English National Opera Annual Review 2017/18 Annual review covers 12 month period 1 August 2017 to 31 July 2018 Contents
ENO Annual Review 2017/18 Contents 1 Chairman’s Introduction
ENO has continued to grow over these It is heartening to see ENO collaborate with We change lives through opera; whether Finally, a huge thank you goes to everyone 12 months, presenting a wide range of other theatres and venues, bringing opera that’s through attending a performance, who has contributed to ENO; from our work at its home, the London Coliseum, to new audiences in more intimate spaces. participating in an education or community Friends, supporters and sponsors to our loyal and further afield. Following our readmission programme, or by working with us. audiences and every member of staff who to the ACE National Portfolio in June 2017, Our collaboration with the Gate Theatre work tirelessly to ensure the organisation and our business plan being signed off in on Effigies of Wickedness: Songs Banned by We were very pleased to welcome our new continues to go from strength to strength. January 2018, ENO continues to strengthen the Nazis demonstrated how opera is still Chief Executive Stuart Murphy - former its position. Two years of financial stability an art form for making impactful social Director of Sky Entertainment Channels I also want to thank Daniel Kramer, have allowed us to programme opera for statements, while having ENO singers - to ENO. Stuart has only been with the Artistic Director, and Martyn Brabbins, the next three years, against a backdrop of perform alongside cabaret stars displayed company since April 2018, and is already Music Director, for both their expertise and an ever-improving box office and increased its crossover appeal. The huge success of making significant changes by opening creativity but also their contribution to fundraising revenue. our collaboration with Regent’s Park Open up the London Coliseum and introducing the continued success and future of ENO. Air Theatre on a new production of Britten’s a broader audience to ENO. His passion Our daring and bold programming has The Turn of the Screw has happily led to for engaging younger diverse audiences introduced new and diverse audiences to another collaboration on Hansel and Gretel coupled with his financial intelligence will opera. In particular, La traviata, Daniel in summer 2019. allow ENO to remain bold and adventurous Kramer’s directorial debut as Artistic through 2019, particularly vital as the UK Director, brought in a younger crowd new Our public value continues to be at the faces Brexit in March. to opera, and showcased the award- core of the organisation and defines Dr Harry Brunjes winning talents of the ENO Chorus and everything we do. ENO Baylis, our learning We concluded this financial year Chairman, English National Opera Orchestra to their full effect. Packed houses and participation programme, thousands reporting a surplus, with ACE transition and the London Coliseum for Cal McCrystal’s riotously entertaining of people this year, from ‘Opera Squad’ funding in addition to our ongoing core new production of Iolanthe ensured ENO school takeovers to ‘Baylis in the Balcony’. grant helping to ensure the company retains retained its status as the house of Gilbert With the creative industries being the UK’s free reserves as a contingency against and Sullivan. Designer Paul Brown very fastest growing sector, ENO is committed to operation risks all supported by a four-year sadly passed away before he could see providing top quality arts jobs, and inspiring funding agreement with ACE based on the the production, but was honoured with an creativity throughout the company. company’s business plan for that period. Olivier Award nomination.
ENO Annual Review 2017/18 Introductions 2 Chief Executive’s Introduction
Since joining ENO in April 2018, I have been Being well-planned and financially stable Our ENO Baylis work is about enriching blown away by the creativity, talent and means we are now able to look forward to lives in underserved communities using dedication of everyone within the company. what we can do to help shape the creative opera and performance and music. Every ENO continually inspires and surprises our landscape of the UK. As a national opera year ENO touches the lives of 15,000 young audiences with brilliant, breathtaking work company we have a responsibility to lead people but the Baylis relationships are the on stage and the highest musical standards the way in making the art form accessible deepest and maybe the longest-lasting. from our principals, and from our award- to absolutely everyone. Which is why, on winning Chorus and Orchestra. 18 December 2018, we launched a scheme I love ENO and the work we do. As a planned to give under 18s free balcony tickets on and now financially solid organization, Part of what makes us unique is our Saturdays, which we hope will bring in a we are in a strong position to adapt to adaptability and our continuing plans to whole new audience, and reinforce our audiences’ continually evolving tastes, make ENO (and our home, the London mission to change lives through opera. to demonstrate our public value, to make Coliseum) even more accessible, unique, thrilling artistic decisions and help ENO and attractive to as wide an audience as I am incredibly proud of the fact that we flourish into the pioneering opera company possible. We will continue to welcome bring on the next generation of talent in our founder intended it to be. visiting companies to the London Coliseum performing, conducting and directing, and to help ensure our financial stability, are committed to increasing ethnic diversity while collaborating with a host of exciting within opera, which is why 2019 will see us theatres and venues on more intimate focusing on nurturing BAME talent and productions. Every penny we make from exploring avenues for imaginative visiting companies goes straight back into partnerships. making opera. Stuart Murphy I am particularly looking forward to our CEO, English National Opera We will continue with this model, expanding collaboration with Theatre Royal Stratford and the London Coliseum on the work we welcome to the London East on a new production of Noye’s Fludde Coliseum, and will be exploring a range of directed by Lyndsey Turner, featuring a events including Coliseum Lates after main cast of professional singers, actors and stage operas, and a greater variety of work musicians, as well as local schoolchildren, on our main stage. the local community, and participants from ENO Baylis.
ENO Annual Review 2017/18 Introductions 3 Who We Are
← Back to contents ENOENO Annual Annual Review Review 2017/18 2016/17 Who Content We Are 4 ENO: Lives Changed Through Opera
English National Opera exists We are a world-class national company for everyone, creating new recognised internationally for the standard of our work. We nurture talent across experiences with opera that the entire company, whether onstage, inspires, nurtures creativity backstage, or in the pit and proactively and makes a difference. provide a platform for young singers to start and then develop global careers.
We take a fresh inspiring approach to opera We connect to audiences through to reflect the diversity of our culture. At ENO, inspiring, accessible, world-class opera we believe that opera is a living art form and stimulating, creative participation able to connect to people from all parts programmes. of our society. We create our productions for the widest We collaborate with a range of artists and possible audiences and aim to introduce art forms to deliver different aspects of the completely new audiences to the magic repertoire, from Baroque to contemporary, of opera whether at the London Coliseum, as well as commissioning new works as part outside of our theatrical home or of our commitment to the future of the internationally. art form. We make our productions accessible by We sing in English, as we believe it enhances offering a large proportion of tickets at the emotional connection between affordable prices, through our attendance performers and audiences. schemes and our ENO Baylis learning and participation programmes. We encourage creativity throughout the company and our commitment to the future We work with a wide range of visiting of opera provides a platform to develop companies to generate essential revenue outstanding careers. and welcome new audiences to share the experience of our theatre.
ENO Annual Review 2017/18 Who We Are 5 Year At A Glance 2017 – 2018
This period now reports on the full 2017/18 Season including all operas at the London Coliseum plus our second season of outside work at Open Air Theatre Regent’s Park and The Gate Theatre Notting Hill. Comparators indicated in this report are for this period year on year.
← Back to contents ENOENO Annual Annual Review Review 2017/18 2016/17 At AContent Glance 6 In Numbers
Productions across of Singers and Conductors the 12 month period British born/trained/resident 12 % Main stage productions 92 9 at the London Coliseum 3 New Opera Productions 134 ENO Performances World Premiere Performances of our musical 1 43 theatre collaboration Chess Opera Revivals ENO co-productions or rentals 5 13 opened around the world
Productions outside the London Musical Theatre collaboration Coliseum in collaboration with 2 other companies across London 1 1 Studio Live production
ENO Annual Review 2017/18 At A Glance 7 Productions
Autumn 2017
Aida The Barber of Seville Rodelinda Marnie
28 September – 2 December 5 – 30 October 26 October – 15 November 18 November – 3 December New Production Revival Revival World Premiere
ENO began its 2017/18 Season with a Jonathan Miller’s classic production of Olivier Award-winning director Richard The world premiere of Nico Muhly’s Marnie, brand new production of Aida. Director The Barber of Seville celebrated its thirteenth Jones’s ingenious production of Handel’s conducted by ENO Music Director Martyn Phelim McDermott returned with his revival, with the original Figaro, baritone Rodelinda returned to the London Coliseum. Brabbins and directed by Michael Mayer, theatre company Improbable, whose ENO Alan Opie, returning as his antagonist Dr Among the returning faces were Rebecca adapted Alfred Hitchcock’s novel of the shows include much-loved productions of Bartolo in his role debut. Australian baritone Evans in the title role and Baroque specialist same name. Sasha Cooke created the title Satyagraha (2007) and Akhnaten (2016). Morgan Pearse returned as Figaro, following Christian Curnyn as conductor, along with role of Marnie, and Daniel Okulitch created Latonia Moore took the title role, and Tenor his performances in the 2015 run, and Sarah ENO favourite Susan Bickley. the role of Marnie’s boss and later husband, Gwyn Hughes Jones sang Radamès. ENO Tynan made her role debut as Rosina. Hilary Mark Rutland, in his company debut. The Chorister Robert Winslade Anderson sang Griffiths conducted the ENO Orchestra, creative team 59 Productions, made a Ramfis in several performances and Keri- making his ENO debut. welcome return to the London Coliseum Lynn Wilson returned to ENO to conduct. collaborating with Mayer and lead designer Julian Crouch.
ENO Annual Review 2017/18 At A Glance 8 Productions
Spring 2018
Satyagraha Iolanthe A Midsummer Night’s Dream La traviata
1 – 27 February 13 February – 7 April 1 – 15 March 16 March – 13 April Revival New production Revival
This critically acclaimed production from Cal McCrystal made his ENO debut directing Robert Carsen’s hugely popular production Daniel Kramer directed his first ENO award-winning director Phelim McDermott a joyful new production of Gilbert and of Benjamin Britten’s Shakespearean production as Artistic Director of the and Associate Director / Set Designer Julian Sullivan’s hilarious satirical fantasy, Iolanthe. comedy featured an ensemble of some company, with a sweepingly romantic Crouch (co-founders of Improbable) broke Nominated for Outstanding Achievement of British opera’s most sparkling rising new staging of La traviata. Tenor Lukhanyo box office records for 20th century opera in Opera at the Olivier Awards 2018 for Paul stars, including five ENO Harewood Artists. Moyake made his UK debut as Alfredo, on its UK premiere in 2007, making it the Brown’s stunning set and costume designs. A Midsummer Night’s Dream was the first with Irish soprano Claudia Boyle singing most popular contemporary work to be The production starred ENO favourites of four works by Benjamin Britten to be the much-loved role of Violetta. Singing performed by ENO. Philip Glass’s operatic Andrew Shore and Yvonne Howard, and performed in 2018, highlighting the historic the role of Giorgio Germont was Alan Opie, masterpiece returned to English National ENO Harewood Artist Samantha Price role of the company in premiering and who was celebrating his fiftieth year singing Opera, with Toby Spence leading the cast took the title role. performing the composer’s work. with ENO. in his role debut.
ENO Annual Review 2017/18 At A Glance 9 Productions
Spring 2018
The Marriage of Figaro Effigies of Wickedness ENO Studio Live: The Turn of the Screw ( Songs banned by the Nazis) Acis and Galatea 29 March – 14 April 22 – 30 June 3 May – 9 June 8 June – 16 June
Fiona Shaw’s acclaimed production of The ENO collaborated with the Gate Theatre Presented for the first time as part of ENO’s first collaboration with Regent’s Marriage of Figaro returned to ENO, with on this riotously inventive and accessible ENO’s Studio Live series, Acis and Galatea Park Open Air Theatre was also the second Lucy Crowe in her role debut as the Countess. cabaret-style show. Created by Peter performed to audiences in an intimate Britten opera to be performed in the season, Baritone Thomas Oliemans made his ENO Brathwaite, Effigies of Wickedness combined setting in Lilian Baylis House, ENO’s primary again cementing the company’s reputation debut as Figaro, British bass-baritone Ashley songs from the Weimar Republic’s subversive rehearsal space. The production displayed for fine productions of the composer’s work. Riches made his role debut as the Count, and underground scene, with musicians drawn the incredible talent at ENO, including A cast of ENO Harewood Artists and ENO ENO Harewood Artist Rhian Lois, originally from ENO’s Orchestra. The cast featured the award-winning Chorus and Orchestra, favourites including Elgan Llŷr Thomas, Janis from Wales, made her role debut as the a mix of opera and cabaret singers; Peter and the ENO Harewood Artists. Kelly and Rhian Lois performed alongside ever-resourceful Susanna. ENO regulars Keel Brathwaite, Katie Bray, Le Gateau Chocolat members of the ENO Orchestra, in a Watson and Janis Kelly sang Dr Bartolo and and Lucy McCormick. production directed by Open Air Theatre’s Marcellina respectively. Artistic Director Timothy Sheader.
ENO Annual Review 2017/18 At A Glance 10 Productions
Musical Theatre and Special Projects
Towards Another World Chess A Masked Ball and Henley Festival Romeo and Juliet 26 November 26 April – 2 June 15 July 12 June – 6 July Towards Another World was a new work The first West End production of Chess ENO were welcomed by Henley Festival to involving a large community chorus, since 1986, the production featured a perform in their 2018 programme, alongside The ENO Chorus and Orchestra performed commissioned by ENO Baylis. Created star-studded cast, including Michael Ball, an exciting line up of artists such as Rita in two Grange Park Opera productions over in response to Verdi’s Aida and as a site Alexandra Burke, Tim Howar, Cassidy Janson Ora, Grace Jones, Nile Rodgers & Chic and the summer: A Masked Ball (conducted specific performance for the V&A Museum, and Cedric Neal. Featuring English National more. Soloists joined the full ENO Chorus by Gianluca Marcianò) and Romeo and composer Hannah Conway and writer Opera’s award-winning Orchestra and and Orchestra under the baton of Music Juliet (conducted by Stephen Barlow). With Peter Cant interwove extracts from the Chorus, Chess was the fourth production Director Martyn Brabbins, for a repertoire Grange Park Opera now in its second year opera with new text and songs written in in collaboration with ENO by Michael Linnit of performances taken from many of the in Surrey, these two rarely performed pieces collaboration with over 100 individuals from and Michael Grade after Sunset Boulevard, world’s best-known operas, including were a welcome addition to the country across London. The production involved Carousel and Sweeney Todd: The Demon Carmen, The Marriage of Figaro, Madam house opera scene. members of the ENO Youth Programme, Barber of Fleet Street. Butterfly, Turandot and La traviata. ESOL adult English language learners from Tower Hamlets College and Bromley by Bow Community Centre, individuals from Streetwise Opera and the ENO Community Choir.
ENO Annual Review 2017/18 At A Glance 11 Productions
Musical Theatre and Special Projects West End Live
16 – 17 June 2018
ENO had significant presence at West End Live, a free annual outdoor event in Trafalgar Square celebrating the capital’s world-class theatre and performance.
Nadine Benjamin performed a rendition of ‘Summertime’ from Porgy and Bess, while the ENO marquee featured costumes, face painting, origami and jugglers, delighting families and many theatregoers new to opera.
ENO Annual Review 2017/18 At A Glance 12 Audiences
← Back to contents ENOENO Annual Annual Review Review 2017/18 2016/17 AudiencesContent 13 ENO Audiences
More than 52% 33,000 10% of ENO audiences were first time bookers watched an ENO collaboration, supported of ENO audiences were non-white, a 6% performance or special project not at the increase of minority ethnic audiences London Coliseum against 2016/17 Over An approximate audience of 150,000 139,000 And people came to an ENO opera performance 19% (71% of capacity and an increase of 2% listened to a performance of Marnie from 2016/17). broadcast on BBC Radio 3 of audiences were aged 44 or under, a 13% year on year increase.
More than 84,000 39,000 people saw Chess featuring our watched or downloaded Sky Arts broadcasts award-winning Orchestra and Chorus of ENO productions across the period
ENO Annual Review 2017/18 Audiences 14 International Audiences
ENO collaborates with opera During this period: Seven co-productions companies all around the world. International co-productions performed by ENO in the UK By co-producing we enable our were staged at the London productions to be shared with 5 Coliseum Aida: Co-production with Grand Théâtre audiences across the globe, de Genève and Houston Grand Opera ENO co-productions or reduce the cost of the production Rodelinda: Co-production with the Bolshoi rentals opened around Opera, Moscow to ENO and facilitate the sharing 16 the world of skills between technical and Marnie: Co-production with the Metropolitan production teams. performances of ENO Opera, New York 75 co-productions or rentals Wherever an ENO co-production took place around the world Satyagraha: Co-production the Metropolitan appears, members of our Opera, New York technical and production teams La traviata: Co-production with Theater work with the receiving opera 115,600 Basel, Switzerland company to present the opera More than 115,600 people saw an ENO co-production or rental outside of the UK Effigies of Wickedness: World premiere to our world-class standard. presented as a co-production between ENO At its most collaborative, the and Gate Theatre Notting Hill co-production process includes shared workshops, a journey The Turn of the Screw: Co-production with Regents Park Open Air Theatre towards a genuinely collective vision and the chance to share and develop skills for ENO and all other opera companies involved.
ENO Annual Review 2017/18 Audiences 15 ENO Co-Productions and Rentals Opening Night
The Pearl Fishers LA Opera, Los Angeles 7 October 2017 Madam Butterfly Metropolitan Opera, New York 2 November 2017 Lucia di Lammermoor Norwegian National Opera 1 March 2018 Sunken Garden Dallas Opera 9 March 2018 Così fan tutte Metropolitan Opera, New York 15 March 2018 Benvenuto Cellini Paris Opera 20 March 2018 Don Giovanni Norwegian National Opera 16 May 2018 Lucia di Lammermoor Teatro Real, Madrid 22 June 2018 The Magic Flute Aix en Provence 6 July 2018
ENO Annual Review 2017/18 Audiences 16 Affordable Opera
We continue to support accessible opera with affordable pricing and audience schemes. 1,141 1,900 3,052 people attended an Opera Undressed event Access All Arias tickets were sold tickets were issued through Baylis in the Balcony 45,000 Opera Undressed Access All Arias Baylis in the Balcony Our Opera Undressed scheme is designed AAA provides a free membership for those We continued our successful scheme Our pledge, made at the for first-time opera attendees and continues aged 16-29 or in full-time education, offering offering 428 dress rehearsal tickets for to engage audiences with an increase in great seats at significantly reduced prices for every production in the ENO Season at no beginning of the 2015/16 Season, membership of 276%. For £20, audience all performances. Ticket prices for members cost to individuals or groups. We continued to provide 500 tickets for sale at members can experience their first are £30 in the Stalls, £20 in the Dress Circle to target secondary state school groups, £20 or less for every ENO opera opera from a fantastic seat, enjoy a pre- and £10 in the Upper Circle. During this youth groups and networks of looked after performance at the London performance talk and a post-show party period over 1,900 Access All Arias tickets children, Further and Higher Education with the cast. Opera Undressed attendees were sold, an increase of 98% year on year students, social housing groups, carers, Coliseum has continued during also receive a one year discount for future and membership of the scheme increased by local community groups, and homeless this 12-month period. ENO performances. 192% to 6,665. or vulnerably housed adults. In 2017/18 3,052 tickets were issued through the More than 45,000 tickets were In this period, 1,141 people attended an Opera Baylis in the Balcony scheme. Undressed event a year on year increase of made available at £20 or less at 39%. More than 35% of Opera Undressed 4,000 the start of the season. attendees have returned since first attending Access Scheme Secret Seat tickets were sold an event. Our Access scheme provides those with Our recent membership survey showed that Secret Seats a range of disabilities the opportunity to 90% of Opera Undressed attendees ‘Opera experience opera at the London Coliseum at Undressed had made them think more An unallocated Secret Seat ticket costs reduced rates. With over 11% of our audience positively about opera’. £20 but audience members are guaranteed indicating a disability we provided five BSL a seat worth £30 or more on the night. performances at the London Coliseum. Secret Seats provide accessible pricing for productions for those that are happy to not 90% know where they will be sitting until three of Opera Undressed attendees ‘Opera days before the performance. More than Undressed had made them think more 4,000 Secret Seat tickets were sold during positively about opera’. this time.
ENO Annual Review 2017/18 Audiences 17 London Coliseum Audiences
Our home, the London Coliseum, the premiere of Roy Budd’s score to the 1925 Men in Motion, (22 - 23 November) is the West End’s largest theatre. classic Phantom of the Opera to a concert celebrating the music of Bollywood in 170 Symphonic Beatles, (30 November) Designed for Sir Oswald Stoll by Suron ki Mehfil. We welcomed a host of the There were 170 performances from world’s greatest dance talent with stellar Project Polunin, (5 – 10 December ) Frank Matcham, the theatre visiting companies was designed to be the largest performances from Svetlana Zakharova, Ivan Putrov and Sergei Polunin in November and English National Ballet’s Nutcracker, and finest ‘people’s palace of December and ended the year with English (12 December – 6 January) entertainment’ of the age. When National Ballet’s annual Christmas and new we are not performing opera year season. 210,517 English National Ballet’s Song of the at the London Coliseum we More than 210,517 people came to a Earth/La Sylphide, (9 – 14 January) BBC Friday Night is Music Night presented performance from a visiting company welcome visiting companies and Gregory Porter and Friends at the beginning at the London Coliseum English National Ballet’s Le Jeune Homme performances. of the year which then concluded with our et la Mort/La Sylphide, (16 – 20 January) summer season featuring English National In August 2017, we concluded the run of the Ballet’s classic version of The Sleeping Beauty BBC Radio 2: Gregory Porter and Friends, world premiere of Jim Steinman’s Bat Out of followed by a residency from Opera North Visiting Companies (28 January) Hell. The remaining section of our autumn with Kiss Me, Kate and the return of a British at the London Coliseum season was filled with a diverse and eclectic legend of stage and screen, Tommy Steele, Russian Ballet Icons Gala, (25 February) selection of one-night events ranging from for a seven week run of The Glenn Miller Story. Bat Out of Hell, (1 – 22 August) The International Opera Awards, (9 April) BBC Radio 2: A Night at the Opera, (24 September) English National Ballet’s The Sleeping Beauty, (5 – 16 June) Roy Budd’s Phantom of the Opera, (8 October) English National Ballet’s Emerging Dancer, (11 June) Suron ki Mehfil, (29 October) Opera North’s Kiss Me, Kate, (20 – 30 June) Svetlana Zakharova: Amore, (20 - 25 November) The Glenn Miller Story, (6 July – 18 August)
ENO Annual Review 2017/18 Audiences 18 ENO Baylis Learning & Participation
The ENO Baylis programme offers a range of opportunities for people of all ages to engage with opera.
← Back to contents ENO Annual ReviewENO 2017/18 Annual ReviewLearning 2016/17 & Participation Content 19 Young People: Schools Programme
We continued to expand our work with We work in close dialogue with an additional young people took secondary schools, extending our reach to 22 secondary schools across London, all 1,217 part in interactive a wider network of schools across London with above average numbers of BAME and workshops led by and deepening our existing relationships. SEN students, and eligibility for free school professional artists Members of ENO staff and professional meals. We continued to support these other from ENO in their artists went into schools to deliver schools with curriculum-linked activity at school masterclasses and creative workshops, and Key Stages 3-5, delivering music, drama and schools were encouraged to bring groups to composition workshops as well as critical We continued to create opportunities ENO to glimpse our working practices, meet writing masterclasses to support young for school groups to come to the London professionals working across the industry, people to articulate their experience and Coliseum to experience ENO productions, and experience our productions. opinions of opera. meet professionals working in the industry and learn about what goes on behind Opera Squad We also began a new strand of work with the scenes. schools in this period, introducing young We focused on four new school relationships people to dramatic singing and supporting young people from through our Opera Squad programme, healthy vocal technique and musicianship. 1,578 74 school classes delivering a year-round residency in each This was in response to specific requests experienced ENO school designed to enhance the arts from schools to support in school singing at productions across curriculum, support cross-disciplinary secondary level, and as part of our long-term the season thinking and nourish creativity. In-school commitment to addressing the lack of ethnic activity was tailored to needs identified by and socioeconomic diversity in the industry each school, supported by free tickets to and the need to support young people at an Approx of participants in each ENO dress rehearsals, industry and rehearsal age when they are starting to make choices of our youth projects visits, teacher events and work experience about their future. come from our Opera opportunities. Opera Squad 2017/18 schools % Squad schools and were: Pimlico Academy (Westminster), In the 2017/2018 academic year: we actively encourage Queens Park Community School (Brent), 30 the schools we Riverside School (Barking and Dagenham) young people were work closely with and St Paul’s Academy (Greenwich). 5,092 exposed to opera to promote this performed live in opportunity to their school their pupils
ENO Annual Review 2017/18 Learning & Participation 20 Young People: Youth Programme
We continued to develop our work with young people experienced professionals working across the Work Experience people aged 13-18 interested in developing 4,988 new work created artistic, technical and production areas, their music, drama, creative writing and and performed by supporting Arts Awards and revealing the We continued to provide work experience design skills outside of school. We supported members of our youth variety of careers in the performing arts. opportunities for young people across the those who had previously engaged with programme company. Priority was given to young people our programmes to continue to develop (audience at sharings We also collaborated with the Saturday Club from our schools and youth programmes. their skills and relationship with ENO, whilst and exhibitions) Trust to extend our reach to young people We also collaborated with the NSPCC and encouraging an influx of young people who who are interested in design and making with Wisteria Ward (St George’s NHS Trust) had not taken part in our activities nor been Creative Projects but had not been exposed to opera before, to develop best practice around working exposed to opera before. supporting them to develop their skills in set, with young people suffering anxiety and We delivered creative projects in the school prop and costume design, and to find out mental ill health. young people from holidays, bringing young people from across about design and making careers in 284 59 different schools London to work together with professional theatre/opera. across 29 London artists to explore and create new work boroughs took part in in response the operas on our stage. In ENO Youth Company our Youth Programme February 2018, Satyagraha provided the across the year, all of stimulus, with young people choosing to We piloted a new year-long programme in whom were given the create a piece about injustice and social this period, supporting young people aged opportunity to attend change. In the summer holidays, Effigies 14-18 who are committed to exploring their at least one ENO of Wickedness: Songs Banned by the Nazis own creative voice and developing their skills production for free provided the springboard for a new piece across performance, music, creative writing of work about censorship and freedom and design. 12 young people aged 14-18 were of participants in of expression. selected to be the ENO Youth Company each youth project and were invited to explore the art form % were new to ENO Unplugged and create new work in collaboration with a Baylis, drawn from range of professional artists across the year. 70 our schools network, We supported young people to develop young people’s own their understanding of the industry through peer networks and after school Unplugged events during term our growing youth time, making visible aspects of our working network. practice, connecting young people to
ENO Annual Review 2017/18 Learning & Participation 21 Young People: 18-25 year olds Higher Education and Further Education Students
We continued to work with a broad range of Higher Education colleges to support learning across a range of disciplines, connecting students with professionals working in the industry and developing their understanding of the art form and career possibilities.
Students were supported with bespoke backstage and rehearsal visits, access to our productions through free dress rehearsal tickets and student ticket discounts, as well as student placement opportunities.
We continued our successful series of free Salon Discussions, opening up creative practice in opera. These targeted students and emerging artists from a range of disciplines including singers, composers, writers, directors, designers and producers, enhancing their learning and enabling them to discuss practice with experienced professionals.
We continued to collaborate on course modules with University College London and University of the Arts, London, exposing students of other disciplines to opera and supporting their studies, including projects in semiotics, animation and digital marketing. 15 individual student placements took place across the company during this period.
ENO Annual Review 2017/18 Learning & Participation 22 Adults: Community Programme
We continued to provide access We celebrated our commitment to singing and regular pop-up performances by ENO and learning opportunities for in English at ENO by developing a series of singers in the day centre. Individuals from singing and songwriting projects across the Streetwise Opera London Explore group adults, with a particular focus on the year in collaboration with English for continued to be supported to take part supporting vulnerable and isolated Speakers of Other Languages (ESOL) groups in other aspects of the ENO Community individuals and those who might at three Further Education and community Programme, as a progression opportunity. centres across London. We supported 137 not otherwise engage with opera adults from diverse communities to develop We continued to deliver our programme of or the arts. We continued to use skills in diction, comprehension and Pre-Performance Talks for every production ENO productions as a springboard self-expression, exposing them to opera in the season. These were hosted by for bringing diverse communities for the first time and using stories from broadcaster Christopher Cook, with guest our stage as provocation for discussion speakers and members of the company together, recognising our civic role and songwriting. providing audiences with insights into the and supporting social inclusion. opera and the choices made on the ENO Our popular unauditioned community choir production. 476 adults attended the nine continued with weekly rehearsals during the talks across the season; 4,203 listeners adults supported from autumn and spring terms. Over 120 people played back the podcast recordings of the 137 diverse communities to took part each term, with a mix of returning talks through the ENO Soundcloud playlist on develop skills in diction, regulars and new members, all with a range the ENO website. comprehension and of singing abilities. We continued to support self-expression. the musical development of the choir with leadership from Murray Hipkin of the ENO adults attended the Music Staff. 476 nine pre-performance talks across the season Our artistic partnership with Streetwise Opera continued, with ENO productions listeners played providing the stimulus for Streetwise back the podcast Opera’s main workshop programme at The 4,203 recordings of the talks Passage day centre. Individuals accessing through the ENO these workshops were supported with free Soundcloud playlist tickets to dress rehearsals across the year, on the ENO website.
ENO Annual Review 2017/18 Learning & Participation 23 Talent Development
← Back to contents ENO AnnualENO Review Annual 2017/18 Review Talen 2016/17t Development Content 24 ENO Harewood Artists
ENO Harewood Artists In addition, Harewood Artists receive in 2017/2018 dramatic, movement, performance 12 psychology and language coaching, as well as opportunities to learn from principal roles were distinguished artists and leading figures performed by ENO from the operatic world, including 19 Harewood Artists Ann Murray DBE, Brindley Sherratt. during this period. ENO Harewood Artists At ENO we are committed to nurturing new operatic talent. The ENO Harewood (2017/18) Artists programme provides exceptional training and support for the best British or Katie Coventry (Mezzo-Soprano) British-trained singers at the beginning of Eleanor Dennis (Soprano) their professional careers. The programme Matthew Durkan (Baritone) costs over £200,000 a year to deliver and David Ireland (Bass-Baritone) is funded entirely through donations. Rhian Lois (Soprano) Soraya Mafi (Soprano) Each Harewood Artist undertakes a Samantha Price (Mezzo-Soprano) programme of vocal and language training, Andri Björn Róbertsson (Bass) is coached by experts in their repertoire Božidar Smiljanić (Bass-Baritone) and is fully supported through auditions for Katie Stevenson (Mezzo-Soprano) career-building performance opportunities Elgan Llŷr Thomas (Tenor) with ENO, around the UK and abroad. The David Webb (Tenor) programme is led by members of the ENO Casting and Music teams who oversee the programme and ensure that its members receive a variety of training, including coaching sessions with ENO’s Head of Vocal Coaching & Development Jane Robinson, consultant coach Michael Pollock and ENO music staff.
ENO Annual Review 2017/18 Talent Development 25 ENO Mackerras Conducting Fellowship
The ENO Mackerras Conducting During the period 1 August 2017 to 31 July Fellowship, supported by the 2018 Matthew Kofi Waldren conducted a performance of The Marriage of Figaro at the Philip Loubser Foundation, offers London Coliseum and Toby Purser conducted exceptionally talented young a performance of La traviata at the London conductors the opportunity to Coliseum, and all ENO’s performances of Britten’s The Turn of the Screw at Regent’s work and develop at ENO for two Park Open Air Theatre. seasons. For the first time, in 2016, we appointed two Mackerras Matthew Kofi Waldren has said of the Conducting Fellows: Toby Purser programme: ‘The ENO Mackerras Fellowship has afforded me the opportunity of working and Matthew Kofi Waldren. at the heart of ENO alongside extraordinary colleagues from every department. It’s been a wonderful experience and I hope the relationships formed continue to grow and develop into the future.’
We’re delighted that Matthew Kofi Waldren also conducted ENO’s Studio Live production of Paul Bunyan at Wilton’s Music Hall.
ENO Annual Review 2017/18 Talent Development 26 ENO Evolve
ENO Evolve gives third and During the 2018/19 Season, 15 students fourth year undergraduates from joined the orchestra for selected productions. During this time the students shadowed the Royal College of Music the the orchestra through all offstage rehearsals, opportunity to work with the ENO from the Sitzprobe – the first rehearsal at Orchestra, providing experience which the singers join the orchestra – through to onstage rehearsals at the London and a supportive environment for Coliseum, where students are invited to students to learn and help them attend and observe final preparations prepare for life as professional leading to the dress rehearsal. musicians. In the 2018/19 Season, students will be working on War Requiem, The Magic Flute The scheme is the only and the world - premiere of Jack The Ripper: programme in the UK to offer The Women of Whitechapel. A number of students the chance to work alumni from the scheme have been invited back to work with the orchestra on particular alongside a dedicated full-time projects or productions and many are now opera orchestra. regular extra members of the orchestra. Everyone who takes part in the scheme is also offered individual lessons and an audition masterclass, as well as being assigned a personal player mentor.
ENO Evolve is generously supported by The Lord and Lady Lurgan Trust, EMI Music and Sound Foundation, The Andor Charitable Trust, Humphrey Richardson Taylor Charitable Trust and The Barbara Whatmore Charitable Trust.
ENO Annual Review 2017/18 Talent Development 27 Finance
← Back to contents ENOENO Annual Annual Review Review 2016/17 2017/18 ContFinanceent 28 English National Opera Summary Income and Expenditure Account: Year Ended 31 July 2018
Unrestricted Funds Designated Funds Restricted Funds Endowment Funds Total Funds 2018 £’000 £’000 £’000 £’000 £’000 Income Box Office Receipts 6,775 - - - 6,775 Commercial Trading and Other Income 12,499 - - - 12,499 Sponsorship and Donations 2,305 - 678 - 2,983 Investment Income 19 - - 206 225 ACE Grant 12,380 - 1,233 - 13,613 Total Income 33,978 - 1,911 206 36,095
Expenditure Costs of Productions, Sales and Operations and performance 31,383 27 2,694 - 34,104 Raising funds 1,090 - - - 1,090 Costs of generating Investment Income - - - 30 30 Total expenditure 32,473 27 2694 30 35,224
Transfers (1,983) 2,206 400 (623) - - Gain on Investments - - - 76 76
Net Movement in Funds (478) 2,179 (383) (371) 947
Reserves Reserves brought forward 2,702 1,619 4,185 14,270 22,776 Reserves carried forward 2,224 3,798 3,802 13,899 23,723
Note: No prior year comparison figures are included as the 2017 accounts are for a sixteen month period.
ENO Annual Review 2017/18 Finance 29 ENO People
← Back to contents ENOENO Annual Annual Review Review 2017/18 2016/17 ENO Content People 30 ENO People
2% 2% 975 4% were engaged on a contractual, freelance, 3% commissioned or temporary basis. 1,289 This included: 4% people were engaged by ENO during this period 334 orchestral players 34% 7% members of our Front 314 134 of House team people were employed as permanent staff
people in the Box Office 6% Technical & Production: 34% 31 Orchestra: 19% singers Chorus: 13% 195 6% Music Staff: 6% technicians Artistic & Producing: 6% Marketing/Communications/ 227 Box Office: 7%
Development: 4% 13% Front of House & Theatre 19% Management: 3% Finance/IT/People Department: 4% Baylis: 2% Other Administration: 2%
ENO Annual Review 2017/18 Audiences 31 Supporting ENO
← Back to contents ENO AnnualENO ReviewAnnual 2017/18Review 2016/17Supporting Content ENO 32 Supporters
There has never been a better In addition, the corporate partnerships time than now to support programme had a particularly strong year English National Opera. with a number of new sponsors, corporate memberships and corporate hospitality clients. Overall, in excess of £2.9m was raised. Throughout the 2017/18 financial year the importance of fundraising was placed centre We also saw increased revenues from stage. We set stretching, long-term targets opening Dress Rehearsals to ENO Friends and for fundraising so that ENO is able to plan for we made great progress in securing support the future with confidence and deliver work for work outside of the London Coliseum. that would otherwise not be possible. English National Opera’s donors and sponsors are at In addition, we re-launched our Membership the heart of everything that we do and this Schemes, mounted a Patrons tour to New last year has been spent ensuring that every York and produced a highly successful single one of them receives a unique insight fundraising gala at Gibson Hall in the City and involvement into the work that they are of London raising in excess of £200,000. supporting.
In 2017/18, we recruited 3,214 ENO Friends and 165 Opera Circle Patrons and mounted another highly successful ‘match campaign’ for the Harewood Artists, raising over £250,000.
A number of new members of the Directors Circle were secured and gifts of particular note were secured in support of ‘Baylis in the Balcony’, Opera Squad and for the Learning and Talent Development programmes in general.
ENO Annual Review 2017/18 Supporting ENO 33 Thank you
We wish to acknowledge The Andrew W. Mellon Foundation The Michael Bishop Foundation Galerie Buchholz, Berlin/Cologne/ the following individuals, English National Opera Trust and one anonymous donor New York businesses and grant- George & Patti White Hamish & Sophie Forsyth Maureen Paley making organisations Peter & Fiona Espenhahn Ann Orton Michael Shipley & Philip Rudge whose generosity makes Kate Olver & Jeremy Young Andy Rogers Stephen & Margaret Bickford- each ENO Season possible. PRG UK Barbara Bannister Smith Donors listed contribute David Zwirner Michael J Dyer JP Marian & Gordon Pell Liz Cratchley OBE The Aaron Copland Fund for Music Sir John & Lady Baker gifts from £1,000 and are Mark Tousey Elisabeth Bristow Bullough Tompson Charitable recognised by their overall Mr R Bridge Margaret Clare Burton Settlement generosity to ENO. Mark Burch Brian Colvin & Kathryn Colvin CVO Sir Anthony & Lady Cleaver Geoffrey Collens Martin Edmunds Michael & Felicia Crystal Judith & Adrian Dunn Mrs Rutka Griffiths Elizabeth Fuller Dr Paul Gilluley & Mr Tim Hardy M Kennedy Jenny Helfrecht Stephen & Leila Hodge Harriet & Michael Maunsell Stanley Lowy Warner Mandel Patricia Orwell Adrian Mumford & Nicholas J. S. Murdoch Ron & Lyn Peet Wraight Hugh & Eleanor Paget Michael & Giustina Ryan Paula Packman The RVW Trust Romar Investments Limited Felix Pole Sue Sheridan OBE Sir Brian & Lady Unwin Adam & Oona Scott Helen Thornton Cockayne–Grants for the Arts Frances Tait and two anonymous donors MR PORTER Linda Christmas The Boltini Trust
*denotes American Friends of ENO
ENO Annual Review 2017/18 Supporting ENO 34 Photo Credits 2. The Barber of Seville Alan Opie, Eleazar Rodriguez, Sarah Tynan, 3. Acis and Galatea ENO Chorus © Dani Harvey P23 Top and Bottom by © Sarah Ainslie Cover Iolanthe ENO Chorus © Clive Barda Morgan Pearse and Alastair Miles © Robbie Jack 4. The Turn of the Screw Janis Kelly © Johan Persson P24 Iolanthe, Samantha Price, © Clive Barda P1 From left to right 3. Rodelinda - Juan Sancho, Rebecca Evans, Tim Mead P11 From left to right P25 Clockwise from top left: 1. Marnie Sasha Cooke © Richard Hubert Smith and Neal Davies © Jane Hobson 1. Towards Another World 1. The Turn of the Screw Elgan Llŷr Thomas © Johan Persson 2. Aida Musa Ngqungwana and Latonia Moore © Tristram Kenton 4. Marnie Sasha Cooke and dancers © Richard Hubert Smith 2. Chess Tim Howar and Michael Ball © Brinkhoff Mögenburg 2. A Midsummer Night's Dream David Webb, Clare Presland 3. La traviata Claudia Boyle © Catherine Ashmore P9 From left to right 3. Romeo et Juliette © Robert Workman © Robert Workman 4. London Coliseum at twilight 1. Satyagraha Toby Spence and ENO Chorus © Donald Cooper 4. Henley Festival © Victor Frankowski 3. Aida Eleanor Dennis, Robert Winslade Anderson © Tristram Kenton P2 Harry Brunjes 2. Iolanthe Samantha Price and Andrew Shore © Clive Barda P13 London Coliseum auditorium P26 © Angelica Bomford P3 Stuart Murphy 3. A Midsummer Night's Dream Andri Björn Róbertsson, Emma P14 © Magnus Arrevad P27 © Chris Christodoulou P4 A Midsummer Night’s Dream Christopher Ainslie,Soraya Mafi and Carrington, Matthew Durkan, Eleanor Dennis, David Webb and Clare P15 Theater Basel, La traviata Anastasia Bickel Corinne Winters © P28 © Magnus Arrevad Trinity Boys Choir 3 © Robert Workman Presland © Robert Workman Sandra Then P30 © Magnus Arrevad P5 Clockwise from top left ©s: Cat Vinton, Robbie Jack, 4. La traviata Heather Shipp, Lukhanyo Moyake, Aled Halland P18 London Coliseum auditorium P32 © Magnus Arrevad Sarah Ainslie & Genevieve Girling Claudia Boyle © Catherine Ashmore P19 ENO Baylis Satyagraha Workshop © Sarah Ainslie P33 © Magnus Arrevad P6 Aida Michelle DeYoung © Tristram Kenton P10 From left to right P20 Top and bottom by Cat Vinton P35 The Marriage of Figaro, © Alastair Muir P8 From left to right 1. Aida Musa Ngqungwana, Latonia Moore 1. The Marriage of Figaro Lucy Crowe © Alastair Muir P21 ENO Baylis Satyagraha Workshop © Sarah Ainslie and members of the ENO Chorus © Tristram Kenton 2. Effigies of Wickedness La Gateau Chocolat © Helen Murray P22 UAL Animation Shadow Play directed by Zuzanna Odolczyk
ENO Annual Review 2017/18 Credits 35