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Annual Review 2010/11 Contents REVIEW 2010/11 The ROY AL OPERA HOUSE ANNUAL REVIEW 2010/ 11 ww.roh.org.uk ondon WC2E 9DD ondon WC2E elephone +44 (0)20 7240 1200 elephone +44 (0)20 7240 Managing Editor, Dan Foulkes for Milknosugar for Dan Foulkes Managing Editor, 211775 Charity no. Registered Royal Opera House Opera Royal Garden Covent L T w Roberta Marquez and Sergei Polunin Giselle The REVIEW 2010/11 OVER THE LAST DECADE: Attendances in the main auditorium increased by 3.4% and we played to 92% capacity We have consistently welcomed over 640,000 audience members to Covent Garden each year We have developed a global cinema programme that reached over 230,000 people last year Participation in our Education programme has grown by 126% ENABLED BY INCREASES IN: Turnover 113% Generosity from Friends, patrons, donors, trusts, foundations and sponsors 214% Substantially increased new commercial income streams CONSEQUENTLY: Our reliance on ACE subsidy decreased by 35% ROYAL OPERA HOUSE ANNUAL REVIEW 2010/11 CONTENTS S S BOARD OF TRUSTEES DEVELOPMENT COMMITTEE Simon Robey (Chairman) Simon Robey (Chairman) Baroness Blackstone The Countess of Chichester CONTENTS The Countess of Chichester Sir Simon Robertson Sir David Clementi Dame Gail Ronson DBE Sir Nicholas Hytner Danny Wyler Professor Margaret Maden Lady Young of Graffham Nicholas Prettejohn ENGAGEMENT, EDUCATION AND ACCESS Heather Rabbatts CBE 1 Chief Executive 7 Sir Simon Robertson COMMITTEE Professor Margaret Maden (Chairman) Dame Gail Ronson DBE 2 Chairman 13 Roland Rudd Baroness Blackstone Anthony Salz Deborah Bull CBE 3 Year At A Glance 16 Dame Sue Street DCB Tony Hall CBE Robert Wallace Matt Lane Excellence 19 Judith Weir CBE Abigail Pogson 4 Paul Reeve Simon Robey 5 Nurture 41 EXECUTIVE MANAGEMENT TEAM Anthony Salz Judith Weir CBE Leadership 59 Tony Hall CBE – Chief Executive 6 Monica Mason DBE – Director, The Royal Ballet FINANCE AND AUDIT COMMITTEE 7 Partnership 73 Sir Antonio Pappano – Music Director, Nicholas Prettejohn (Chairman) The Royal Opera Sir David Clementi 8 Reach 87 Caroline Bailey – Director of Marketing Sir Nicholas Hytner Elizabeth Bridges – Director of Personnel Simon Robey Finance 101 Sir Simon Robertson 9 Deborah Bull CBE – Creative Director Dame Sue Street DCB John Fulljames – Associate Director of Opera 10 Philanthropists 107 (from August 2011) FOUNDATION ADVISORY CIRCLE Kasper Holten – Director of Opera Julian Metherell (Chairman) and Sponsors (from August 2011) Vahid Alaghband Ruth Jarratt – Director of Policy Development Sue Butcher Reference 112 (left August 2011) Josephine Fitzalan Howard Peter Katona – Director of Opera Casting Hamish Forsyth Viscount Linley Jeanetta Laurence – Associate Director, Victoria Mather The Royal Ballet Salim Moollan Stephen Michael – Managing Director, Lorna Parker Royal Opera House Enterprises (left July 2011) Judith Portrait Christopher Millard – Director of Press Simon Robey and Communications Kristina Rogge Sally Mitchell – Orchestra Administrative Director Roland Rudd Kevin O’Hare – Administrative Director, Bernard Taylor The Royal Ballet Frank Van den Bosch Sally O’Neill – Director of Finance Sir Brian Williamson Elaine Padmore – Director of Opera NOMINATIONS COMMITTEE (left October 2011) Simon Robey (Chairman) Hazel Province – Director of Planning Sir David Clementi Paul Reeve – Director of Education Professor Margaret Maden GOVERNANCE AND MANAGEMENT Sir Simon Robertson Alastair Roberts – Managing Director, Royal Opera The direction and control of the Royal Opera House is determined by the Board of Trustees, Nicholas Prettejohn House Enterprises (from September 2011) which meets at least six times per year. The role of the Board is to direct the Royal Opera Amanda Saunders – Director of Development REMUNERATION COMMITTEE House strategy to ensure that it is on the right course and that it is properly and effectively John Seekings – Director of Operations Simon Robey (Chairman) managed. The Trustees are also responsible for the appointment of the Chief Executive, as well (left February 2011) Sir David Clementi as the most senior management positions. The Chief Executive, with the assistance of the Cormac Simms – Administrative Director, Dame Sue Street DCB Executive Team, manages the day–to–day operations of the Royal Opera House. The Royal Opera (from September 2011) Nicholas Prettejohn 4 5 CHAPTER 1 S Tony Hall, Chief Executive Lord Hall of Birkenhead CBE In many ways February 2011 defined last Season. We had two world premieres back to back on our main stage, The Royal Opera’s Anna Nicole and The Royal Ballet’s Alice’s Adventures in Wonderland. Mark-Anthony Turnage and Richard Thomas collaborated with director Richard Jones and Royal Opera Music Director Antonio Pappano to bring the story of Anna Nicole Smith to the operatic stage. It was a risky project but the work was fresh, vibrant and brilliantly sung by Eva-Maria Westbroek, Alan Oke and Gerald Finley and the rest of the cast including our brilliant Chorus. Alice’s Adventures in Wonderland was the first new full-length ballet with a newly commissioned score for nearly 20 years. Choreographer Christopher Wheeldon worked with composer Joby Talbot and designer Bob Crowley to create a truly magical piece enjoyed by people of all ages. Both productions sold out weeks in advance and were enthusiastically received by audiences and critics. It is vital that we continue to strive for the new and push the boundaries of our art forms and the whole organization was invigorated by the experience of ROH Education - The Taylor Family Foundation Schools’ Matinee audience creating these exciting new works. 7 ROYAL OPERA HOUSE ANNUAL REVIEW 2010/11 TONY HALL CHIEF EXECUTIVE In 2010/11 we had 11 new productions and 32 revivals on our Clemency, a sixth sell out season from Ballet Black and the main stage and eight new productions and two revivals in the London premiere of Will Tuckett’s Pleasure’s Progress. Linbury Studio Theatre. Highlights of The Royal Opera Season included new productions of Tannhäuser by Tim We want as many people as possible to experience the Albery and the rarely performed Niobe, Queen of Thebes amazing productions we put on at the Royal Opera House. directed by Lukas Hemleb. In addition there were sell out Across the year we achieved 92% occupancy with 50% of revivals of Madama Butterfly and Tosca, the latter with Angela tickets on sale at £55 or less, 40% at £40 or less and 30% at £30 Gheorghiu, Bryn Terfel and Jonas Kaufmann. We are always or less. Interestingly, it is often our revivals of the big classics particularly pleased to welcome back members of our Jette that are most attractive to new audiences. In this Season 51.5% Parker Young Artists Programme which, thanks to the of bookings were new to our database; and we are always continued generosity of Oak Foundation, has nurtured some looking for ways to reach new audiences beyond Covent of the brightest operatic and musical talents over the years. Garden. This year, The Royal Ballet did a three day residency This Season Rory Macdonald returned to conduct Il barbiere at The O2, performing Kenneth MacMillan’s Romeo and Juliet di Siviglia and Marina Poplavskaya, Jacques Imbrailo and Alfie to 47,000 people, many of whom were seeing classical ballet Boe all took roles on our stage. The Royal Ballet had sold out for the first time. Digital technologies are key to enabling revivals of Swan Lake, Giselle and Manon showing off the more people to see our work. Over the past 25 years 350,000 depth of talent in the Company. Kim Brandstrup people have watched performances from the ROH on our BP choreographed a new ballet - Invitus Invitam - to expertly Summer Big Screens; this year we expanded our cinema follow on from Frederick Ashton’s La Valse creating an programme to reach 400 cinemas in 15 countries and released immediate and impulsive mood change to the Ashton. Our Carmen in 3D which went to 1,500 cinemas worldwide, the resident choreographer, Wayne McGregor, also created a new largest distribution of an event ever; and we also became the one-act ballet for the Company - Live Fire Exercise. Inspired by first arts organization to have our own iTunesU platform. a US military exercise, McGregor collaborated with artist John Gerrard to introduce a virtual landscape to the stage in a taut Education and community participation are central to our and thrilling piece. work and in December 2010 we opened our new production workshops in Thurrock in the Thames Gateway. To mark this ROH2 opened the Season with the third Deloitte Ignite. This occasion we staged The Purfleet Opera: Ludd and Isis which was year the festival was curated by Joanna MacGregor who created based on stories from local history and involved hundreds of fabulous installations and digital soundscapes around the local people in everything from costume design, to writing building. The programme in the Linbury continued to inspire the libretto and the music, staging the opera and performing. and excite with the world premiere of James MacMillan’s It was their show – and was inspiring. 8 9 ROYAL OPERA HOUSE ANNUAL REVIEW 2010/11 S Simon Russell Beale To achieve all of this in the current economic climate has not Alice’s Adventures in Wonderland been without its challenges but I’m pleased to say that we have, for the 12th year in succession, returned a small financial surplus. This has involved making some difficult decisions. We have scrutinised all of our expenditure, streamlining our procurement processes, checking that everything we do is really necessary and ensuring that we are as efficient as we can be. In parallel we have increased the opportunities for new revenue streams through ROH Enterprises and various commercial activities. We are also very grateful to our many generous supporters; Friends of Covent Garden, patrons, donors and corporate partners for their loyal commitment to us and their belief in all that we do.
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