English National Annual Review 2016/17 We tell the world’s most timeless stories, unforgettably Contents

ENO Annual Review 2016/17 Contents 1 Introductions

← Back to contents ENO AnnualENO Annual Review Review 2016/17 2016/17 Introductions Content 2 Chairman’s Introduction

I am pleased that ENO continued to flourish for his exceptional continue to do this in order to allow us to be artistically in this period while we made of and . adventurous artistically while not exposing changes to strengthen the organisation and our company as a whole to unnecessary to ensure our future. We were very pleased to welcome our new risk. It is also prudent that we develop an Artistic Director, Daniel Kramer, and new appropriate buffer given the current political This year’s Annual Review marks a change to Music Director, , to ENO. and economic uncertainty in the UK. our reporting as we align our financial year We are delighted to have them as part more closely to our season. This reporting of the company and look forward to the We are grateful to all of our Friends, period therefore covers from 1 April 2016 to impact that both will have on the future supporters and sponsors who have 31 July 2017. life of ENO. We also announced on 8 March generously contributed towards ENO’s 2018 that Stuart Murphy, former Director continued success. During this period, ENO’s artistic of Sky Entertainment Channels, had been programme included 13 productions at appointed Chief Executive. He will take up Finally, I would like to thank every single the Coliseum together with work the post on 3 April. He succeeds Cressida person that worked so hard to help presented in association with five other Pollock who announced in September last ENO regain its place as an Arts Council companies or venues across London. We year that she would be stepping down England National Portfolio Organisation. were proud to present the world premiere from the role this summer. On behalf of the After a challenging time, this vote of of The Winter’s Tale and the UK premieres Board, I would like to thank Cressida, who confidence from ACE and confirmed funding of Charlie Parker’s YARDBIRD and The Day has done so much to bring stability and for future years gives us the stability and After as well as new productions of Tristan direction to ENO, and to wish her all the best certainty to look forward to our future with and Isolde, Don Giovanni and Lulu. for the future. renewed confidence.

We were honoured to have ENO’s work We concluded this financial year reporting recognised with an Olivier Award for a surplus, due in large part to ACE transition Best New Opera Production for the funding in addition to our ongoing core previous season’s and an Olivier grant, which will go towards building up Dr Harry Brünjes Award for Outstanding Achievement for our financial reserves. It is vital that we Chairman,

ENO Annual Review 2016/17 Introductions 3 Chief Executive’s Introduction

This reported period marked the beginning that as wide a range of people as possible ENO Harewood Artists took on 15 principal of ENO’s new way of working, following feel welcome in our theatre as well as roles across the season. the 30% reduction of our public funding. significantly increasing the level of our The 2016/17 season was presented in the education and outreach activity. We continue to develop our non-opera autumn and spring at the programming at our home, the London with eight main-stage productions We have reduced ticket prices for the third Coliseum. 2017 marked the third year of our alongside a summer season taking ENO year in a row to work towards ensuring that collaboration with our commercial partner to other venues across London. Over the price is not a barrier for people wanting to GradeLinnit, and our presentation of coming two years we will increase to nine experience world class opera. We continued featured our wonderful chorus and and then 10 main-stage productions as well to offer 500 tickets at £20 or less for every orchestra. In addition, we re-affirmed our as scheduling further work at other venues. performance: more than 52,000 of these association with English National Ballet to tickets were available during this period. present works over the Christmas period as The first ENO Outside summer season saw well as continuing to develop a series of one us presenting work at venues across London, Through ENO Baylis, our learning and night events which will showcase everything taking the opportunity to develop internal participation programme, we continue to from Bollywood to Jazz. and emerging talent as well as presenting focus on young people aged 11-18 years who opera in new and different ways to may not have access to the arts, working This will be my last full reporting year as audiences who might not have considered it in economically deprived areas and in ENO’s Chief Executive. It has been a privilege before. We performed Jonathan Dove’s The boroughs close to ENO hubs of activity. We to lead this wonderful institution alongside Day After and ’s Trial by are proud that more than 17,000 people so many extraordinary people. Together we Jury at House as the inaugural took part in a programme or event run by have brought stability to the organisation ENO Studio Live. We also gave the UK ENO Baylis during the 2016/17 period. and secured ENO’s future. I wish the very best premiere of Charlie Parker’s YARDBIRD with to Stuart, my successor, who will continue to Hackney Empire, presented The Dream It is vital that we continue to support the focus on ensuring ENO’s success. of Gerontius at Southbank Centre and development of talent at ENO whether supported Silent Opera’s Vixen at The on-stage, off-stage, in the pit or behind Vaults, Waterloo. the scenes. We appointed two ENO Mackerras Conducting Fellows, welcomed We remained focused on making great 14 young singers to take part in our training Cressida Pollock opera widely available to all, ensuring programme Opera Works, and on stage our Chief Executive, English National Opera

ENO Annual Review 2016/17 Introductions 4 Who We Are

← Back to contents ENOENO Annual Annual Review Review 2016/17 2016/17 Who Content We Are 5 ENO: Who We Are

English National Opera is founded on the belief that opera We also aim to introduce completely new audiences to the magic of opera through of the highest quality should be stimulating and creative learning and accessible to everyone. participation programmes.

Musical Storytellers Nurturing Creative Talent

At ENO opera is theatre; expressing drama We are a national company of internationally through the unique combination of music, recognised standard. We nurture talent text, dance, and design. We sing in English across the entire company, whether on- and believe that singing in our own language stage, backstage, or in the pit. We provide connects the performers and the audience a platform for young singers to develop to the drama onstage, and enhances the global careers. experience for all. Our Vision We collaborate across contemporary art forms, to reflect the growing diversity of ENO will be synonymous with making great our culture. And we take a fresh approach opera accessible to the widest and most right across the repertoire, from baroque diverse audiences. We will continue to forge to contemporary, as well as commissioning ground-breaking collaborations across art new works as part of our commitment to the forms, and our world-class productions future of the art form. will inspire, surprise and captivate. We will be recognised as the national centre of Widening Access excellence for developing opera, and as the benchmark for nurturing new talent. We will We bring our productions to the widest reach out to communities who might think possible audience, whether at the London opera is not for them. Coliseum, nationally or internationally. We make our work accessible by offering a large We will tell the world’s most timeless proportion of tickets at affordable prices, stories, unforgettably. and by distributing it widely on screen and via digital media.

ENO Annual Review 2016/17 Who We Are 6 At A Glance 1 April 2016 – 31 July 2017

In April 2017 we changed the dates of our financial year to line up with our artistic season. This means that ENO’s financial year now runs from 1 August to 31 July, rather than from 1 April to 31 March. Because of this, our most recent financial accounts and this review cover a 16-month period (1 April 2016 – 31 July 2017). The additional four months (1 April – 31 July) cover Carousel as well as ENO’s first summer season of Outside Work. All Coliseum opera productions are covered in the first 12 months of this 16-month period. For additional clarification or information, please contact the ENO Press Office.

← Back to contents ENOENO Annual Annual Review Review 2016/17 2016/17 At AContent Glance 7 The numbers of Singers and Conductors British born/trained/resident 80 %

Productions across ENO Performances 18 the 16-month period 216 Productions at the Performances of at 13 London Coliseum 104 the London Coliseum New Opera Productions Performances outside the London (1 World Premiere) Coliseum or in collaboration with 4 28 other companies across London Opera Revivals Performances of our collaborations, Sunset 7 84 Boulevard and Carousel Musical Theatre Collaborations ENO Co-Productions or rentals 2 24 opened around the world Productions outside the London Coliseum or in collaboration with 5 other companies across London (2 UK Premieres)

ENO Annual Review 2016/17 At A Glance 8 Productions

Summer 2016

Madam Butterfly Tristan and Isolde Jenůfa

16 May – 7 July 2016 9 June – 9 July 2016 23 June – 8 July 2016 Revival New Production Revival

Anthony Minghella’s Olivier Award-winning An epic drama told on a grand scale, Tristan Mark Wigglesworth conducted this revival of production of Madam Butterfly returned to and Isolde was directed by Daniel Kramer ’s viscerally powerful production, ENO for its sixth revival. The first and only with designs from , one of the first seen at ENO in 2009. Laura Wilde made opera directed by the late Minghella and most influential sculptors of his generation. her European debut in the title role, with his wife Carolyn Choa, this production was Former ENO Music Director Edward Gardner ENO Harewood Artists and revived by Sarah Tipple and conducted by Sir returned to conduct a cast that featured Soraya Mafi as Števa Buryja and Karolka. Richard Armstrong, leading his first Puccini outstanding Wagnerian heldentenor Michaela Martens returned after her much opera for ENO. Soprano Rena Harms made Stuart Skelton as Tristan and American praised performances as Kostelnička Buryja her role debut as Cio-Cio San alongside dramatic soprano Heidi Melton as Isolde. in 2009. British tenor David Butt Philip as F.B. Karen Cargill, and Craig Pinkerton. Expert puppeteers Blind Summit Colclough were highly praised for their portrayed Butterfly’s child in puppet form, performances as Brangäne, King Marke inspired by Japanese Bunraku theatre. and Kurwenal respectively.

ENO Annual Review 2016/17 At A Glance 9 Autumn 2016

Don Giovanni The Pearl Fishers Lulu

30 September – 26 October 2016 3 October – 3 December 2016 19 October – 2 December 2016 9 – 19 November 2016 New Production Revival Revival New Production

Returning ENO director ’s 2010 production of Penny Woolcock’s staging of Bizet’s early The acclaimed artist launched the 2016/17 season with his dark Tosca returned to the Coliseum in October. opera saw its second revival at ENO with made his ENO directorial debut with and mischievous new version of Mozart’s Keri Alkema made her ENO debut in the Claudia Boyle as the mysterious priestess this visually stunning new production of masterpiece, with Mark Wigglesworth title role while Gwyn Hughes Jones sang as Leïla. The contemporary Sri Lankan fishing ’s masterpiece. Nominated conducting. performed Cavaradossi alongside Craig Colclough as village of designer Dick Bird was brought to for an Olivier Award for Best New Opera the title role with Clive Bayley as his the villainous Scarpia. ENO Harewood Artist life once again by the video artistry of 59 Production, Kentridge’s ink drawings manservant Leporello. Caitlin Lynch, Andri Björn Róbertsson made his company Productions, a regular ENO collaborator. suffused the piece in the form of projections and Mary Bevan sung as his debut as Angelotti and made a Jacques Imbrailo made his ENO debut as and design, with Brenda Rae taking the female conquests and antagonists Elvira, welcome return to the Coliseum to conduct. Zurga while Robert McPherson sung his title role in her ENO debut. The cast also Anna and Zerlina respectively. great friend Nadir. featured , James Morris and in this critically lauded production. Mark Wigglesworth was awarded the Olivier Award for Outstanding Contribution to Opera for his conducting of Lulu and Don Giovanni.

ENO Annual Review 2016/17 At A Glance 10 Spring 2017

Rigoletto The Winter’s Tale

2 – 28 February 2017 9 February – 25 March 2017 27 February – 14 March 2017 15 – 24 March 2017 Revival Revival World Premiere Revival

Jonathan Miller’s much-loved ‘mafia’ ’s massively popular production ENO Composer-in-residence Ryan Christopher Alden’s 2008 production was production of Verdi’s tragedy returned for its of the Gilbert and Sullivan comedy returned Wigglesworth’s first opera was given its revived for the first time, conducted by 13th revival since its first outing in 1982, with for its first revival since its 2015 debut. Seen World Premiere at ENO in February. An baroque specialist . Taking the action transplanted to 1950s gangland by over 26,000 visitors to the Coliseum, this adaptation of one of Shakespeare’s most inspiration from the surrealist imagery of Little Italy. Nicholas Pallesen took the title revival proved another audience favourite. elusive and beguiling works, it drew on Man Ray, this show brought Handel’s story role with making her ENO Harewood Artists David Webb and the experience of Shakespearean actor of love and war into the 20th century salon, house debut as Gilda and Joshua Guerrero Soraya Mafi took the leads as the romantic in his directorial debut. with Sarah Tynan leading a cast of fine making his UK debut as the Duke. Former duo Frederic and Mabel, while Andrew Ryan Wigglesworth also conducted the baroque singers including James Laing, ENO Harewood Artist Barnaby Rea appeared Shore returned as Major General Stanley. performances, leading some of ENO’s Patricia Bardon and Rupert Charlesworth. as the assassin Sparafucile and Sir Richard ENO favourite Sir delighted most cherished singers including Iain Armstrong returned to ENO to conduct. audiences as the Sergeant of Police. Paterson, Susan Bickley, Sophie Bevan and Leigh Melrose.

ENO Annual Review 2016/17 At A Glance 11 Summer 2017

ENO Studio Live: The Day Vixen Charlie Parker’s YARDBIRD After and 26 May – 10 June 2017 6 – 17 June 2017 1 – 2 July 2017 (26 May – 6 June 2017) As part of its ongoing commitment to In this first collaboration between Hackney Continuing its summer programme of nurturing exciting UK operatic talent ENO Empire and ENO, June saw the UK premiere work outside the London Coliseum, ENO The first in a new annual summer series provided support in technical, production of Daniel Schnyder and Bridgette A. presented Elgar’s magisterial meditation from ENO bringing the full power of the and marketing capacities to Silent Opera, Wimberly’s jazz-infused opera in the great on life, death and the journey of the soul at company’s musical forces into intimate whose adaptation of Janáček’s The Cunning Matcham-designed East London venue. Southbank Centre as part of the venue’s studio environments, the inaugural ENO Little Vixen ran at The Vaults, deep below Acclaimed American tenor Lawrence Chorus Festival. Under the baton of Simone Studio Live took place in May and June 2017. Waterloo Station. By fitting the audience Brownlee portrayed the bebop legend Young, the ENO Orchestra and Chorus Set within ENO’s historic rehearsal studios, with headphones the specially-recorded Charlie Parker, with Angela Brown as his joined forces with the BBC Symphony Lilian Baylis House, Jamie Manton directed orchestra was streamed directly into mother Addie Parker. The ENO Orchestra Orchestra and singers Gwyn Hughes Jones, the UK premiere of Jonathan Dove’s their ears, accompanying the live singers was led by Clark Rundell. Patricia Bardon and Matthew Rose. The apocalyptic The Day After (in a new choral and transporting the Czech fable to an celestial lighting designs of Lucy Carter gave arrangement) and Matthew Monaghan urban wasteland. the performance a unique visual element. directed Gilbert and Sullivan’s farcical Trial by Jury. Internationally acclaimed singers such as performed alongside exciting up-and-coming talent drawn from Harewood Artists and the ENO Chorus.

ENO Annual Review 2016/17 At A Glance 12 Musical Theatre and Special Projects

Sunset Boulevard Marvellous Miller North by Northwest Live Carousel

4 April – 7 May 2016 16 November 2016 27 November 2016 7 April – 13 May 2017

Famed Hollywood legend The iconic productions of director Jonathan The ENO Orchestra demonstrated its The third GradeLinnit partnership with ENO starred as Desmond in this second Miller, from to The Barber of ability to thrill when it played the score saw and take the collaboration between ENO and GradeLinnit Seville and , have been a pillar to the Hitchcock classic in a live showing stage for Rodgers and Hammerstein’s 1945 to produce semi-staged musicals on the of ENO for four decades. In November his of the film in the Coliseum. Michael Seal musical. Lonny Price returned to direct, while London Coliseum stage. Andrew Lloyd many extraordinary achievements were conducted the two performances. the ENO Orchestra and Chorus were featured Webber’s adaptation of the classic 1950 celebrated with a gala evening raising in a series of brilliantly choreographed Billy Wilder film provided Close with her funds to support ENO’s talent development numbers. and Brenda West End stage debut, for which she was programmes. Featuring performances from Edwards shone in supporting roles. accompanied by ENO’s award-winning , , and Orchestra. The production made its many more of ENO’s most valued singers, Broadway transfer in February 2017. alongside ENO’s Orchestra and Chorus, it was a very special opportunity to reflect on the brilliance of this remarkable man.

ENO Annual Review 2016/17 At A Glance 13 Musical Theatre and Special Projects West End Live ENO Big Sing

24 and 25 June 2017 In July 2017, ENO led a Big Sing event on the Southbank Centre Riverside Terrace On Saturday 24 and Sunday 25 June West as part of the public programme around End Live took place in Trafalgar Square. ENO’s performances of The Dream of This free event welcomed tens of thousands Gerontius and Southbank Centre’s Chorus of people to Trafalgar Square to hear Festival. Hundreds of people gathered in performances from and find out more the sunshine to sing together with members about the many different shows taking of the ENO Chorus and ENO music staff. place in the West End.

The ENO Chorus performed on Saturday 25 June alongside soloists Monica McGhee and Elgan Llŷr Thomas. They were accompanied by a track that had been specially recorded by our Orchestra, and performed Brindisi from , The Chorus of the Hebrew Slaves from and You’ll Never Walk Alone from Carousel.

ENO hosted a marquee across the whole weekend where over 3,000 ENO goodie bags were given out, hundreds of people had their faces painted like an opera character, 2,100 fairy wings were decorated and hundreds of people took photos dressed up in some of our costumes.

ENO Annual Review 2016/17 At A Glance 14 Audiences

← Back to contents ENOENO Annual Annual Review Review 2016/17 2016/17 AudiencesContent 15 ENO Audiences

More than Performances of Tristan and Isolde, Lulu and The Winter’s Tale were broadcast on 47% 90,000 BBC Radio 3 and reached an estimated audience of over 1,040,800 of our audience were first-time bookers at ENO people saw Sunset Boulevard, featuring people saw or listened to an our Orchestra, and ENO performance or production More than 535,000 either live in the UK or around the 7 7,0 0 0 More than world, on the radio or on television 346,400 people saw Carousel, featuring both between April 2016 and July 2017. our Orchestra and Chorus people came to an ENO performance either 20,000 at the London Coliseum or at another venue More than in London people watched ENO’s Chorus perform with a backing track specially recorded by ENO’s Orchestra, alongisde soloists Elgan Lyr 8,400 Thomas and Monica McGhee, at West End people watched an ENO collaboration Live on 24 June 171,000 or supported performance away from the London Coliseum More than people came to ENO operas performed at the London Coliseum (representing 69% of capacity) 100,000 people watched one of the ENO productions on Sky Arts. In addition, 31,000 people downloaded one of these operas to watch later. The productions included: The Mikado Benvenuto Cellini La traviata

ENO Annual Review 2016/17 Audiences 16 International Audiences

ENO collaborates with opera During this period: Co-productions performed houses all around the world. international co-productions by ENO in the UK By co-producing with other were staged at the companies we reduce the costs 7 London Coliseum Madam Butterfly: Co-production with the , New York and of our sets, props and costumes ENO co-productions or Lithuanian National Opera and facilitate the sharing of rentals opened around 24 the world skills between our technical Don Giovanni: Co-production with Theater teams and those with whom we countries saw ENO Basel, Den Norske Opera and Ballet (Oslo), co-productions or rentals collaborate. Whenever an ENO 12 Teatro Real (Madrid) production appears around the More than 175 performances The Pearl Fishers: Co-production with the world, members of our technical of ENO co-productions or Metropolitan Opera, New York and production teams work with 175 rentals took place around the world Lulu: Co-production with the Metropolitan the receiving to Opera, New York and present the opera at the highest possible standard. At its most 188,000 The Pirates of Penzance: Co-production with collaborative, the co-production Les Theatres de la Ville de Luxembourg and More than 188,000 people saw an ENO Saarlandisches Staatstheater Saarbrucken process can include shared co-production or rental outside the UK workshops, a journey towards a Partenope: Co-production with genuinely collective vision and Australian Opera chances to share and develop Charlie Parker’s YARDBIRD: Commissioned skills both for ENO and all other by Opera Philadelphia, European premiere opera companies involved. presented by ENO and Hackney Empire

ENO Annual Review 2016/17 Audiences 17 ENO Co-Productions and Rentals Opening Night Opening Night

The Passenger Florida Grand Opera, Miami 2 April, 2016 Don Giovanni Theater Basel 27 January, 2017 The Way Back Home Royal Swedish Opera 16 May, 2016 Norwegian National Opera 30 January 2017 La bohème , Barcelona 18 June, 2016 Sunset Boulevard Broadway transfer 9 February, 2017 The Girl of the Golden West 1 July, 2016 Trondheim Opera 15 March, 2017 Otello Teatro Real, Madrid 12 September, 2016 The Gospel According Bonn Opera 26 March, 2017 The Passenger Wielki Teatr, Warsaw 18 September 2016 to the Other Mary Carmen Sao Carlos, Lisbon 8 October, 2016 Eugene Onegin Metropolitan Opera, New York 30 March, 2017 Akhnaten 29 October, 2016 A Dog’s Heart Dutch National Opera 22 April, 2017 Bonn Opera 30 October, 2016 Lulu Opera 19 May, 2017 Bolshoi Opera 25 November, 2016 The Damnation of Berlin Staatsoper 27 May, 2017 Madam Butterfly Lithuanian National Opera 28 January 2017 Peter Grimes Sao Carlos, Lisbon 29 May, 2017 La traviata 14 January, 2017 La bohème Cincinnati Opera 15 June, 2017

ENO Annual Review 2016/17 Audiences 18 Affordable Opera

699 1,900 4,639 people attended an Opera Undressed event Access All Arias tickets were sold tickets were issued through Baylis in 52,000 the Balcony We continued our pledge, made Opera Undressed Access All Arias Baylis in the Balcony at the beginning of the 2015/16 season, to provide 500 tickets Our Opera Undressed scheme for first-time provides a free membership for people We continued our successful scheme for sale at £20 or less for every opera attendees continues to engage who are under 30 or in full-time education, offering 450 dress rehearsal tickets for audiences. For just £20 audience members offering great seats at significantly reduced every production in the season at no cost ENO opera performance at the can experience their first opera from prices to all performances. Ticket prices for to individuals or groups. Between April 2016 London Coliseum. a fantastic seat, and also enjoy a pre- members are £30 in the stalls, £20 in the and March 2017, 4,639 tickets were issued performance talk and post-show party dress circle and £10 in the upper circle. through Baylis in the Balcony to primary and with the cast. We then provide Opera secondary state school groups, youth groups During this 16-month period more Undressed attendees a one year discount During this 16-month period over 1,900 and networks of looked after children, Higher than 52,000 tickets were made for future ENO performances. Access All Arias tickets were sold. Education students, social housing groups, available at £20 or less. homeless and vulnerable adults through our In this period, 699 people attended an Opera artistic partnership with Streetwise Opera. Undressed event. More than 33% of Opera Undressed attendees have returned at least once since the scheme began. 6,150 Secret Seat tickets were sold

Secret Seats

An unallocated Secret Seat ticket costs £20 but audience members are guaranteed a seat worth £30 or more on the night – it could even be in the stalls or dress circle.

More than 6,150 Secret Seat tickets were sold during this time.

ENO Annual Review 2016/17 Audiences 19 London Coliseum: Audiences

Our home, the London Coliseum, We were pleased to welcome back English Visiting Companies is London’s largest theatre. National Ballet for Nutcracker and Giselle, and were delighted to host the 252,900 at the London Coliseum Designed for Sir Oswald Stoll by International Opera Awards for the first More than 252,900 people (140,500 in the time. Our Orchestra, conducted by Michael The Australian Ballet, , their vision was first 12 months) came to a performance from Seal, played the score for a special screening Swan Lake/Cinderella (13-23 July 2016) to create the largest and finest a visiting company at the London Coliseum of Alfred Hitchcock’s North by Northwest ‘people’s palace of entertainment’ in association with Universal Music Arts & Shanghai Opera, of the age. Entertainment Ltd. This period included our Thunderstorm (11-14 August 2016) first summer presenting work away from and Shanghai Ballet, Echoes of Eternity (17-21 August 2016) When we are not performing our home, the London Coliseum, and so while we performed at Hackney Empire, 150 opera at the Coliseum we and Lilian Baylis House, 150 performances (83 in the first 12 months) St Petersburg Ballet Theatre, welcome visiting companies the world premiere of Jim Steinman’s Bat were given by visiting companies at the Her Name Was Carmen (23-28 August 2016) and performances. Out of Hell played at the Coliseum for an London Coliseum extended period. North by Northwest (27 November 2016)

Eifman Ballet, Up and Down (6-10 December 2016)

English National Ballet, Nutcracker (14 December 2016 – 7 January 2017)

English National Ballet, Giselle (11 – 22 January 2017)

Russian Ballet Icons Gala (In the Steps of Ballets Russes) (12 March 2017)

The International Opera Awards (1 performance)

Jim Steinman’s Bat Out of Hell (5 June – 22 August 2017)

ENO Annual Review 2016/17 Audiences 20 ENO Baylis Learning and Participation

← Back to contents ENO Annual ReviewENO 2016/17 Annual ReviewLearning 2016/17 & Participation Content 21 Young People: Secondary age group

Secondary schools (Brent), UCL Academy (Camden) and The Norwood School (Lambeth) with a whole programme school takeover in the Autumn term involving large scale interactive workshops and pop We expanded our work with schools, actively up performances across the school, before working with 14 secondary schools across the delivering a bespoke programme of in-school period and investing in new relationships with activity to support the curriculum, developed four schools across the 2016/17 academic in response to each school’s needs. This year through our Opera Squad residency activity was supported with free tickets to programme, selected through our ongoing ENO dress rehearsals, masterclasses and partnerships with the Tri-borough Music work experience opportunities at ENO. Hub, Brent Music Service and Lambeth Music Service. We continued to support other schools through onstage events and industry insight We kicked off residencies at College Park SEN encounters with ENO staff working in artistic, School (Westminster), Preston Manor School technical and production departments, exposing pupils to professionals working across the industry. Our series of events for Through ENO’s 2016/17 schools programme: teachers provided peer sharing opportunities and opened up the potential of using opera children experienced live as a stimulus for learning across a range of opera in their schools subjects. We continued our collaboration with 3,500 Mousetrap Theatre Projects delivering a Young took part in practical Critics project for KS4 and 5 pupils studying workshops to develop English, Theatre Studies and Music to support 746 their skills critical writing skills and encourage young people to articulate their opinions about opera. pupils attended Baylis in the Balcony, receiving We also delivered a series of art/design 913 free tickets to ENO Dress based workshops in collaboration with The Rehearsals. In total, 4,639 Whitechapel Gallery Schools Programme Baylis in the Balcony around the work of William Kentridge, opening tickets were given away to pupils up to set and costume design, and children, vulnerable adults delivered a cross-discipline CPD day and community groups. for art, music and drama teachers.

ENO Annual Review 2016/17 Learning & Participation 22 Youth Programme Collaborations with Work Experience Young People: other organisations Primary age group We continued to develop our youth We continued to provide work experience programme for young people aged 13-18 opportunities for young people across the We continued to work in collaboration with We continued to support families that don’t interested in developing their music, drama, company. Priority was given to young people other organisations, enhancing their arts typically access the arts through our series creative writing and design skills outside from our schools and youth programme. offer and exposing young people in their of Family Days, targeting families of pupils of school. networks to opera. In Autumn 2016 we at primary schools in Brent, Lambeth and A mask made by a Year 10 student during delivered a term-long series of masterclasses the Tri-borough identified by our Music work experience with ENO Costume and workshops with the Whitechapel Gallery Service partners, networks of looked-after department was selected to be worn by Unplugged events Youth Forum around the work of William children and vulnerable families living Christopher Purves in the ENO production Kentridge and our production of Lulu. We across London through our relationship of Don Giovanni. Our regular series of after school events also delivered a pilot song writing and singing with the NSPCC. Each Family Day offered a across the year exposed young people to a workshop with the NSPCC. morning of practical making, singing and variety of industry professionals and working storytelling activities in the London Coliseum practice, supporting Arts Awards, making In spring 2017 we delivered a term-long series foyer, to learn about the opera before visible different career routes and opening of design/making workshops with the Sorrell experiencing the production. Young people up how productions are created. Foundation’s Saturday Club programme at from the ENO Youth Programme took part Cranford Community College in response to as volunteer Baylis ambassadors, supporting The Winter’s Tale, and delivered props and the delivery of the workshops and helping to Creative projects costume masterclasses with the Saturday welcome families. Club at London Met, building on our collaboration around Akhnaten. Headdresses We piloted a series of creative projects in the made by Saturday Club members for our school holidays, bringing young people from Millions of Years project in Spring 2016 were across London together with professional displayed at Somerset House as part of the artists, and supporting them to create Sorrell Foundation Saturday Club Exhibition and perform new work in response to the in June 2016. music and themes raised by an opera in the ENO season.

These projects focused particularly around Jenůfa (July 2016), The Winter’s Tale (February 2017) and (July 2017).

ENO Annual Review 2016/17 Learning & Participation 23 Young People: 18-25 year olds, Higher Education and Further Education Students

We continued to work with a broad We continued to collaborate on course range of Higher Education colleges modules with University College London and University of the Arts, London as a way to support learning across a range to support learning and expose students of of disciplines, connecting students other disciplines to opera. We continued our with professionals working in the Autumn term module with MA Character Animation at Central St Martin’s, supporting industry and developing their students to create short fiction animation understanding of the art form and films inspired by operas in our season. We career possibilities. delivered a term-long Knowledge Economy module with UCL BASc students exploring Students were supported with bespoke sustainability in our production processes, backstage and rehearsal visits and access to which resulted in the development of our productions through free dress rehearsal a prototype online carbon calculator tickets and student ticket discounts. which was presented at the Opera Europa Sustainability Conference in Spring 2017. Our series of free Salon Discussions continued, offering 60 minutes of in-depth We sustained the support of student conversation and Q&A, designed to open placements across the company, notably up creative practice across artistic and including a 9-month sandwich year industry technical disciplines. These continued to be placement for a BA Music student from targeted at specific groups of students and the University of Surrey in the ENO Baylis emerging artists to support their learning, department, and an 8-week summer enabling them to discuss practice with placement for a 2nd year BASc student at experienced professionals. UCL in the ENO Chief Executive’s Office.

ENO Annual Review 2016/17 Learning & Participation 24 Adults & Community Programme

We continued to provide access Community Projects worked with a team of professional artists ENO Community Choir and learning opportunities for to explore male archetypes in response to the male characters in the opera. The adults, with a particular focus We continued to use ENO productions Our popular un-auditioned community choir as a springboard for bringing members of project culminated in a public performance continued with weekly rehearsals during all on supporting vulnerable and the community together to create work in the Southbank Centre Ballroom as part three terms. 110 people took part each term, isolated individuals and those in response. of their festival. with a mix of returning regulars and new members, all with a range of singing abilities. who might not otherwise engage In Spring 2017 we developed an all-female with opera or the arts. We developed an all-male project in Autumn We continued to support the musical 2016, inspired by ENO’s new production project inspired by the female characters development of the choir with leadership of Don Giovanni and in collaboration with in Partenope. We targeted members of from Murray Hipkin of the ENO Music Staff. Southbank Centre Being a Man Festival. the Bengali community in Tower , We targeted male carers, individuals from working in collaboration with Mulberry Streetwise Opera’s network and men that School for Girls, and adult ESOL language had not previously engaged with opera, learners, working in collaboration with Tower bringing together a diverse group of men of Hamlets College (renamed in Autumn 2017 different generations and backgrounds who as New City College) as a pilot to support language skills through singing and song writing. We brought these women together with a diverse group of other women of all ages from across London to rehearse and perform together, supporting social inclusion. The project culminated in a performance for family and friends at Mulberry and Bigland Green Community Centre in Shadwell.

ENO Annual Review 2016/17 Learning & Participation 25 Singing and drama workshops Streetwise Opera Public Talks

We delivered a series of open access one- Our artistic partnership with Streetwise Opera We continued to deliver our programme of day Know the Show workshops across the continued, with ENO productions providing Pre-Performance Talks on every production year, designed to open up the music and the stimulus for Streetwise Opera’s main in the season. These were hosted by story of operas in our season and provide an workshop programme at The Passage day broadcaster Christopher Cook, with guest opportunity to work alongside professional centre and Crisis. Individuals accessing these speakers and members of the company opera singers from the production. In 2016/17 workshops were supported with free tickets providing audiences with insights into the we delivered workshops on Madam Butterfly, to dress rehearsals across the year, and opera and the choices made on the ENO Tosca and Partenope, the latter as part regular pop-up performances by ENO singers production. All talks were recorded and made of the Women of the World Festival at in the day centres. Members of the Streetwise available as a podcast on the ENO website. Southbank Centre, which was accompanied Opera London Explore group continued to by pop up performances across Royal be supported to take part in other aspects Festival Hall public spaces by female ENO of the ENO Community Programme, as a Harewood Artists, celebrating the power progression opportunity to support social of the female voice. inclusion. In April 2017, ENO hosted the culmination of Streetwise Opera’s Opera Hours commission in Lilian Baylis House.

ENO Annual Review 2016/17 Learning & Participation 26 Talent Development

← Back to contents ENO AnnualENO Review Annual 2015/16 Review Talent 2016/17 Development Content 27 ENO Harewood Artists

The ENO Harewood Artists programme ENO Harewood Artists enabled 13 exceptionally talented British and British-trained singers to perform with (April 2016 – July 2017) English National Opera while receiving specialist coaching, support and guidance. 2016/17 season: Andri Björn Róbertsson – - During this period, 15 principal roles were Katie Coventry – Mezzo-Soprano performed by ENO Harewood Artists. Eleanor Dennis – Soprano Matthew Durkan – Baritone Each Harewood Artist undertakes a Rhian Lois – Soprano programme of vocal and language training, Soraya Mafi – Soprano is coached by experts in their repertoire Samantha Price – Mezzo-Soprano and is fully supported through auditions for Nicky Spence – Tenor career-building performance opportunities David Webb – Tenor with ENO, around the UK and abroad.

The programme is led by members of the For the 2017/18 season ENO Casting and Music team who oversee the programme and ensure that its members they were joined by: receive a variety of training, including coaching sessions with ENO’s Head of Vocal David Ireland – Bass-Baritone Coaching & Development, Jane Robinson, Elgan Llyr Thomas – Tenor consultant coach Michael Pollock and ENO Božidar Smiljanić – Bass-Baritone music staff. Katie Stevenson – Mezzo-Soprano

In addition, Harewood Artists receive dramatic, movement, performance psychology and language coaching, as well as opportunities to learn from distinguished artists and leading figures from the operatic world, including DBE, Brindley Sherratt and Dame .

ENO Annual Review 2016/17 Talent Development 28 Opera Works

14 singers took part in ENO Opera Works, our Case Study: singer training programme for young singers with strong vocal technique and a clear Eleanor Garside, soprano commitment to developing a career in opera. The 2016/17 course took place between Eleanor graduated from the RNCM in Since completing Opera Works in April 2017, December and April, offering individual 2012 and immediately began working as Eleanor had the opportunity to be part of the coaching sessions and tailored group a freelance soprano, singing chorus for Aida Youth Project run by ENO Baylis where workshops enabling singers to develop their seasonal opera festivals, performing roles she helped to facilitate the participants’ vocal and dramatic skills in a professional for smaller regional operatic companies devising and performance process responding environment, with access to the wealth of and singing solos for choral societies before to Verdi’s Aida. This summer, Eleanor sang the expertise at ENO. The course culminated in auditioning for ENO’s Opera Works training role of Jano, Jenůfa for Grange Park Opera a workshop performance at ENO Rehearsal programme. The guidance Eleanor received and worked with outreach projects at Pimlico Studios for an invited audience of industry from the Opera Works tutors proved Opera. She has future plans for an audition guests, family and friends. invaluable for Eleanor’s performance career tour to Germany. as well as her outreach work.

Eleanor said: ‘Since I had only studied singing as a postgraduate student for 2 years, I looked for a course which would help guide my career as a solo performer, broaden my experience of repertoire and develop my practical skills such as audition technique and outreach education work. Opera Works fit my needs exactly.’

ENO Annual Review 2016/17 Talent Development 29 ENO Mackerras Conducting Fellowship

The ENO Mackerras Conducting During their time with ENO, Matthew Kofi Matthew Kofi Waldren said: ‘The ENO Fellowship, supported by the Waldren and Toby Purser have assisted Mackerras Fellowship has afforded me on a number of ENO Productions and will the opportunity of working at the heart of Philip Loubser Foundation, offers each conduct an ENO performance at the ENO alongside extraordinary colleagues exceptionally talented young London Coliseum later in the 2017/18 season. from every department. The list of positive conductors the opportunity to In addition, Toby Purser will conduct ENO’s benefits continues to grow: working closely performances of Britten’s The Turn of the with the exceptional music staff and work and develop at ENO for two Screw at Regent’s Park Open Air Theatre in wonderful singers; media, business and seasons. For the first time, in 2016, June 2018, and Matthew Kofi Waldren will social media training; travelling to Opera we appointed two Mackerras conduct at Wilton’s Houses in the USA for introductory meetings; Conducting Fellows: Toby Purser in September 2018. assisting the Music Directors of ENO; making my ENO debut in April 2018 conducting and Matthew Kofi Waldren. Toby Purser said: ‘The ENO Mackerras a performance of ; Fellowship has enabled me to engage with being closely involved with all stages of ENO ENO and develop my skills on a level far wider Studio Live at Wilton’s Music Hall where I will than just the many invaluable and inspiring conduct Paul Bunyan in September 2018. It’s musical experiences and opportunities. I will been a wonderful experience and I hope the complete the Fellowship this summer with relationships formed continue to grow and a fuller appreciation of the many brilliant develop into the future.’ people and skills needed to run an opera house, and an understanding of how I would We were delighted to announce our next wish to approach being Music Director to ENO Mackerras Conducting Fellow, Valentina an opera house myself, hopefully one day.’ Peleggi, earlier this year. She will take up the two-year post in September 2018.

ENO Annual Review 2016/17 Talent Development 30 ENO Evolve

ENO Evolve gives third and During the 2016/17 season, 15 students fourth year undergraduates joined the orchestra for selected production within ENO’s season. During this time the from the Royal College of Music students shadow the orchestra through all the opportunity to work with offstage rehearsals, from the Sitzprobe – the the ENO Orchestra, providing first rehearsal at which the singers join the orchestra – through to onstage rehearsals experience and insight into life at the London Coliseum, where students as a professional musician. are invited to attend and observe final preparations before the dress rehearsal. The scheme is the only In this period, students worked on the productions of Lulu and Rigoletto. programme in the UK to offer students the chance to A number of alumni from the scheme have work alongside a dedicated been invited back to work with the orchestra full-time opera orchestra. on particular projects or productions and many are now regular extra members of the orchestra. The ENO Evolve scheme seeks to create a supportive environment for students to learn and help them prepare for life as professional musicians. Everyone who takes part in the scheme is also offered individual lessons and masterclasses, as well as being assigned a personal player mentor.

ENO Annual Review 2016/17 Talent Development 31 Finance

← Back to contents ENOENO Annual Annual Review Review 2016/17 2016/17 ContentFinance 32 Summary Income and Expenditure Account: Sixteen month period ended 31 July 2017

Unrestricted Funds Designated Funds Restricted Funds Endowment Funds Total Funds 2017 £’000 £’000 £’000 £’000 £’000

Income Box office receipts 8,749 – – – 8,749 Commercial Trading & Other Activities 16,863 – – – 16,863 Sponsorship and donations 2,564 – 1,060 3,624 Investment Income 48 – – 263 311 ACE Grant 16,507 – 3,007 – 19,514 Total Income 44,731 – 4,067 263 49,061

Expenditure Costs of productions, sales & operations 41,597 29 3,784 – 45,410 Raising funds 1,184 – – – 1,184 Costs of generating Investment Income – – – 50 50 Total Expenditure 42,781 29 3,784 50 46,644

Transfers (1,134) 1,444 400 (710) –

(Losses)/Gains on Investments – – – 873 873

Net Movement in Funds 816 1,415 683 376 3,290

Reserves Reserves brought forward 1,886 204 3,502 13,894 19,486 Reserves carried forward 2,702 1,619 4,185 14,270 22,776

Note: English National Opera has changed its financial accounting year end to 31 July in order to be in line with the company’s artistic season. Following this change, the accounting period for these accounts is a sixteen month long period. No prior period comparison figures are included since the 2016 accounts are based on a twelve month period.

ENO Annual Review 2016/17 Finance 33 ENO People

← Back to contents ENOENO Annual Annual Review Review 2016/17 2016/17 ENO Content People 34 ENO People

807 Marketing/ Communications/ were engaged on a contractual, freelance, Box Office commissioned or temporary basis. Development 1,140 This included: Orchestra people were engaged by ENO during this period orchestral players 273 Artistic & Producing members of our 333 157 Front of House team Finance/IT/Personnel Front of House & people were employed as permanent staff people in the Theatre Management Technical & Production: 26% 22 Box Office Orchestra: 20% singers  Chorus: 15% Music Staff Music Staff: 7% 106 Artistic & Producing: 7% technicians Marketing/Communications/ Other Administration Box Office: 7% 178 Baylis Development: 6% Technical & Front of House & Theatre Production Management: 5% Chorus Finance/IT/Personnel: 4% Baylis: 2% Other Administration: 1%

ENO Annual Review 2016/17 Audiences 35 Supporting ENO

← Back to contents ENO AnnualENO ReviewAnnual 2016/17 Review 2016/17Supporting Content ENO 36 Supporters 2016/17

There has never been a better Throughout the 2016/17 financial year the In 2016/17 we: Hosted over 100 events to fundraise and time than now to support importance of fundraising was placed centre thank existing donors for their support stage. We set stretching, long-term targets Continued to grow our successful English National Opera. for fundraising so that ENO is able to plan for membership programmes, reaching Mounted a celebratory gala concert, the future with confidence and deliver work over 4,100 ENO Friends, 200 Opera Circle Marvellous Miller, in aid of ENO’s that would otherwise not be possible. Patrons, 45 American Friends and 100 work in Learning, Participation and English National Opera’s donors and Young Patrons. Our annual Friends Talent Development sponsors are at the heart of everything that Appeal received its best ever result we do and this last year has been spent Had a record-breaking year in corporate ensuring that every single one of them Mounted our most successful match fundraising, raising nearly £300,000 for ENO receives a unique insight and involvement campaign for the ENO Harewood into the work that they are supporting. Artists programme, raising over Opened 11 dress rehearsals to ENO Friends, £250,000 to support this talent raising over £100,000 in the process development programme Saw Baylis in the Balcony receive significant Assembled supporter syndicates for support from members of the past and five different productions present Board, enabling school, higher education and community groups to see Founded a President’s Committee and dress rehearsals for free continued to work with our Advisory Board, Coliseum Council and a Directors Emeriti Refreshed and relaunched programmes Circle, whilst securing more support than to support our work in the field of ever from both the USA and major gifts contemporary music as well as to name and grants or dedicate seats in the auditorium and in our Orchestra itself Held a fundraising gala at the Rosewood Hotel with over 250 guests, with performances from the full ENO Orchestra and Chorus, raising over £250,000

ENO Annual Review 2016/17 Supporting ENO 37 Thank you

We wish to acknowledge the Stephen & Leila Hodge ENO Talent Supporters Mark & Sarah Holford ENO Contemporary following individuals, businesses and Davina Hodson The D’Oyly Carte Charitable Trust Mike & Caroline Howes Katie Bradford Frances Hughes EMI Music Sound Foundation Arthur Knight Judith & Adrian Dunn grant-making organisations whose Stanley Lowy The Fenton Arts Trust Edward Longhurst Nicola Kerr generosity makes each ENO season Warner Mandel Humphrey Richardson Taylor Charitable Trust Stanley Lowy Tony Mackintosh & Criona Palmer possible. Donors listed contribute Ken and Marja Martin Philip Loubser Foundation Angela Mackersie Janis Susskind OBE Harriet & Michael Maunsell The Lord and Lady Lurgan Trust Tina & Tom Maxwell Mark Tousey* gifts from £1,000 and are recognised Patricia Orwell The Macfarlane Walker Trust Nikhil Mehta George and Moira Yip* by their overall generosity to ENO Paula Packman The Barbara Whatmore Charitable Trust Rosemary Nutt Robert Ricks Hugh & Eleanor Paget The Harold Hyam Wingate Foundation Kate Olver and Jeremy Young Kate Stross ENO Production Supporters Ron & Lyn Peet Ann Orton The Andrew W. Mellon Foundation Robert Ricks ENO Harewood Supporters Alison Osborne ENO Create Supporters The Boltini Trust Ivor Samuels & Gerry Wakelin The Behrens Foundation Dr Heather Parry Sir Vernon Ellis & Lady Hazel Ellis Linda Christmas Adam and Oona Scott Sir Vernon & Lady Hazel Ellis Graham & Alison Pimlott Esmée Fairbairn Foundation Cockayne - Grants for the Arts Sue Sheridan OBE Talal & Lina Kanafani Anthony and Katherine Pinching The Estate of Robert Ashley-Jones English National Opera Trust Kate Stross The Queen Anne’s Gate Foundation Robert Ricks The Hintze Family Charitable Foundation Peter & Fiona Espenhahn Frances Tait The Shears Foundation Anonymous Mr Jake Shafran & Mrs Hélène Marie Shafran The Foyle Foundation Sir Brian & Lady Unwin Mills Williams Foundation Fellowship Major P. H. Williamson MBE George & Patti White* Rev.d John Wates, OBE & Carol Wates Nicholas John Trust George & Moira Yip* ENO Opera Circle Kate Olver and Jeremy Young Tilda Yolland Peter & Fiona Espenhahn And two anonymous donors Principal Patrons Ann Orton and 2 anonymous donors Gareth Hadley Sir John and Lady Baker Andy Rogers Peter & Veronica Lofthouse ENO Learning & Baylis Supporters Mr Colin Clark Michael & Giustina Ryan The Directors’ Circle Ivor Samuels & Gerry Wakelin Dr Harry & Mrs Jacquie Brünjes Andrew Corbett-Nolan & Jaco Marais Michael Shipley & Philip Rudge Richard & Diana Allan Michael Shipley & Philip Rudge CHK Charities Limited Dr Peter & Laura Earnshaw Lady Linda Wong Davies Dr Barbara Bannister MBE Pamela & Christoph Stanger* Sir Vernon & Lady Hazel Ellis Victoria & Denys Firth Stephen & Margaret Bickford-Smith Anthony & Elizabeth Bunker The Bruce Tollis Fellowship Perivoli Trust Malcolm Gammie QC Clasen Richard Stephen & Margaret Bickford-Smith Pamela & Christoph Stanger* Ffion Hague Michael J Dyer JP Linda Christmas Bob & Elisabeth Boas Nicholas Addyman Charles Holloway Martin Edmunds Peter & Fiona Espenhahn Mark Burch Sue Sheridan OBE Margaret Jones Malcolm Herring Mr Ian Ferguson & Dr Susan Tranter Anonymous The Alchemy Foundation Neil King Sir Sydney Kentridge Hamish & Sophie Forsyth Michael & Maureen Chowen Martyn and Karen Brabbins Edward Longhurst The RVW Trust Stephen & Leila Hodge Ron Clatworthy Charities Advisory Trust The Porter Foundation Switzerland Mark Tousey* Harriet & Michael Maunsell Sir Anthony & Lady Cleaver John and Elizabeth Forrest Professor Richard Portes CBE FBA Fund for Music Nicholas & Lindsay Merriman Brian & Kathryn Colvin Phil Fortey Andy Rogers Shelagh & Tom Allen Gary B. Morris & Robert Venables QC John & Tania Cooke Rebecca Kwee Terence and Sian Sinclair Sir John and Lady Baker Hamish Parker David & Helen Crowe Harriet & Michael Maunsell Marie Veeder Mr R Bridge Ginny & Richard Salter Sussex Medical Ltd The Nugee Foundation Elisabeth Bristow Mr Jake Shafran and Mrs Hélène Marie Shafran Philippa Drew Anthony and Katherine Pinching Leading Patrons Mark Burch Alastair & Elizabeth Storey Kathleen Duncan OBE Ivor Samuels & Gerry Wakelin Dr Barbara Bannister MBE Sir Anthony & Lady Cleaver Mark Tousey* Phil Fortey Michael Shipley & Philip Rudge David Buchler Brian & Kathryn Colvin Dr Tony Trapp MBE & Barbara Butler Nicholas & Judith Goodison Robert and Pamela Stiles Dr Genevieve Davies Liz Cratchley OBE Huw van Steenis Liz Grimsey Ian Wylie & Sian Griffiths OBE Kate Dugdale Mr & Mrs Richard Fernyhough Ken Watters & Robin Wilkinson Rachel & Charles Henderson John and Elizabeth Forrest Malcolm Gammie QC George & Patti White* David & Anne Giles Gareth Hadley *denotes American Friends of ENO

ENO Annual Review 2016/17 Supporting ENO 38 Roger Heath MBE, Alison Heath MBE Michael & Maureen Chowen Harry Hyman George Peretz QC and Mandy Brown Corporate Partners Andrew Hill James Clark Sir Robin & Lady Jacob Elizabeth Peyton Davina Hodson Tim & Caroline Clark Brian Jensen Cressida Pollock Premier Members Mr Iaroslavskyi Ron Clatworthy Peter & Gillian Jones Professor N A Postma Citigold Wealth Management Stanley Lowy Judith A Cobham-Lowe OBE Mr Ralph Kanza Mike Prater Premier Medical Group Tom Luce C B & Virginia Luce David Cohen and Jillian Barker M Kennedy Denis Raeburn WARP Jonathan Marland Lady Conran Sir Sydney Kentridge Sir Tim Rice Liz Nairn John & Tania Cooke George Kingston Danial and Sandra Rickard Platinum Members Ron & Lyn Peet Anne Cortazzi* Edward Lam Robert Ricks Rothschild & Co Mr Jake Shafran and Mrs Hélène Marie Shafran Liz Cratchley OBE Sir David & Lady Latham Lesley and Dennis Robins Sophie Shalit David & Helen Crowe Robert & Moira Latham Ebbe Rogge & Birgit Lindken Gold Members Loretta Tomasi & Paul Middlemas Andrew Cullen Jon and Mary Leadbetter Sir Norman Rosenthal Bates Wells Braithwaite Sir Brian & Lady Unwin Spencer de Grey CBE Mr and Mrs David Leathers Mr & Mrs Jacqueline & Phil Rouse Lazard & Co and 3 anonymous donors Alex & Susan de Mont Dr Mark Levesley Roger Sanders OBE & Hermione Sanders Linklaters LLP Darryl de Prez and Victoria Thomas Mark & Sophie Lewisohn Simon & Abigail Sargent Patrons William & Alex de Winton Steven Larcombe & Sonya Leydecker Mrs Lynne Sayer* Old Mutual Global Investors Sir Richard & Lady Aikens John Derrick & Preben Oeye Judy Davies & Kingsley Manning Tom Scott Smith & Williamson Charles Alexander Clive & Kate Dilloway Chris Martin & Neil Constable Richard Sharp Shelagh & Tom Allen Christine Douse & Peter Stevens Elmar & Eleonore Mathier Brian Smith Corporate Sponsors Roger & Angela Allen Mr & Mrs Shane Doyle Tina & Tom Maxwell Tessa Smith Shaftesbury PLC Christopher Baron David Drummond Lord Ian McColl Edward Snape Prof. Ray Barrell Michael & Lucy Ehrlich McKillop, Tom John Soderquist & Costas Michaelides Official Wine Partner Mark Batten Mr Tony Evans John Middleton Dr Michael Stearns Liberty Wines Ltd Eric Beck Ms Elaine Fairless Quentin Millington Christine Douse & Peter Stevens Christopher Beels Mr Manuel Fajardo Mr A. S. Mitchell Robert and Pamela Stiles Official Champagne Partner Guy & Margaret Beringer Mrs Guy Field Brian & Sheila Morris William and Nandee Stockler Charles Heidsieck Angela Bernstein CBE Antoinette Foreman Lynne Morton Kathleen Storm Stephen & Margaret Bickford-Smith Michael Frayn & Claire Tomalin Sir Alan Moses Jonathan Sumption Official Piano Partner Jack & Dora Black Ms Yudong Gao Genevieve Muinzer Susan Turquet Yamaha Mr & Mrs David Blackburn Mr Ian & Mrs Lorna Gascoigne-Pees Adrian Mumford & Nicholas Wraight Jim Waldock Brian & Iris Bond* Dr Paul Gilluley & Mr Tim Hardy J. S. Murdoch Simon Walton Official Hotel Partner Peter Bottomley Robert Goodall Dr Ann Naylor John Warner Edwardian Hotels London Ewan Brown Andrew and Amanda Grenville Anthony M Newman Pat Watson Anthony & Elizabeth Bunker Ann Grieves David & Alessandra Newton Richard & Julie Webb In-kind Supporters Mark Burch Val Hamilton Sir Bryan & Lady Nicholson Alastair J Wells Fever-Tree Dr Katya Burova Mr C. Hampson Alexandra Nicol Major P. H. Williamson MBE Partners Mr & Mrs T. P. Butler Ray & Elizabeth Harsant George Noble Ted Wilson Google Inc Clive & Helena Butler Malcolm Herring Michael J Seaton Inge & Michael Woolf The Library Christopher Campbell Dr Peter Hill & Ms Elizabeth McKay Ann Orton Tilda Yolland M.A.C. Cosmetics Mr Oliver Carpenter Sara Holmes-Woodhead Patrick O’Sullivan and 11 anonymous donors RR Donnelley Sir Cyril Chantler Zmira and Rodney Hornstein The Lady Parkinson DL Sipsmith Independent Spirits

*denotes American Friends of ENO

ENO Annual Review 2016/17 Supporting ENO 39 Thank You

Photo Credits Cover The Winter’s Tale ENO Chorus Samantha Price © Johan Persson P10 Don Giovanni Mary Bevan and Christopher Purves P13 Sunset Boulevard Glenn Close © Richard Hubert Smith P24 © Cat Vinton P2 Madam Butterfly Ayano Honda © Tom Bowles © Robert Workman Marvellous Miller - Susan Bullock, , David Webb P25 © Sarah Ainsley P3 Harry Brunjes Tosca Gwyn Hughes Jones © Richard Hubert Smith © Tristram Kenton P26 © Robert Workman © Sarah Ainsley P4 Cressida Pollock The Pearl Fishers Claudia Boyle © Robbie Jack London Coliseum © Magnus Arrevad/ENO P27 The Winter’s Tale ENO Chorus © Johan Persson P5 Don Giovanni ENO Chorus © Robert Workman Lulu Brenda Rae © Catherine Ashmore Carousel Katherine Jenkins and Company © Tristram Kenton P29 Partenope Matthew Durkin © Robert Workman P6 Lulu Brenda Rae © Catherine Ashmore P11 Rigoletto Joshua Guerrero and Madeleine Shaw © Alastair Muir P14 ENO at West End Live © ENO The Pirates of Penzance Soraya Mafi © Tom Bowles Baylis Youth Programme © Cat Vinton The Pirates of Penzance © Tom Bowles P15 Jenufa Laura Wilde and ENO Chorus © Donald Cooper The Winter’s Tale Anthony Gregory and Samantha Price © Johan Access All Arias © Magnus Arrevad/ENO The Winter’s Tale Anthony Gregory and Samantha Price P16 Sunset Boulevard Glenn Close © Richard Hubert Smith Persson Tosca Andri Björn Róbertsson © Richard Hubert Smith. Yardbird Will Liverman, Rachel Sterrenberg, Lawrence Brownlee © Johan Persson Carousel Katherine Jenkins and Company © Tristram Kenton P30 Toby Purser and Matthew Kofi Waldren © Angelica Bomford © Richard Hubert Smith Partenope Sarah Tynan 2 © Donald Cooper P17 Madam Butterfly Ayano Honda © Tom Bowles P31 Lulu Cast © Catherine Ashmore P7 Tristan and Isolde Heidi Melton, Stuart Skelton © Catherine Ashmore P12 Studio Live The Day After Robert Winslade Anderson ENO Chorus P19 Access All Arias © Magnus Arrevad/ENO P32 Tosca © Richard Hubert Smith P9 Madam Butterfly ENO Chorus © Tom Bowles © Sarah Ainslie P20 London Coliseum © Guillaume de Laubier P34 ENO Orchestra © Richard Hubert Smith Tristan and Isolde Heidi Melton and Stuart Skelton Vixen © ENO Design P21 Tosca Company © Richard Hubert Smith P36 The Winter’s Tale Samantha Price Sophie Bevan © Catherine Ashmore Yardbird © Richard Hubert Smith P22 © Cat Vinton © Johan Persson Jenufa, Laura Wilde Nicky Spence and ENO Chorus © Donald Cooper Dream of Gerontius ©Tristram Kenton P23 © Cat Vinton, © Natasha Freedman P40 Marvellous Miller © Tristram Kenton

ENO Annual Review 2016/17 Credits 40