshop based courses and associate positions. In parallel, the Company’s strategic relationship with The Royal Ballet School is being strengthened and five RBS students joined The Royal Ballet in 2013.
The Company is nurturing relationships with organizations and artists who have the potential to play a major role in the development of ballet as a contemporary artform. Mayuri Boonham has been at the forefront of contemporary South Asian dance in the UK for the past decade. She was appointed Choreographic Affiliate with The Royal Ballet in 2012. Alexander Whitley has a long history with the Company,
BACK TO CONTENTS 34 BACK FORWARD CHIEF EXECUTIVE having trained at The Royal Ballet School, and was appointed Royal In the Night CHAIRMAN Zenaida Yanowsky and Nehemiah Kish Ballet Choreographic Affiliate in September 2012. He danced with EXCELLENCE PARTICIPATION Wayne McGregor | Random Dance and has now forged a career as one REACH of the most exciting young British choreographers of today. NURTURE YEAR AT A GLANCE FINANCE The extraordinary demands that the dancers of The Royal Ballet place PHILANTHROPISTS upon their bodies to create world-class performances on our stages, OPERA means that injury is a constant risk. It is our responsibility to enable BALLET ROH PEOPLE them to fulfil their potential, perform at their peak throughout their YOUNG PEOPLE careers, and ensure their health daily and upon retirement. Generous SUSTAINABILITY gifts from Royal Ballet supporters in 2013 enabled us to reconfigure and redevelop the Ballet Healthcare area. The Mason Healthcare Suite now provides a world-class environment and facilities to care for our dancers. It has significantly improved our ability to treat Company members holistically, bringing together the various disciplines in a bespoke treatment plan for each dancer. There is an expanded open plan space for physiotherapy, Pilates, gyrotonics and gym work, and the Lambert Studio has been redesigned and returned to its intended use as a place for individual work, coaching and rehabilitation. A relocated consulting room and extended office space complete the new development.
The Mason Healthcare Suite is generously supported by: Angela Bernstein CBE through The Quercus Trust Dame Vivien Duffield through The Clore Duffield Foundation Simon and Virginia Robertson John and Anya Sainsbury through The Linbury Trust Timothy and Susie Sainsbury through The Headley Trust John and Susan Burns Gail and Gerald Ronson through The Gerald Ronson Foundation
BACK TO CONTENTS 35 BACK FORWARD CHIEF EXECUTIVE CHAIRMAN EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
OPERA BALLET ROH PEOPLE YOUNG PEOPLE ROH PEOPLE SUSTAINABILITY
ROH staff sit on a diverse range of Boards: Essex College students. A wide range of other initiatives and The Actors Touring Company, Arts Depot, Battersea Arts Centre, partnerships include a growing apprenticeship scheme, structured Camden Arts Centre, Charity Finance Group, Company Chameleon, work experience, tours of our production facilities, and creative projects Dance UK, Drake Music, Engage, the National Campaign for Arts with local colleges and National Skills Academy feeder schools. Research and Education, the National Opera Studio, Opera Europa, Paines Plough, the Royal Ballet School, Spitalfields Music, Tessitura, Our Apprenticeship Scheme was created to address specific skills’ gaps Theatre Royal Stratford East and the Young Vic. within the performing arts’ sector and to increase the diversity of our backstage staff by promoting different methods of gaining access to Former ROH staff have gone on to lead many organizations: training. Each apprentice undertakes an NVQ (or equivalent) Level 2 BBC (Tony Hall), Creative & Cultural Skills and the National Skills or 3 in their chosen discipline, which supports their learning on the Academy (Pauline Tambling), English National Ballet (Tamara Rojo), job at the Royal Opera House with some of the most highly skilled Into Film (Paul Reeve), King’s College Cultural Institute (Deborah people in the creative industries. During 2012/13 we provided nine Bull) and National Romanian Ballet (Johan Kobborg). apprenticeships in Box Office, Scenic Carpentry, Scenic Metalwork, Costume (tailoring), Scenic Art, Learning and Participation, Collections We are proud to play a central role in addressing the shortage of and Technical. Former apprentices have gone on to begin successful backstage skills across the UK’s creative industries. Our existing careers elsewhere: the Costume apprentice worked on costumes for workshop at High House Production Park, Thurrock, was joined by the London 2012 Olympic Opening ceremony, the Collections apprentice new Costume Centre in 2014. Both have been designed with integral is now at the National Theatre Archives and one of the Scenic Arts viewing and learning facilities and the latter includes space for South apprentices went to work with Chris Ofili. The Royal Opera House also
BACK TO CONTENTS 36 BACK FORWARD CHIEF EXECUTIVE CHAIRMAN EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
OPERA BALLET ROH PEOPLE YOUNG PEOPLE SUSTAINABILITY
benefits from those apprentices who stay on: the first Carpentry The Royal Ballet encourages its Company members to work in the apprentice, Ian Cowie, is still with us, was Acting Foreman in the wider dance sector, beyond their performing career, through summer of 2013, and is mentor to the current apprentice. Many others participation in such schemes as the Royal Ballet School Professional work with us and other organizations on a freelance basis. Thanks to a Teachers’ course, the joint Royal Ballet/Royal Ballet School’s Course in generous grant from the Derek Butler Trust to the Royal Opera House Ballet Education Practice, and in training as notators and repétitéurs. Endowment Fund during 2012/13, we are expanding the scheme. The Royal Ballet is disseminating its findings on new approaches to We recently completed a pilot year for ROH Links, a skills-sharing ballet healthcare through conferences and lectures and is in close programme harnessing the expertise of our people. ROH Links’ partners discussion with Dance UK regarding learning from its own programme during 2012/13 were Balbir Singh Dance Company, The Opera Group of dancer clinics. In the future, it aims to augment its role in and Pavilion Dance South West, and we recently recruited new partners: developing healthcare research and effective provision within the Mid Wales Opera, The Garage Trust and Stopgap Dance Company. wider dance industry.
Royal Opera House staff have a diverse range of skills and we aim to share our knowledge and best practice in specialist areas through ongoing involvement in conferences and networks. A recent example of this is the exploration of a new model for sustainable app development, via the Digital R&D Fund for the Arts: our findings will be shared in partnership with King’s College London.
BACK TO CONTENTS 37 BACK FORWARD CHIEF EXECUTIVE CHAIRMAN EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
OPERA BALLET ROH PEOPLE YOUNG PEOPLE YOUNG PEOPLE SUSTAINABILITY
We have worked with more than 350 teachers and trainees, nationwide, resource and hair & make-up. This year’s challenge was based on Tosca on how to use opera, dance, music and backstage crafts within the and received over 300 entries from ten NSA colleges across England. classroom. Their ripple effect is incalculably valuable. A team of judges from the Royal Opera House visited all of the colleges to shortlist entries to a final 30 across the categories. Students from Young Creatives is an initiative, in collaboration with Youth Dance every college then came to watch the Schools’ Matinee performance of England and the Royal Ballet School, which supports the career Tosca and to see the special exhibition in the Crush Room which development of 12 young choreographers, aged 14-21. This year each displayed the shortlisted entries. Their standard was exceptionally high aspiring choreographer attended a skills-boosting weekend and a and the judging panel of Royal Opera House staff was deeply week’s residential course at the Royal Ballet School. Sessions explored impressed with the level of research, innovation and skill that was on dance, music, costume and lighting and the participants were mentored display. Kasper Holten, Director of Opera, announced the five winners throughout by Royal Ballet dancers and choreographers. At the end of who were then given the opportunity to enjoy a tailor-made backstage the residential week, each young choreographer presented a short experience at the Royal Opera House related to their specialism. work-in-progress in the Linbury Studio Theatre and received constructive feedback from mentors, industry professionals and Royal Working in partnership with the NSA, OPERAte, a course to inspire Ballet dancers. young people interested in behind-the-scenes careers in the arts, brought 188 students from across the country to spend a day of Now in its third year Design Challenge gave students from National Skills discovery at the Royal Opera House. Before attending each student Academy (NSA) colleges the opportunity to develop their skills in one chose a ‘pathway’ and then followed that specialism for their whole day. of five design categories: set, costume, marketing, digital educational Students began with a tour of their chosen department followed by
BACK TO CONTENTS 38 BACK FORWARD CHIEF EXECUTIVE watching a ballet rehearsal in the main auditorium. They then became The Importance of Being Earnest CHAIRMAN Stephanie Marshall decision makers in their chosen area and were treated as if they were EXCELLENCE PARTICIPATION employees facing real life tasks and challenges. For example, students REACH on the make-up pathway received a master class and then had the NURTURE YEAR AT A GLANCE chance to replicate the character make-up of The Queen of Hearts from FINANCE Alice’s Adventures in Wonderland, and a Rhinemaiden from Der Ring des PHILANTHROPISTS Nibelungen using sketches as a point of reference. Working in pairs, the OPERA students received feedback on their efforts from professional theatre BALLET ROH PEOPLE make-up artists at the end of the afternoon. YOUNG PEOPLE SUSTAINABILITY 184 young people joined the Royal Opera House for a short work experience placement in departments as varied as production costume, dye shop, digital media and marketing. Lasting between one and four weeks full-time, or up to 12 weeks on a part-time basis, our growing work experience programme continues to attract young people wishing to gain an insight into working in a leading creative arts’ institution.
BACK TO CONTENTS 39 BACK FORWARD CHIEF EXECUTIVE CHAIRMAN EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
OPERA BALLET ROH PEOPLE YOUNG PEOPLE SUSTAINABILITY SUSTAINABILITY
The Royal Opera House embraces the responsibility and obligation to In partnership with Julie’s Bicycle, a not-for-profit group that guides reduce environmental impact and we aim to engage with our arts organizations on sustainability practices, we lead on the delivery audiences, suppliers and partners to raise awareness about sustainability of Culture Change. This is a business support programme for small and issues. We have established a rigorous framework to monitor our gas, medium enterprises in the East of England that will be delivered across electricity and water consumption, replaced external lighting with the 2013/14 and 2014/15 Seasons supported by the European Regional energy efficient LEDs, installed sub-meters across our main building Development Fund 2007-13. Our new Costume Centre in Thurrock, covering 80% of our energy usage and launched a new recycling due to be completed by mid-2015, will be of the highest environmental scheme in back-of-house and administrative areas in Covent Garden. standards and aims to achieve BREEAM status of excellence and best Our future goals include a 10% reduction in our energy use by the end practice in sustainable building design. of the 2015/16 Season, which we aim to achieve through upgrading our cooling systems and bringing up to date our IT operation.
BACK TO CONTENTS 40 BACK FORWARD CHIEF EXECUTIVE CHAIRMAN EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS YEAR AT A GLANCE
AUDIENCES PERFORMANCE VALUE
95% occupancy and 415 performances, 53 debuts, £3+ generated for every £1 675,000 attendances at the and 260 principal roles in the of public money spent (through Royal Opera House main auditorium ticket sales, fundraising and 215,000 UK cinema attendances 5 television and 22 radio commercial activity) 55,000 UK attendees UK broadcasts 60p returned to the Treasury for of The Nutcracker cinema screening 15 UK companies partnered: c.200 every £1 of public money received 22 free BP Big Screens performances at c.50 venues 28,000 attended BP Big Screen Tosca INTERNATIONAL 180,000 viewers of Eugene Onegin ACCESS 290,000 viewers of BBC4 346,000 global cinema audience documentary Pappano’s Essential Tickets from £3 40 countries enjoyed cinema relays Ring Cycle 40% of tickets £40 or less 110,000 miles travelled by 3 million+ people have watched 20,000+ people took part in ROH productions ROH live streaming since 2012 learning and participatory projects 24,500 people saw The Royal 28,500+ attended for first time Ballet perform in Tokyo via subsidised tickets
BACK TO CONTENTS 41 BACK FORWARD CHIEF EXECUTIVE Eugene Onegin CHAIRMAN Krassimira Stoyanova and EXCELLENCE Vigdis Hentze Olsen PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
FINANCE
‘OUR JOB IS TO ENABLE WORLD-CLASS ART, REACH AND ENGAGEMENT AND THIS DEPENDS UPON MANAGING OUR FINANCES RESPONSIBLY AND WITH VISION.’
Sally O’Neill, Chief Operating Officer
BACK TO CONTENTS 42 BACK FORWARD CHIEF EXECUTIVE CHAIRMAN EXCELLENCE PARTICIPATION REACH NURTURE YEAR AT A GLANCE FINANCE PHILANTHROPISTS
Over £3 raised for every £1 of grant received
14th successive balanced full accounting year
14th successive year of positive cash balance throughout the year
BACK TO CONTENTS 43 BACK FORWARD CHIEF EXECUTIVE THE SUMMARY STATEMENT OF INCOME AND EXPENDITURE SET OUT BELOW IS A COMBINATION CHAIRMAN OF THE UNRESTRICTED GENERAL FUNDS, DESIGNATED FUNDS AND RESTRICTED FUNDS. EXCELLENCE PARTICIPATION REACH 2013 2012 NURTURE YEAR AT A GLANCE £m £m FINANCE INCOME PHILANTHROPISTS Box office receipts 37.1 33% 39.2 36% ACE – NPO, Bridge & Sustain 26.0 23% 26.4 24% ACE – capital grant 1.4 1% 0.0 0% Donations, legacies and sponsorship 24.0 22% 22.6 21% Commercial trading, touring and other income 22.2 20% 20.2 18% Investment income 1.3 1% 1.4 1% 112.0 100% 109.8 100% EXPENDITURE Performance, education and outreach 70.9 62% 69.1 62% Premises and depreciation 15.7 14% 15.5 14% Marketing and publicity 5.5 5% 5.6 5% Management, administration and governance 5.2 4% 4.7 4% Donations, legacies and sponsorship costs 3.6 3% 3.6 3% Commercial activity 12.6 11% 12.4 11% House management cost 1.1 1% 1.1 1% 114.6 100% 112.0 100% TRANSFERS FROM/(TO) FUNDS Fixed Asset and Heritage Asset Funds 4.0 4.1 Other Designated Funds (2.0) (0.4) Other Restricted Funds 0.6 (0.1)
NET SURPLUS ON UNRESTRICTED GENERAL FUNDS 0.0 1.4
The above excludes income and expenditure from both the pension scheme and endowment funds. For full details, please refer to the statutory accounts available from Companies House.
BACK TO CONTENTS 44 BACK FORWARD CHIEF EXECUTIVE CHAIRMAN PHILANTHROPISTS AND SPONSORS 2012/13 EXCELLENCE PARTICIPATION WE EXTEND OUR PROFOUND THANKS TO ALL THOSE INDIVIDUALS, FAMILIES AND ORGANIZATIONS REACH NURTURE THAT HAVE CHOSEN TO SUPPORT US TO HELP BRING OUR WORK TO LIFE. YEAR AT A GLANCE FINANCE PHILANTHROPISTS Individuals Julio Grau Dr L Mikheev and N Mikheev Robin Vince The Rayne Trust Canaccord Genuity Ltd Lady Alexander of Weedon Kenneth and Susan Green Marit Mohn Bundy Walker Sir John Ritblat Family Foundation Canary Wharf Group PLC Lady Ashcroft Sir Ronald Grierson Atosa Moini Mr Bruno Wang Gail and Gerald Ronson through The The Clore Duffield Foundation Tony and Chris Ashford Geoffrey Griffiths Margaret Mountford Adrienne Waterfield Gerald Ronson Foundation Mrs Aline Foriel-Destezet Mr and Mrs Edward Atkin CBE Nigel Grimshaw Julie Newton and Marc St John Pru Waterhouse The Michael Harry Sacher Charitable Trust The Hon. Portia Forte Mr and Mrs Averin Terry and Jean de Gunzburg Mrs Susan A. Olde OBE Derek and Sheila Watson The Jean Sainsbury Royal Opera House Lord and Lady Gavron Mr & Mrs Alexander Badenoch Stephen and Peg Hale Mr Stefan Sten Olsson Simon and Glenda Weil Fund Seifi Ghasemi, Rockwood Holdings, Inc. Hugo Bague David Hancock Rosemary O’Mahony Penna and William Wells The Sargent Charitable Trust GlaxoSmithKline Richard and Delia Baker Linda and Philip Harley Keith and Hilary Orrell-Jones Dr and Mrs Michael West The Sickle Foundation Mr David Hancock Graham & Joanna Barker Michael Hartnall Sir Antonio and Lady Pappano Anna and Paul White The Taylor Family Foundation KPMG Mr and Mrs Baha Bassatne C Haydon Joyce Parsons D.F.O, J.P Henry and Madeleine Wickham The Constance Travis Charitable Trust Alfiya and Timur Kuanyshev Geoff and Judith Batchelar Rick and Janeen Haythornthwaite Marian Pell Peter Harrison and Fiona Willis The Tufton Charitable Trust Marks & Spencer Group PLC Celia Blakey Katrin and Christoph Henkel Jürgen and Clarissa Pierburg Danny and Lillan Wyler The Tsukanov Family Foundation Jamie McAlpine Dame Margaret Booth Malcolm Herring David and Diana Pilling Lord and Lady Young of Graffham The Bernard Sunley Charitable Foundation Zvi and Ofra Meitar Family Fund Irene Borgardts Marina Hobson MBE and The Lady Pitman George and Lisa Zakhem Sir Siegmund Warburg’s Voluntary Marit Mohn Sally and Simon Borrows Hobson Charity Carolyn and Michael Portillo Anonymous 61 Settlement Morgan Stanley Lorna and Christopher Bown Simon and Tracey Holden Judith Portrait Anonymous 1 Mrs Susan A. Olde OBE Mr and Mrs James Brice Martin and Jane Houston Stefano and Julie Quadrio Curzio Trusts and Foundations RLM Finsbury Julia Brodie David de Jager Janine Rensch The Anson Charitable Trust Corporate Rolex SA Sir John & Lady Buchanan Lady Jarvis Yvonne and Bjarne Rieber The Archie Sherman Charitable Trust Allianz N.I. Mrs Lily Safra Anthony Bunker Aud Jebsen Sir Simon and Lady Robertson Ashley Family Foundation American Express Services Europe Ltd The Telegraph Media Group The Bunting Family Mr and Mrs Christopher W.T. Johnston The Robey Family The BAND Trust Bank of America Merrill Lynch Xstrata John and Susan Burns Lin Jones Anne and Andrew Robinson The John Beckwith Charitable Trust BGC International LP Lord and Lady Young of Graffham Sue Butcher Lord Kalms and Lady Kalms MBE Mr and Mrs Stuart Roden The Boltini Trust BHPBilliton Anonymous 2 Mrs Carolyn Calcutt Mrs Philip Kan Kristina Rogge Britten-Pears Foundation The Boston Consulting Group Mr and Mrs Brian Capstick Christine and Peter Kennett Ms Viviana Ronco The Clore Duffield Foundation BP First Night Patrons Jill and Michael Carpenter Nicola Kerr Janine Roxborough Bunce CHK Charities Ltd The Canary Wharf Group Daily Mail and General Trust PLC Rosie Carpenter David and Clare Kershaw Roland and Sophie Rudd The John S Cohen Foundation Charterhouse Dr Genevieve and Mr Peter Davies Sir Roger and Lady Carr Doug and Ceri King Mrs Lily Safra Columbia Foundation of San Francisco Coutts & Co Dame Theresa Sackler Jim Carroll George Kingston Richard and Ginny Salter The Peter Cruddas Foundation Criterion Ices Smiths Group PLC Contessa Yoko Ceschina Frances Kirsh Bryan and Sirkka Sanderson Dunard Fund De Beers - Forever Mark Anonymous 1 The Earl and Countess of Chichester Mr and Mrs Aboudi Kosta Abigail Sargent Esmee Fairbairn Foundation Dechert Lady Clarke Alfiya and Timur Kuanyshev Nick and Barbara Scholes Fowler Smith and Jones Trust Deloitte American Friends of Covent Sir David and Lady Clementi Marina Kulishova Kevin and Olga Senior The Robert Gavron Charitable Trust Doetsch Grether AG Garden Supporters Deborah Cowles Fawzi Kyriakos-Saad and Sophie Lecoq Robert and Mary Serafin J. Paul Getty Jr Charitable Trust FREDDY The Annenberg Foundation Kathleen Crook and James Penturn Mr Pierre Lagrange and Mr Roubi l’Roubi Victoria Sharp The Gordon Foundation Goldman Sachs Mercedes T. Bass Richard and Jennie Cunis Jimmy Lahoud Susan and John Singer The Shauna Gosling Trust Hildon Ricki Gail and Robert Conway Hadyn and Joanna Cunningham Lord and Lady Laidlaw Virginia and David Slaymaker The Helen Hamlyn Trust Investec Mrs Aline Foriel-Destezet Dr Genevieve Davies Peter Lloyd Mr Takis Soldatos The Headley Trust JP Morgan Fleming Trust Charles and Kaaren Hale David Davis Chris and Jane Lucas Mrs Lorraine Spencer The JP Jacobs Charitable Trust Linklaters LLP Andrea and Jim Kiernan Mrs Jan Deeker Thomas and Deirdre Lynch William and Sherry Spurgin The Linbury Trust RLM Finsbury Bob and Tamar Manoukian Liz and Simon Dingemans Mr and Mrs Leonid Makharinsky Donald and Rachael Stearns Philip Loubser Foundation Rolex Hélène and Jean Peters Sarah and Lloyd Dorfman Mr Michael Mallinson Stuart and Jill Steele. The John Lyon’s Charity Ruinart Karl and Holly Peterson Kimbell Duncan Ingeborg Margulies Malcolm Stewart MariaMarina Foundation Segel Group Spindrift Al Swaidi Peter and Fiona Espenhahn. The Margulies Family Dame Sue Street DCB The Material World Charitable Foundation Sotheby’s Jayne Wrightsman Nicholas and Jane Ferguson Jamie McAlpine Robert and Patricia Swannell The Monument Trust Thurrock Borough Council Mr Graham Fletcher Kiki McDonough Susie Thomson Nesta and the Arts & Humanities Research Tokio Marine Rogge Philanthropy and Bequests to the Louise Fluker Karen and Lee McLernon Lindsay and Sarah Tomlinson Council Xstrata Royal Opera House Endowment Fund Hamish and Sophie Forsyth Mrs Andrea Medeiros Castro Eric Tomsett Oak Foundation Zurich Insurance plc Margherita Maria Bruni Francesca Fremantle Bernard and Genevieve Mensah Professor Michael Trimble Peter Moores Foundation Anonymous 11 Paul Hamlyn Foundation Gonzalo and Maria Garcia Nicholas and Lindsay Merriman Mr Sheri Tullah PF Charitable Trust Mina Gerowin Herrmann and The Metherell family John G. Turner & Jerry G. Fischer PRS for Music Foundation Season Patrons Jeffrey Herrmann David and Jane Metter Mr and Mrs Graham Turner The Quercus Trust Anglo American PLC Richard J Gnodde Bertrand and Elisabeth Meunier Jane Van Ammel The Joseph and Lena Randall Charitable Trust The Bank of Tokyo-Mitsubishi UFJ Ltd
BACK TO CONTENTS 45 BACK FORWARD
BOARD OF TRUSTEES EXECUTIVE MANAGEMENT TEAM LEARNING AND REMUNERATION COMMITTEE Simon Robey (Chairman) Alex Beard CBE – Chief Executive (from August 2013) PARTICIPATION COMMITTEE Simon Robey (Chairman) Baroness Tessa Blackstone Lord Hall of Birkenhead CBE – Chief Executive (to March 2013) Baroness Tessa Blackstone (Chairman) Sir David Clementi The Countess of Chichester Sally O’Neill – Interim Chief Executive (from March to August 2013) Alex Beard CBE Sir Anthony Salz Sir David Clementi Sir Antonio Pappano – Music Director, The Royal Opera David Hall Dame Sue Street DCB Dr Peter Cruddas John Holden Dr Genevieve Davies (from July 2013) Caroline Bailey – Director of Marketing Anne McElvoy NOMINATIONS COMMITTEE Lady Heywood Elizabeth Bridges – Director of Personnel Matthew Peacock Simon Robey (Chairman) Sir Nicholas Hytner John Fulljames – Associate Director of Opera Abigail Pogson Sir David Clementi Julian Metherell (from July 2013) Rob Greig – Chief Technology Officer Simon Robey Heather Rabbatts CBE Heather Rabbatts CBE Kasper Holten – Director of Opera Sir Anthony Salz Dame Sue Street DCB Dame Gail Ronson DBE Peter Katona – Director of Opera Casting Roland Rudd Mindy Kilby – Interim Finance Director (from March to August 2013) ENTERPRISES COMMITTEE GOVERNANCE Sir Anthony Salz Jeanetta Laurence – Associate Director, The Royal Ballet Heather Rabbatts CBE (Chairman) AND MANAGEMENT Dame Sue Street DCB Christopher Millard – Director of Press and Communications Peter Alward The direction and control of the Royal Opera Ian Taylor Sally Mitchell – Orchestra Administrative Director Dr Genevieve Davies House is determined by the Board of Trustees Laura Wade-Gery Kevin O’Hare – Director, The Royal Ballet Sir David Lees which meets at least six times per year. The Stefano Pace – Technical Director Simon Robey role of the Board is to direct the Royal Opera Hazel Province – Director of Planning David Ross House strategy to ensure that it is on the right Paul Reeve – Director of Learning and Engagement (to September 2013) Laura Wade-Gery course and that it is properly and effectively Alastair Roberts – Managing Director, Royal Opera House Enterprises managed. The Trustees are also responsible Amanda Saunders – Director of Development DEVELOPMENT COMMITTEE for the appointment of the Chief Executive, Cormac Simms – Administrative Director, The Royal Opera Ian Taylor (Chairman) as well as the most senior management The Countess of Chichester positions. The Chief Executive, with the FINANCE AND AUDIT COMMITTEE Viscount Linley assistance of the Executive Management Sir David Clementi (Chairman) Julian Metherell Team, manages the day-to-day operation of Lady Heywood Sir Simon Robertson the Royal Opera House. Sir Nicholas Hytner Simon Robey Heather Rabbatts CBE Dame Gail Ronson DBE Royal Opera House Simon Robey Danny Wyler Covent Garden Dame Sue Street DCB Lady Young of Graffham London WC2E 9DD Telephone +44 (0)20 7240 1200 www.roh.org.uk PHOTOGRAPHY Managing Editor, Dan Foulkes for Milknosugar Tristram Kenton: Cover, 27, 34, 35 / Catherine Ashmore: Contents, 25 / Francesco Guidicini 3 Registered Charity no. 211775 Sim Canetty-Clarke 6, 18, 22, 24, 32 / Bill Cooper 8, 10, 15, 29, 33, 42 / Stephen Cummiskey 11, 12, 16, 39 Johan Persson 13, 14, 17, 26, 28, 31 / John Snelling 20 / Mat Smith 21 / Brian Slater 23 / Elliott Franks 30 BACK TO CONTENTS 46 BACK