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R O Y A L O P E R

A ANNUAL REVIEW

H 2009/10 O U S E RESOLUTION A N N U A L R E V I E W 2 0 0 9 / 1 0

Royal House WC2E 9DD Telephone +44 (0)20 7240 1200 www.roh.org.uk

Managing Editor, Dan Foulkes for Milknosugar Registered Charity no. 211775 ANNUAL REVIEW 2009/10 ANNUAL REVIEW 2009/10 CONTENTS

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BOARD OF TRUSTEES DEVELOPMENT COMMITTEE CONTENTS Simon Robey (Chairman) Simon Robey (Chairman) Baroness Blackstone The Countess of Chichester The Countess of Chichester Peggy Dannenbaum Sir David Clementi Thomas Lynch Peggy Dannenbaum Sir Simon Robertson Sir Dame Gail Ronson DBE Sir Frank Lowe Danny Wyler Thomas Lynch Lady Young of Graffham Professor Margaret Maden ENGAGEMENT, EDUCATION AND CHAPTER TITLE PAGE Nicholas Prettejohn ACCESS COMMITTEE Heather Rabbatts Professor Margaret Maden (Chairman) Sir Simon Robertson Peggy Dannenbaum Dame Gail Ronson DBE Charlie Leadbeater The year at a glance 6 Anthony Salz Abigail Pogson Dame Sue Street DCB Simon Robey 1 Chief Executive 9 Kenneth Tharp OBE Kenneth Tharp OBE Robert Wallace Rob Thomas 2 Chairman 17 Judith Weir CBE Judith Weir CBE 3 Talent 21 EXECUTIVE MANAGEMENT TEAM FINANCE AND AUDIT COMMITTEE Nicholas Prettejohn (Chairman) 4 Performance 41 Tony Hall CBE – Chief Executive Sir David Clementi 61 DBE – Director, The Royal Sir Nicholas Hytner 5 Nurture Antonio Pappano – Music Director, Thomas Lynch 6 Reach 77 Sir Simon Robertson Simon Robey Caroline Bailey – Director of Marketing 7 Partnership 89 Dame Sue Street DCB Elizabeth Bridges – Director of Personnel FOUNDATION ADVISORY CIRCLE 8 Finance 101 Deborah Bull CBE – Creative Director Simon Robey (Chairman) Reference 113 Ruth Jarratt – Director of Policy Development Frank Van den Bosch Peter Katona – Director of Opera Casting Josephine Fitzalan Howard Hamish Forsyth Jeanetta Laurence – Associate Director, Viscount Linley (from April 2009) Victoria Mather Stephen Michael – Managing Director, Royal Julian Metherell Opera House Enterprises (from July 2009) Salim Moollan n Christopher Millard – Director of Press Kristina Rogge and Communications Roland Rudd Sir James Sassoon Sally Mitchell – Orchestra Bernard Taylor Administrative Director Sir Brian Williamson John Mortlock – Deputy Director of Finance NOMINATIONS COMMITTEE and Company Secretary GOVERNANCE AND MANAGEMENT Simon Robey (Chairman) Kevin O’Hare – Administrative Director, Sir David Clementi The direction and control of the Royal Opera House is determined by the Board The Royal Ballet Thomas Lynch of Trustees, which meets at least six times per year. The role of the Board is to Sally O’Neill – Director of Finance Professor Margaret Maden direct the Royal Opera House strategy to ensure that it is on the right course (from February 2009) Nicholas Prettejohn and that it is properly and effectively managed. The Trustees are also Elaine Padmore – Director of Opera Sir Simon Robertson responsible for the appointment of the Chief Executive, as well as the most Hazel Province – Director of Planning REMUNERATION COMMITTEE senior management positions. The Chief Executive, with the assistance of the Paul Reeve – Director of Education Simon Robey (Chairman) Executive Team, manages the day–to–day operations of the Royal Opera House. Sir David Clementi Amanda Saunders – Director of Development Thomas Lynch John Seekings – Director of Operations Nicholas Prettejohn

4 5 ROYAL OPERA HOUSE ANNUAL REVIEW 2009/10 THE YEAR AT A GLANCE

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PERFORMANCE INCOME 311 £106.7million performances on the main stage total income (an increase of £10.3 million over last year) 211 £35.5 million performances on other stages box office revenue 658,000 total audience PRICING Tickets held REACH at 2008/09 prices 64 50% regional On the Road events, performances and exhibitions of tickets at £50 or less 150,000 39% worldwide cinema audience for ROH screenings of tickets at £30 or less 2,518,001 multimedia views and listens FINANCE £2+ ACCESS raised for every £1 received in public subsidy 79,242 11th people participated in Education events successive balanced budget 55,191 £60+million new customers for the main stage directed to frontline performance, education and outreach

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TONY HALL CHIEF EXECUTIVE

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L NEW HORIZONS Tony Hall, Chief Executive

The Royal Opera House aims to act as a catalyst for positive change within , in partnership with likeminded organizations. Our Culture Quarter E Programme epitomizes this approach. In February 2010 we were awarded a There are moments in the life of every organization that grant from the Future Jobs Fund, a government initiative set up to support come to define it. Seismic shifts in government funding the creation of temporary,paid jobs for long-term unemployed young people aged 18– 24. The Royal Opera House used this funding to design and lead a for the arts mean that we now inhabit a changed unique employment project, the Culture Quarter Programme (CQP), in landscape. The challenge is how to navigate through it

S conjunction with nine other high profile creative and cultural institutions. without compromising the essence of why we exist: to The CQP partner organizations offered 68 young people paid work and lead, nurture and set the standards for our art forms; to training opportunities for a six-month period. Of these jobs, 21 were at the connect with audiences nationwide and around the world Royal Opera House and 47 were among the nine partner employers, including , National Portrait Gallery, Somerset with unequivocally outstanding work; to encourage a

T House and the V&A Museum. The roles offered were in a diverse range of diverse artistic tradition; to expand the opportunities for backstage positions, encompassing the full spectrum of departments within access to what we do; to inspire young minds and hearts; the various organizations. In leading this project the Royal Opera House to work in partnership with other organizations within sought to play its part in addressing the issue of youth unemployment. This also fed into our strategic objectives of developing a more diverse workforce the arts sector; and to evolve and live by a coherent strategy

O for the sector and assisting young people who may have previously been that will sustain all of this. excluded from a career in the creative industries. The CQP was carefully This Review is a retrospective of the exceptional work structured to ensure that all participants benefited from their on the that has taken place over the past year in every sphere of programme. In addition to their job, each participant studied towards a our operations. It also marks, however, a transition to a National Vocational Qualification and attended a weekly programme of masterclasses delivered by experts from across the sector, giving them an new paradigm. So we must look and plan ahead to ensure insight into the range of work that goes on behind the scenes. In parallel to that we continue to serve our audiences, our art forms, and N this they were involved in a range of off-the-job training sessions to support our country in the best possible way.We are well placed to their employability skills including one-to-one mentoring, CV building, job do this primarily because our strategy of the past decade searching and mock interviews. The participants also worked as arts ambassadors,developing their creative talents and sharing their experience of has equipped us to respond in a positive and sustainable working in the arts with their local community. This culminated in the fashion to the new funding realities that we face. We are an creation of images,podcasts and videos displayed in Seven Days in Seven Dials, arts organization, a learning resource, a facility for artists, a

E an exhibition staged in a vacant shop used as a gallery.More than 500 people tourist attraction, an engine of social change, a player in viewed this work. It is a measure of the success of the programme that more the digital arena and a global brand. We are home to a pair than three quarters of the CQP graduates went on to further employment, many taking up jobs with the organizations involved, or progressed on to of globally respected Companies, a world-class orchestra further education opportunities. and chorus, three stages and a landmark building that S

MILESTONES 9 ROYAL OPERA HOUSE ANNUAL REVIEW 2009/10 TONY HALL CHIEF EXECUTIVE

SS never sleeps. All of this must be supported by our own affordable. Our pricing strategy, facilitated to a significant efforts as much as by funding from government. We will extent by the generosity of our supporters, is predicated on continue to embrace that challenge. removing financial impediments to experiencing the Our art is the lifeblood of what we do. It flows into Royal Opera House. In 2009/10, 50% of our tickets were every aspect of the Royal Opera House. We are £50 or below retaining the same prices as 2008/09. Our uncompromising in our creative and artistic ambition to well established commitment to enabling children to taste be the best. This is why the greatest performers in the what we do continues in the shape of The Taylor Family world come to our stages. These artists are a magnet for Foundation Schools Matinees which boast 12,000 annual our audiences. We are incredibly fortunate to have the attendees. In Thurrock and the Thames Gateway we have kind of people here who can create and deliver now worked with more than 230 schools. We aim to build extraordinary experiences for those audiences – such as on this and to utilize the High House Production Park as Monica Mason and Antonio Pappano who guarantee a centre for training to develop a diverse workforce and sensational work that consistently plays to capacity houses. bring new opportunities for the people of the region. There is no greater testimony to the hunger for what we We will continue to play a role as a national leader for do than a full house night after night. Our job the arts and cultural sector of our country.This is why our is to expand, diversify and inspire our audiences. participation in programmes such as the London 2012 There should be a democracy of access to the Royal Cultural Olympiad, our leadership of the Culture Quarter Opera House. We do not believe in exclusivity or some Programme for the jobless that won Runner Up in the hackneyed notion of elitist art. It is one of our key Youth Employment Awards, and our mentoring and responsibilities to ensure that we enable and encourage support of companies such as Ballet Black, is so important. diversity in our audiences, in every sense of the word. I was The Royal Opera House is an engine for so much in the delighted to see our efforts recognized by the broadest cultural terms. Gramophone Awards where we won The Classic FM Our location in London does not obscure the fact that Innovation Award (given to an initiative or organization we are here to serve the entire nation and also to act as a that has broken down barriers and attracted new global ambassador and champion of opera and ballet. audiences). This was for our Hamlyn First Night of Don We will expand our reach as an organization to maximize Giovanni, offered to Sun readers, supported by The Helen the number of people that we can inspire. We connect Hamlyn Trust. It is one of many initiatives that seek new with communities beyond the capital through our and better ways of connecting with people to expand our commitment to places such as Thurrock, our On the Road audience base. It is also obviously critical to enable initiatives, our BP Summer Big Screens, our use of attendance here by making the price for a ticket broadcast and online media, and directly to the wider

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SS world through our tours. Touring our work ensures that Guest companies and artists from beyond the ROH have we remain a genuine presence nationally and a globally found it an invaluable resource. Since 2002, it has hosted significant advocate for our art forms. From 2011/12 we 246 productions, 66 world premieres and provided 144 will stage annual concert performances in . opportunities for visiting companies, welcoming over This year our BP Summer Big Screen performances 250,000 people to 900 performances. In recognition of the attracted over 24,000 people; we anticipate audiences Linbury Studio ’s pivotal role in expanding for our revenue-generating cinema programme, newly creative opportunities and attracting diverse audiences we supported by Bank of America Merrill Lynch, increasing are launching Open Up ROH. This is an ambitious new substantially from their 150,000 level of last year as we capital project that will better present the Royal Opera extend our screenings to 106 cinemas. In 2011/12 we will House as a single venue, increase the visibility of work in release ten ROH titles to cinema and we partnered with the Linbury Studio Theatre, and share with an RealD in the 2010/11 Season to produce an innovative 3D increased range of small-scale artistic companies. It aims to .In conjunction with the BBC and other broadcasters open up the heart of the building facing the Piazza in we are watched by over a million viewers every year, with a Covent Garden and will create new space for creative, further 1.5 million radio listeners. Our website attracts participatory and educational activity,as well as upgrading 270,000 unique visitors per month and our use of the Linbury Studio Theatre’s seating capacity. In appropriate digital media, such as YouTube, to reach specific accordance with our umbrella strategic policy of self- audiences strengthens our ability to connect more intimately reliance, this vision can only be realized with significant and memorably with people. Taken collectively, the strength additional private support. of our strategy to ensure that the Royal Opera House can be We are proud of the incredible work that we produce experienced nationwide and worldwide becomes clear. and its appeal to different audiences. Every month you can The breadth of our work, on all our stages, offers a experience a completely different artistic perspective here, stimulating range with uniquely wide appeal. This is uniform only in its uncommon quality.That is so exciting. fuelled not only by the multiplicity of productions by The It was gratifying for our efforts to have been recognized Royal Ballet and The Royal Opera, augmented by the this year with so many awards. The Royal Ballet scooped Orchestra of the Royal Opera House and the Royal Opera four of the most prestigious at the National Dance Awards Chorus, but also by the work of ROH2 and our numerous of the Critics’ Circle, and Nina Stemme deservedly won collaborations with external artists and companies. The the Outstanding Achievement in Opera Olivier Award for Linbury Studio Theatre is a vital performance space for her Isolde in Tristan und Isolde which also won us the Best contemporary opera and dance, encouraging innovation, New Opera Production Award. Our excellence is creative risk-taking and the development of new talent. augmented by our eclecticism. As a national home for our

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SS art forms we need to reflect their diversity; but sometimes year in which we lost Dame Joan Sutherland, Philip the sheer scope of what we do is amazing. Cast a brief Langridge and Sir Charles Mackerras, whose final glance over the past year and you will see Tristan und Isolde performance of The Cunning Little Vixen we were and Goldberg: the Brandstrup - Rojo Project both of which privileged to stage, it is heartening to recognize the won Olivier Awards; the wonderful revisiting of Thomas continuity of excellence that feeds our art forms. Last Arne’s Artaxerxes; and The Tsarina’s Slippers which sold out year’s service at Westminster Abbey held in November to even though it was virtually unknown outside Russia, dedicate a memorial stone, in Poets’ Corner, to the alongside perennial favourites such as . The founders of The Royal Ballet underlined that continuum. Tsarina’s Slippers was released on DVD through Opus Arte We are the guardians of opera and ballet and every and was also broadcast on television and radio by the BBC. generation makes its contribution. If we stand on the We gave it that exposure. The list goes on: The Gambler, shoulders of giants, our role is to enable people to become , , , , , The those giants. Judas Tree. Then consider such work as Simon Boccanegra In this economic climate it is more imperative than ever which uniquely received three successive standing that we are both efficient as an organization, and self- ovations, sold out its Prom appearance at the Royal Albert reliant in terms of developing and diversifying income. Hall and really highlighted the incredible talent of the This is what ensures that we will not have to compromise Royal Opera Chorus,among other things.Together,it is all on the quality of our work or our ability to include as quite breathtaking. many people as possible in what we do. We have made a Talent builds art. We build talent. It is wonderful to see concerted effort to achieve savings across the Royal Opera such productions as Limen, As One and Asphodel Meadows House, including streamlining procurement and showcasing outstanding, contemporary choreographers, tendering processes and restructuring our production respectively Wayne McGregor, Jonathan Watkins and system. We have also evolved a robust and productive . These are people from within our own walls commercial strategy that has scrutinized every aspect of raising the bar for ballet. This year our Jette Parker Young how we work. It has examined new opportunities for Artists received a record number of applicants from revenue streams, it has explored how to strengthen our around the world. Our Apprenticeship schemes continue retail and commercial operations, and it has also looked to to strengthen both the futures of its participants and our adapt our planning, scheduling and contracts so that they organization as a whole. From ROH2 Associates to our can accommodate the demands that the new dynamics of orchestral mentoring partnership with Southbank funding present to every arts’ organization. Look at Royal Sinfonia and Chance to Dance, our broad, long term Opera House Restaurants, operated in conjunction with commitment to nurturing talent is most apparent. In a Company of Cooks, or our brand licensing business

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S S partnering companies such as FREDDY, Joules, ArtFile Simon Robey, Chairman and Paul Smith. Strategic partnerships enable us not simply to broaden our operational and financial base but also enhance the experience of the Royal Opera House in a variety of ways. We talk about the Royal Opera House as a singular Fundamentally everyone here has a contribution to entity, but really it is a nexus for so much in a varied make. We are one of the UK’s great institutions and range of activities across the culture sector. Its significant internationally recognized as such. We have a role to play contributions to the artistic life of the both nationally and globally by producing great art. We have to be safeguarded. There is only one way to do that: have to value that and to feel proud, as a country, that we through responsible and responsive management and have places such as the Royal Opera House. Our peers are financial prudency. That is what permits everything else in New York, and Paris, but our roots are in to happen. This is what allows the Royal Opera House communities such as Thurrock. This is what we are a part to be creatively ambitious and to dare to take artistic of and this is where we look to create a different sense of risks - the hallmark of a truly great artistic institution. the future. We are a partner for other companies, a Funding is key to all arts’ organizations. Simply crucible for developing talent and young artists, a place because a cultural centre is unequivocally successful, as that generates jobs and prospects for people, and a home we are, does not remove the need for governmental for our own Companies which are second to none. The support. Success should never be penalised. That we are Royal Opera House is a catalyst for so much. We will successful in all that we do is due to the skill of the ensure that it remains so. Executive Team under Tony Hall’s leadership and the immense talent and commitment of the performers and staff here. In turn our success enables us to contribute to the development of other companies and artists as the list of our partnerships on page 86 illustrates. On Tony Hall’s watch the correct decisions have been taken, and the right preparations made, to assure the future of the n Royal Opera House in the face of a substantial reduction in funding from government. These actions will also help to strengthen other organizations within the arts by extending resources and expertise to them so that they are more able to weather these challenging times.

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The financial underpinning of the wonderful work that responsibility to the nation as custodians of this unique takes place here is significantly bolstered by the Royal platform for opera and ballet to ensure that we never Opera House’s considerable success in supporting itself. take those figures for granted. That is a daily effort. We have to be aware of the imperative, in the current This place is, quite simply, a marvel. Ask anyone who funding model for the arts, to connect artistic quality to has sat in front of our stages. This is what inspires the the need to pursue income vigorously.Really this should phenomenal dedication of everyone here. That is why the be an axiom for any contemporary arts’ organization Royal Opera House will continue to epitomize excellence that is truly ambitious about the standards of its work in opera and ballet and define the way in which a 21st- and its capability to engage with its audiences. This is century arts’ organization can lead and shine. We will why we have to make every effort to be as self-reliant as embrace the realities of this financially challenging year is practicably possible. In parallel with this we must and emerge even stronger. This is our pledge. connect with our numerous supporters ensuring that they have a sense of being included in the life of our organization, and that their immense generosity and contribution to enabling the amazing things that take n place here is recognized. As an organization we will work closely with government to enable and sustain a climate of giving, so that philanthropy is encouraged and its value to the artistic life of the country EXCEPTIONAL PHILANTHROPY acknowledged. The breadth of the activities and productions that the The Chief Executive, Chairman and Trustees of the Royal Opera House ROH is involved in will always present a challenge as to would like to thank the following individuals and organizations whose how to fund them so that artistic excellence and the exceptional generosity has helped to make our 2009/10 Season possible. richness of the experience here are never diluted. Lady Ashcroft, BP,Deloitte, The Fidelity (UK) Foundation, Thankfully, the Royal Opera House’s financial figures Mrs Aline Foriel-Destezet, The Foyle Foundation, Garfield Weston tell a clear story. It is one that is both an exemplar of Foundation, Sir Donald Gordon, The Helen Hamlyn Trust, Ronald and good management and a demonstration of the kind of Marina Hobson, Alan and Sabine Howard, Jean Sainsbury Royal Opera artistic work that can be achieved when this is the case. House Fund, Aud Jebsen, The John Beckwith Charitable Trust, Lord and Lady Laidlaw of Rothiemay, Tamar and Bob Manoukian, Medicor For the eleventh successive year the books are balanced Foundation, The Monument Trust, Oak Foundation, The Peter Cruddas and the Royal Opera House is still raising nearly £3 for Foundation, Sir Simon and Lady Robertson, The Robey Family, Rolex, every £1 it receives in public subsidy. It is part of our The Taylor Family Foundation, Xstrata and two anonymous donors.

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Sarah Lamb and Rupert Pennefather Tryst S

TALENT

We give our audiences the world’s greatest artists, established and rising.

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21 Rupert Pennefather Marianne Cornetti and Marcelo Álvarez Aida Sarah Lamb and The Nutcracker As One and Bennet Gartside Asphodel Meadows Micaela Carosi Aida ROYAL OPERA HOUSE ANNUAL REVIEW 2009/10 CHAPTER 3 TALENT

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THE WORLD STAGE Semyon Bychkov Angela Denoke Russian German Conductor Don Carlo Polina The Gambler Yves Abel Clara Barbera Title role Franco-Canadian Spanish Joseph Calleja Conductor La traviata Goldberg: The Brandstrup - Rojo Maltese Project Gabriela Adorno French Simon Boccanegra Marie La Fille du régiment Cuban Piotr Beczala Prince Rudolf Mayerling Polish Bruno Campanella Plácido Domingo Colas La Fille mal gardée Rodolfo La bohème Italian Spanish Romeo Romeo and Juliet Conductor La Fille du régiment Title role Simon Boccanegra Foreman The Judas Tree Australian Tannishtha Chatterjee Juan Diego Flórez Roberto Alagna Mary Vetsera Mayerling Indian Peruvian Sicilian-French Juliet Romeo and Juliet Singer Ingerland (Opera Shots) Tonio La Fille du régiment Don José Carmen Woman The Judas Tree Infra Tommy Franzen Eleanor Alberga Romanian Swedish Jamaican Maurizio Benini Sugar Plum Fairy The Nutcracker Goldberg: The Brandstrup - Rojo Composer Letters of a Italian Lise La Fille mal gardée Project Love Betrayed Conductor Il turco in Italia Title role Cinderella Rushes - Fragments of a Lost Story Feruccio Furlanetto Marcelo Álvarez Kim Brandstrup Italian Argentinian Danish Alessandro Corbelli Philip II Don Carlo Radames Aida Choreography Goldberg: The Italian Brandstrup - Rojo Project Don Geronio Il turco in Italia Ildebrando d’Arcangelo Rushes – Fragments of a Sulpice La Fille du régiment Italian Italian Lost Story Mary Vetsera Mayerling Escamillo Carmen Annette Dasch Juliet Romeo and Juliet German Woman The Judas Tree Countess Almaviva Chroma Le nozze di Figaro

Artists of The Royal Ballet Asphodel Meadows

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Elina Garancaˇ Kyle Ketelsen Nicola Luisotti Latvian Canadian American Italian Title role Carmen Tristan Tristan und Isolde Nick Shadow The Rake’s Progress Conductor Aida

Angela Gheorghiu Steven McRae Romanian Russian Danish Australian Violetta La traviata Giorgio Germont La traviata Prince Rudolf Mayerling Goldberg: The Brandstrup - Rojo Agon Project Valentina Golfieri Romeo Romeo and Juliet Colas La Fille mal gardée Italian South African Romeo Romeo and Juliet The Bride God’s Garden Count Almaviva Le nozze di Chroma Figaro Sophie Koch Vittorio Grigolo French Charles Mackerras (1925 - 2010) Italian Soile Isokoski Brangäne Tristan und Isolde Australian Chevalier des Grieux Manon Finnish Octavian Conductor The Cunning Little Vixen The Marschallin Der Rosenkavalier Aleksandra Kurzak David Makhateli Countess Almaviva Le nozze di Polish Georgian Figaro Fiorilla Il turco in Italia Prince The Nutcracker Prince Cinderella Ermonela Jaho Mariusz Kwiecien Prince The Sleeping Beauty Albanian Polish Symphony in C Violetta La traviata Count Almaviva Le nozze di Figaro Mikhail Karakis Sarah Lamb Brazilian Greek American Princess Aurora The Sleeping Beauty Singer Ingerland (Opera Shots) Countess Marie Larisch Sugar Plum Fairy The Nutcracker Mayerling Lise La Fille mal gardée Jonas Kaufmann Princess Aurora The Sleeping Juliet Romeo and Juliet German Beauty Title role Don Carlo Title role Cinderella Ingo Metzmacher Tryst German Conductor The Rake’s Progress Colin Lee South African Laura Morera Don Narciso Il turco in Italia Spanish Tonio La Fille du régiment Countess Marie Larisch Mayerling Robert Lepage Sugar Plum Fairy The Nutcracker Christianne Stotijn Canadian Lise La Fille mal gardée Director The Rake’s Progress Rushes - Fragments of a Lost Story

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Ann Murray Tamara Rojo Nina Stemme Irish Albanian Spanish Swedish La Marquise de Berkenfeld Alfredo La traviata Goldberg: The Brandstrup - Rojo Isolde Tristan und Isolde La Fille du régiment Project Arthur Pita Mary Vetsera Mayerling Christianne Stotijn Andris Nelsons Portugese Princess Aurora The Sleeping Beauty Dutch Latvian Choreographer God’s Garden Juliet Romeo and Juliet Title role Tamerlano Conductor La bohème Sergei Polunin Roberto Saccá Kurt Streit Ukrainian German-Italian American Russian Prince Florimund The Sleeping Alexei The Gambler Marquis The Gambler Title role Manon Beauty Bajazet Tamerlano Prince Cinderella Nitin Sawhney Marianela Nuñez Prince The Nutcracker Anglo-Indian Vera Tussing Argentinian Electric Counterpoint Composer Entanglement German Princess Aurora The Sleeping (Opera Shots) Dancer and choreographer Beauty Marina Poplavskaya Your Eyes Title role Sphinx Russian Erwin Schrott Lise La Fille mal gardée Elizabeth of Valois Don Carlo Uruguayan Michael Volle Title role Cinderella Amelia Simon Boccangera Title role Le nozze di Figaro German Kurwenal Tristan und Isolde Antonio Pappano Nuno Silva Anglo-Italian Ukrainian Portugese Conductor Tristan und Isolde Prince Florimund The Sleeping Prodigal Son Japanese L’Heure espagnole/ Beauty God’s Garden Sugar Plum Fairy The Nutcracker The Gambler Colas La Fille mal gardée Giles de Tourette Title role Cinderella Manon Prince The Nutcracker Pleasure’s Progress Juliet Romeo and Juliet Romeo Romeo and Juliet Laurent Pelly Francesca Zambello French Albert Quesada Brazilian American Director La Fille du régiment Spanish Prince Rudolf Mayerling Director Carmen Manon Dancer and choreographer Prince Cinderella The Tsarina’s Slippers Your Eyes Foreman The Judas Tree Kirill Petrenko Romeo Romeo and Juliet Liping Zhang Russian Johan Reuter Chinese Conductor Der Rosenkavalier Danish Micaëla Carmen Jokanaan Salome

John Tomlinson The Gambler

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Sarah Fox Simon Keenlyside HOME GROWN Asteria Tamerlano Rodrigo, Marquis of Posa Don Carlo John Fulljames Title role Gianni Schicchi John Copley Director The Enchanted Pig Beverley Klein Prosdocimo Il turco in Italia Director La bohème The Book of Fate Faninal Der Rosenkavalier Dawn French The Enchanted Pig Michelle Cornelius La Duchesse de Crackentorp Rakie Ayola Dot The Enchanted Pig La Fille du régiment Sarah Kundi Singer Dalston Songs Dancer Ballet Black Chantelle Gotobed George Benjamin Conductor Le nozze di Figaro Dancer Ballet Black Karina Lucas Composer Into the Little Hill Flora The Enchanted Pig Orlando Gough Ivor Bolton Sophie Der Rosenkavalier Composer A Ring, a Lamp, a Wayne McGregor Conductor Tamerlano Thing (Opera Shots) Choreography Limen Anna Dennis Infra Laura Caldow Nancy Pleasure’s Progress Jade Hale-Cristofi Chroma Dancer Goldberg: The Brandstrup Dancer Ballet Black - Rojo Project Jonathan Dove David McVicar Pamela Prim Composer The Enchanted Pig Matthew Hart Director Aida Pleasure’s Progress Tom Rakewell Pleasure’s Progress Le nozze di Figaro Martin Duncan Salome Dave Camlin Director Artaxerxes Michael Henry Singer Dalston Songs Singer Dalston Songs Richard Edgar-Wilson Ingerland (Opera Shots) Ramiro L’Heure espagnole Lucy Carter Jose Letters of a Love Betrayed Gamekeeper The Cunning Little Lighting Limen Nicholas Hytner Vixen Infra Mark Edler Director Don Carlo Marcello La bohème Conductor Linda di Chamonix Helen Chadwick (in concert) George Ikediashi Sally Matthews Composer, creator and singer Singer Ingerland (Opera Shots) Fiordiligi Così fan tutte Dalston Songs Paul Englishby Composer Pleasure’s Progress Elisabeth Meister Caryl Churchill Director L’Heure Fox The Cunning Little Vixen Librettist A Ring, a Lamp, a Rebecca Evans espagnole/Gianni Schicchi Thing (Opera Shots) Mimi La bohème The Gambler Alasdair Middleton Librettist The Enchanted Pig Paule Constable Richard Eyre Rosemary Joshua Pleasure’s Progress Lighting Carmen Director La traviata Anne Trulove The Rake’s Progress The Cunning Little Vixen

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Jonathan Miller Christine Rice Edward Watson Director Così fan tutte Concepcion L’Heure espagnole Prince Rudolf Mayerling Title role Carmen Anubis Sphinx Hannah Pedley Singer Twitterdammerung Joan Rodgers Jonathan Watkins The Twitter Opera Duchess Powder Her Face Choreography As One

Cassa Pancho Arlene Rolph Elizabeth Watts Artistic Director Ballet Black Mother Superior/Gloria Mandane Artaxerxes Letters of a Love Betrayed Melanie Pappenheim Singer A Ring a Lamp a Thing Peter Rose Choreography (Opera Shots) Baron Ochs Der Rosenkavalier Electric Counterpoint Ingerland (Opera Shots) Tryst Liam Scarlett Rupert Pennefather Choreography Asphodel Thomas Whitehead Prince Rudolf Mayerling Meadows Dancer Goldberg: The Brandstrup Prince The Sleeping Beauty - Rojo Project Oedipus Sphinx Tom Solomon Romeo Romeo and Juliet King of the East/The Moon Simon Wilding The Enchanted Pig The Pig The Enchanted Pig Mary Plazas Hogarth Pleasure’s Progress Analia Torres Letters of a Love Barry Wordsworth Betrayed Toby Spence Conductor Mayerling Tom Rakewell The Rake’s Sphinx Jocelyn Pook Progress La Fille mal gardée Composer Ingerland (Opera Cinderella Shots) Donald Sturrock Asphodel Meadows Librettist Letters of a Love Helen Porter Betrayed Composer Twitterdammerung The Twitter Opera n Grand Inquisitor Don Carlo John B. Read General The Gambler Lighting Mayerling Agon, Sphinx, Concerto Graham Vick Elite Syncopations, Director Tamerlano La Fille mal gardée Romeo and Juliet Choreographer and Director Beverley Klein and Michelle Cornelius Pleasure’s Progress The Enchanted Pig

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milestone L ENTERPRISE CULTURE

The Royal Opera House has a long and successful tradition of almost trebling the funding subsidy we receive through our own efforts, the

results of which we invest in our work, our landmark building and ourE facilities. In the present funding climate it is critical that we continue to strengthen our position to ensure that we will never have to compromise our standards. Royal Opera House Enterprises, the commercial trading arm of the Royal Opera House, is a vital part of this strategy. Established

in September 2009, Enterprises consolidates our merchandizing,S licensing, venue hire, catering and digital media activities into a single division, led by Managing Director Stephen Michael. It has enjoyed an excellent first year, characterized by revenue growth, increased reach of our digital output and by the inception of a number of innovative new

commercial partnerships. In June 2010, we joined forces with RealD,T the world’s leading 3D technology supplier, to film Bizet’s Carmen – the first full-length opera to be filmed in 3D for commercial cinematic distribution. Carmen in 3D was released in cinemas globally in early 2011. We anticipate that further 3D projects will follow. Our other cinema

activity goes from strength to strength with Opus Arte, our multi-platformO arts production and distribution company, bringing the finest opera, ballet, theatre and music to cinemas around the world. This year it added the Bayreuth Festival to its roster in an exclusive partnership that will result in the release of a number of Bayreuth titles on CD, DVD and in cinemas over the next five years. In April 2010, Enterprises launched Royal Opera House Restaurants, our new in-house bar and restaurant offer,

operated in partnership with Company of Cooks. It offers our customersN a fresh approach to eating and drinking at the Royal Opera House, as we roll out a programme of investment that will see our bars and restaurants remodelled and refurbished. Enterprises has also reinvigorated the Royal Opera House retail offer with a complete product refresh and a refit of our shop. Our brand licensing business, too, has been developed throughout

the year, with a number of new partnerships being established E in categories as diverse as children’s clothing (Joules), stationery (ArtFile) and

Leanne Benjamin photography (Paul Smith). We look forward to strengthening our trading and Steven McRae revenues over the course of the coming years to empower the work of the in rehearsal Royal Opera House further. S

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Opening the 2009/10 ballet Season, the three-act ballet Mayerling was an immaculate revival of Kenneth MacMillan’s signature work, featuring five Principals of The Royal Ballet sharing the role of Prince Rudolf, one of the most challenging in the whole male ballet repertory. John Kobborg, Edward Watson and Carlos Acosta had all danced the part before, while role debuts were made by Thiago Soares and Rupert Pennefather. With its physically and technically demanding framework and exhilarating dance-acting, Mayerling provided a showcase for the monumental talents of some the Company’s leading lights. In spring 2010 MacMillan’s work was further celebrated in the triple programme of Concerto, The Judas Tree and Elite Syncopations. This presented the spectrum of MacMillan’s career from his success in 1966 with Concerto to Elite Syncopations in 1974 and the award-winning triumph of The Judas Tree in 1992. The familiar and the boldly new combined in dazzling fashion to lead ballet into winter with the triple bill of Agon, Sphinx and Limen. Agon, the last collaboration between and , presented an abstract piece that extended classicism beyond its boundaries in its 1957 premiere. Sphinx was created by Glen Tetley for in 1977, inspired by Jean Cocteau’s play of the same name. Royal Ballet Resident Choreographer Wayne McGregor set Limen, Marianela Nuñez Sphinx

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Nina Stemme and Ben Heppner Tristan und Isolde his new ballet, to Finnish composer Kaija Saariaho’s Notes on Light for cello and orchestra with designs by the Japanese sculptor and installation artist Tatsuo Miyajima. Our opera Season opened with two concert performances of Donizetti’s , never previously performed by The Royal Opera. Mark Elder, Music Director of the Hallé Orchestra, conducted a cast that included two notable Royal Opera debuts: Eglise Gutiérrez, the rising Cuban- American soprano, in the title role of Linda and American Stephen Costello as Carlo. The performances were recorded for Opera Rara. It is rare for a production to redefine how we view a key work. The double Award-winning Tristan und Isolde did precisely that. It reunited Antonio Pappano with German director Christof Loy with whom he collaborated on Ariadne auf Naxos when he first joined the Royal Opera House. Loy’s creation of a stark, monochromatic world stripped the piece to its essence to expose its pain and drama in a unique fashion. This was amplified by the extraordinary

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Tommy Franzen Goldberg: S The Brandstrup - Rojo Project emotional depth and resonance of Nina Stemme’s universally acclaimed performance as Isolde, which won her the Laurence Olivier Award for Outstanding Achievement in Opera. Leading Wagnerian tenor, Ben Heppner, sang the role of Tristan.Risk has always been integral to great art and the gamble of revealing an entirely new aspect of a major work through a courageous interpretation, is not something easily undertaken. It is a privilege for the Royal Opera House to be able to offer those kinds of performances to its audiences. In October audiences were given the opportunity to enjoy The Royal Opera in the Linbury Studio Theatre performing Artaxerxes, a neglected but outstanding opera. Written in the 18th century by Thomas Arne, it was last heard in repertory at Covent Garden during the 1842/3 Season. The new production was directed by Martin Duncan working with The Royal Opera for the first time. South African-born countertenor Christopher Ainslie sang the title role. In the lead up to Christmas Francesca Zambello returned to the Royal Opera House to direct the charming tale of The Tsarina’s Slippers, based on a Christmas tale by Gogol. For this production The Royal Opera and The Royal Ballet shared the stage, and Alastair Marriott – working with The Royal Opera for the first time – choreographed the ballet. A cast of Russian principals was conducted by Alexander Polianichko.

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Prokofiev’s opera The Gambler, based on Dostoevsky’s novel of the same name, paired the formidable talents of Antonio Pappano and Richard Jones. Their previous collaborations include the award-winning Lady of Mtsensk and the double programme of L’Heure espagnole/Gianni Schicchi, revived earlier in the 2009/10 Season. The opera was presented for the first time by The Royal Opera and German-born Italian tenor Roberto Saccà sang Alexei, with German soprano Angela Denoke as Paulina.Both were making their debuts in their respective roles. The production also included six members of the Jette Parker Young Artist Programme. Laurent Pelly returned to direct The Royal Opera in a breathtaking new production of Massenet’s Manon, a co-production with , Milan, Théâtre du Capitole, Toulouse and the New York.Russian soprano Anna Netrebko was dazzling as Manon, the first time she has played the part with The Royal Opera. The role of Chevalier des Grieux was brought vividly to life by Vittorio Grigolo. The Royal Opera Chorus was also on sensational form to complete an extraordinary production conducted by Antonio Pappano. A new production in spring of Verdi’s Aida in a mythical but non-Egyptian setting was directed by David McVicar in a co-production with Norwegian National Opera and Palau de les Arts, Valencia.Italian soprano Micaela Carosi played Aida, while Argentinian

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S Audience Deloitte Ignite tenor Marcelo Álvarez, sang Radames for the first time. American mezzo-soprano Marianne Cornetti sang the role of the jealous Amneris having made her debut with The Royal Opera singing Princess Eboli in Don Carlo in September 2009. The conductor was Nicola Luisotti, Music Director of . In another remarkable Season, as it approaches its tenth year of life, ROH2 mounted some dazzling work including Goldberg: the Brandstrup - Rojo Project, an Olivier Award winning collaboration between Danish choreographer Kim Brandstrup and Royal Ballet Principal Tamara Rojo. Deloitte Ignite once again filled the ROH with an abundance of creative energy and introduced the much media heralded Twitterdammerung: the Twitter Opera. The annual return of FIRSTS, Ballet Black and Voices Across the World were all much enjoyed. Dalston Songs, created by ROH2 in 2007, made a welcome return to the Royal Opera House in 2010. Its origins lay in composer Helen Chadwick’s work with OperaGenesis which culminated in her composition of a series of songs to explore the experiences and stories of the diaspora communities of Dalston and East London. Choreography and direction was by Frantic Assembly’s Steven Hoggett. Continuing ROH2’s commitment to enhancing the chamber opera repertory, Music Theatre returned with the world premiere of Eleanor Alberga’s opera, Letters of a Love Betrayed.

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HIGHLIGHTS OF THE YEAR 2009 Landmark performances Elina Garancaˇ title role Carmen SEPTEMBER Edward Watson Prince Rudolf Mayerling New productions Thomas Allen title role Gianni Schicchi Deloitte Ignite 09 curated by Time Out Goldberg: the Brandstrup - Rojo Project Kim Brandstrup/J S Bach/Richard NOVEMBER Hudson New productions Tristan und Isolde /Antonio Pappano/Christof The Tsarina’s Slippers Pyotr Il’yich Tchaikovsky/Alexander Loy/Johannes Leiacker Polianichko/Francesca Zambello/Mikhail Mokrov/Tatiana World premiere of Twitterdammerung: the Twitter Opera Nogovina/Alastair Marriott FIRSTS seventh season of groundbreaking and experimental art from Major revivals young and emerging artists new to the ROH. Included ROH2 Don Carlo /Semyon Bychkov/Nicholas Hytner/Bob Crowley commission Your Eyes by Vera Tussing and Albert Quesada Major revivals Key debuts The Nutcracker /Lev Ivanov/Pyotr Il’yich Tchaikovsky/Koen Eglise Gutiérrez title role Linda di Chamounix in concert Kessels/Julia Trevelyan Oman

Landmark performances Key debuts Antonio Pappano and the Orchestra of the Royal Opera House Tristan und Isolde Alastair Marriott with The Royal Opera. Choreography The Tsarina’s Slippers Jonas Kaufmann title role Don Carlo Olga Guryakova Oxana The Tsarina’s Slippers Tamara Rojo Goldberg: The Brandstrup - Rojo Project Viktoria Yastrebova Oxana The Tsarina’s Slippers Nina Stemme Isolde Tristan und Isolde Landmark performances OCTOBER Miyako Yoshida Sugar Plum Fairy The Nutcracker New productions Artaxerxes Thomas Arne/Ian Page/Martin Duncan/ Johan Engels DECEMBER Limen World Premiere Wayne McGregor/Kaija Saariaho/Tatsuo Miyajima New productions Sphinx Glen Tetley/Bohuslav Martinu/Rouben° Ter-Arutunian The Enchanted Pig Jonathan Dove/Tim Murray/John Fulljames/Dick Bird Letters of a Love Betrayed World Premiere Eleanor Alberga/Michael Rafferty/Michael McCarthy/Colin Richmond/Holly McCarthy Major revivals Der Rosenkavalier Richard Strauss/Kirill Petrenko/John Major revivals Schlesinger/William Dudley/Maria Björnson Carmen /Bertrand de Billy/Francesca Zambello/Tanya McCallin La bohème /Andris Nelsons/John Copley/Julia Trevelyan Oman L’Heure espagnole/Gianni Schicchi /Giacomo Puccini/Antonio Pappano/Richard Jones/John Macfarlane Key debuts Andris Nelsons conductor La bohème Key debuts Les Patineurs Rupert Pennefather Prince Rudolf Mayerling Teodor Ilincai Rudolfo La bohème Thiago Soares Prince Rudolf Mayerling Sergei Polunin Prince Florimund The Sleeping Beauty Landmark performances Soile Isokoski Marschallin Der Rosenkavalier

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HIGHLIGHTS OF THE YEAR 2010 MARCH New productions JANUARY Tamerlano George Frideric Handel/Ivor Bolton/Graham Vick/Richard New productions Hudson The Rake’s Progress Igor Stravinsky/Ingo Metzmacher/Robert Lepage/Carl Fillion/François Barbeau Major revivals Romeo and Juliet Kenneth MacMillan/Sergey Prokofiev/Boris Gruzin/Nicholas La Fille mal gardée /Ferdinand Hérold/Barry Georgiadis Wordsworth/Osbert Lancaster The Cunning Little Vixen Leosˇ Janácek/Charlesˇ Mackerras/Bill Key debuts Bryden/William Dudley Julia Jones conductor Così fan tutte Kyle Ketelsen Nick Shadow The Rake’s Progress Key debuts Troy Cook Guglielmo Così fan tutte Kurt Streit Bajazet Tamerlano Steven McRae Colas La Fille mal gardée Landmark performances Carlos Acosta Foreman The Judas Tree Sally Matthews Fiordiligi Così fan tutte Thiago Soares Foreman The Judas Tree

FEBRUARY Landmark performances New productions Charles Mackerras (1925–2010) conductor The Cunning Little Vixen. God’s Garden Arthur Pita/traditional fado/Jean-Marc Puissant/Natasha Mackerras’s final performances with The Royal Opera Chivers The Gambler Sergey Prokofiev/Antonio Pappano/Richard Jones/Antony APRIL McDonald/Nicki Gillibrand New productions As One World Premiere Jonathan Watkins/Graham Fitkin/Barry Aida Giuseppe Verdi/Nicola Luisotti/David McVicar/Jean-Marc Wordsworth/Simon Daw Puissant/Moritz Junge

Major revivals Major revivals Dalston Songs Helen Chadwick/Steven Hoggett/Miriam Buether Il turco in Italia /Maurizio Bennini/Patrice Rushes - Fragments of a Lost Story Kim Brandstrup/Sergey Prokofiev/Michael Caurier/Moshe Lesier/Christian Fenouillat/Agostino Cavalca Berkeley/Daniel Capps/Richard Hudson Powder Her Face Thomas Adès/Timothy Redmond/Carlos Wagner/Conor Infra Wayne McGregor/Max Richter/Julian Opie Murphy

Key debuts Key debuts Roberto Saccà Alexey Ivanovich The Gambler Marianela Nuñez title role Cinderella Angela Denoke Paulina The Gambler Steven McRae Prince Cinderella John Tomlinson General The Gambler Sergei Polunin Prince Cinderella

Landmark performances Landmark performances The Royal Opera Chorus The Gambler Marcelo Álvarez Radames Aida Ballet Black’s sixth sold out season in the Linbury Studio Theatre The Royal Opera Chorus Aida

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MAY Key debuts New productions Bryan Hymel Don José Carmen Asphodel Meadows World Premiere Liam Scarlett/Francis Constantinos Carydis conductor Carmen Poulenc/Barry Wordsworth/John Macfarlane Landmark performances Major revivals Two performances of Carmen were filmed in 3D by RealD – the first La Fille du régiment /Bruno Campanella/Laurent full-length opera to be filmed in 3D Pelly/Chantal Thomas Plácido Domingo title role Simon Boccanegra Electric Counterpoint Christopher Wheeldon/J.S. Bach/Steve Antonio Pappano and the Royal Opera Chorus and Orchestra of the Reich/Jean-Marc Puissant Royal Opera House Simon Boccanegra

Key debuts JULY Yves Abel conductor La traviata Major revivals Into the Little Hill George Benjamin/Franck Ollu/John Notable events Fulljames/Soutra Gilmour BBC3 In Tune live from the Paul Hamlyn Hall. The entire programme was devoted to Royal Opera House content Key debuts James Valenti Alfredo Germont La traviata Landmark performances Natalie Dessay Marie La Fille du régiment Landmark performances Juan Diego Flórez Tonio La Fille du régiment Angela Gheorghiu Violetta La traviata Voices Across the World annual world music season at the ROH JUNE BBC Promenade Concerts Antonio Pappano and The Royal Opera New productions Simon Boccanegra Opera Shots Three world premieres by established composers new to opera AUGUST Pleasure's Progress Will Tuckett/Paul Englishby/Alasdair Middleton/Jon While The Royal Ballet and The Royal Opera were on holiday or in Bausor performed in Ipswich, Covent Garden Piazza and then rehearsal, the Royal Opera House hosted visits from The Bolshoi Latitude Festival Ballet and Bolshoi Opera Manon /Antonio Pappano/Laurent Pelly/Chantal Thomas/Jean-Jacques Delmotte

Major revivals Carmen Georges Bizet/Constantinos Carydis/Francesca n Zambello/Tanya McCallin Simon Boccanegra Giuseppe Verdi/Antonio Pappano/Elijah Moshinsky/Michael Yeargan/Peter J. Hall

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Dance Dynamic is a key initiative to introduce the Royal Opera House. By reaching and inspiring school children to dance and ballet in a teachers we hope to achieve a ripple effect as they memorable and exciting way.More than 800 pupils impart their enthusiasm to their pupils and apply from 24 schools participated in sessions in which the skills we have helped to equip them with. This they developed their dancing and choreographic year we established a project working in skills after watching demonstrations by The Royal partnership with Exeter University to develop and Ballet. The project used The Royal Ballet repertory deliver a training course for trainee primary as a stimulus, drawing on La Fille mal gardée for school teachers. Using the cross-arts nature of opera primary schools and Wayne McGregor’s Infra for as the foundation, professional artists (a director, secondary schools. Teachers in the participating composer and designer) worked with the group to schools also collaborated with our artists to explore approaches and skills that would enable a develop their skills in leading creative dance raft of work to be delivered throughout the sessions: 583 pupils from 14 London primary curriculum. The teacher trainees then implemented schools then gave performances through which this in practical sessions with pupils in local they shared the work. A further 250 students from schools, and assessed their experiences with their secondary schools in Ipswich, Essex, Thurrock and course tutors and the Royal Opera House team. An London, performed in the Clore Studio Upstairs, evaluation of the pilot revealed that the course had Thameside Theatre Thurrock and Jerwood a very positive impact on confidence levels in DanceHouse Ipswich, as part of our On the Road teaching the arts. We hope that this blueprint will programme. Royal Ballet dancers Laura Morera, enable us to work more extensively with teacher Ricardo Cervera, Eric Underwood, Philip Mosley, training institutions in the future. and David Pickering worked The Royal Opera House believes in sustaining with the groups along with members of the our engagement with schools and teachers to leave Orchestra of the Royal Opera House, Adrian Reed a genuine, lasting legacy. This is why we are and Margaret Campbell. committed to ongoing initiatives such as Voices of The impact of teachers’ skills on the lives of the the Future, which aims to empower teachers to lead children in their schools cannot be overestimated. singing in schools. We first began work with 46 This is why their professional development is a teachers in Kent in September 2007, and continuing focus for the education programme of concluding sessions took place in spring 2010.

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S Jon Young FIRSTS Dancing Like No-one’s Watching We are confident that the journey these teachers have made will make a tangible difference to their schools and strengthen the value and enjoyment that they derive from singing. Our Write an Opera programme celebrated its 25th anniversary in 2010. Two courses attracted teachers from the UK and overseas. A large number of opera world premieres composed, designed and performed by children took place in school halls across the UK and in other European countries during the year. Since the programme began more than 700 teachers have attended courses, creating a wealth of new and inspiring countless young performers. In October 2009 we launched First Stage. This opened the doors for employment in the creative arts sector to people from diverse backgrounds by offering placements within the Royal Opera House. Through this programme all work experience opportunities are now advertised on our website for anyone to apply to. During the 2009/10 Season, 174 placements were offered across 19 departments in Covent Garden, in our workshops in Beckton and in our stores in Aberdare. Over a third of our placements were offered to applicants who were not from London and the Home Counties. The opening of the High House Production Park in Thurrock will provide further opportunities for extension of the

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programme, and the arrival of the carpentry and milestone L scenic art teams there will mean that placements EXTRAORDINARY can be offered within the locality. Opportunities PERFORMANCE available within Thurrock and the Thames Gateway have been promoted in local schools and E ROH2’s first commission for the 2009/10 Season proved a tour media, and through Insight events. Over the next de force, bringing together Danish-born, British-based Season, as well as increasing the number of contemporary choreographer Kim Brandstrup and Royal placements offered by those departments already Ballet Principal Tamara Rojo. Staged in the Linbury Studio participating, we will work to expand the range Theatre Goldberg: the Brandstrup - Rojo Project, set to Bach’sS Goldberg Variations, offered an intriguing insight into the and diversity of available roles. nature of dance rehearsal and highlighted the intense and With support from Arts Council ’s Sustain intimate relationships that dancers share. Famed for his programme, we have been able to offer a diverse naturalistic and narrative approach, Brandstrup’s choreography portfolio of opportunities for opera practitioners, exposed the hard work, experimentation, repetition andT encompassing workshop opportunities for composers dedication required to create a new piece of dance, opening a window onto the essence of performance. Set in a stark, working on new commissions for both the Linbury rehearsal studio, Goldberg: the Brandstrup - Rojo Project mixed Studio Theatre and main stages, and courses for dance traditions to great effect casting seven performers O directors, composers and librettists led by ROH2. This including Royal Ballet Principal Steven McRae and Soloist has encouraged new talent and is enabling fresh Thomas Whitehead, alongside contemporary dancers Clara Barbera, Laura Caldow, Riccardo Meneghini and street dancer perspectives in opera. The Royal Opera House is Tommy Franzén. The Goldberg Variations is one of the most grateful to Arts Council England for both the Sustain ambitious compositions written for harpsichord and this support and for its confidence in this activity. challenging music was played live by pianists Philip Gammon and Henry Roche. Rojo’s extraordinary performance, marriedN to Brandstrup’s subtle, articulate, innovative choreography won ROH2 the Laurence Olivier Award 2010 for Best New Dance Production. E S

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Development Courses The Royal Opera House believes in creating VOX2 – composing for voice. Four weeks spread momentum and empowering the trajectories of over 2009/10 Season (Dominic Muldowney and success for artists. 2009/10 marked the completion John Lloyd Davies). of the first year of the structured two-year Associate The Singing Word – two short, linked courses for programme for emerging choreographers. This writers interested in becoming librettists (John provides access for the participants to every aspect Lloyd Davies and guest tutors). of our organization to help their development and The Operating Table – intensive course for evolution as artists. Wayne McGregor has been directors interested in the challenge of opera closely involved in appointing the choreographers (Elaine Kidd, John Lloyd Davies and guest tutors). and the three Associates currently attached to the As It Happens – opera observer programme for ROH until August 2011 are Laila Diallo, Sarah main stage productions. Dowling and Freddie Oppoku-Addaie. Each of them has had work commissioned by ROH2 in Workshop Development their second year and been given the freedom and Anna Nicole, by Mark-Anthony Turnage and opportunity to work with all of our departments. Richard Thomas; Royal Opera commission for Orlando Gough and Aletta Collins have also been the main stage. Two workshops. appointed as ROH Associates until August 2012. Traps, new opera by Kenneth Hesketh, from Originally developed through ROH2’s Friedrich Dürrenmatt story. A Kafkaesque OperaGenesis programme, Letters of a Love Betrayed chamber opera of intrigue and menace. was Jamaican composer Eleanor Alberga’s first Don’t Breathe a Word, a new opera by Andrew opera, inspired by Isabelle Allende’s The Stories of Lovett and Fraser Grace. Satirical tragicomedy Eva Luna. Drawing on the sounds and rhythms of about an outspoken British ambassador to central Alberga’s home country the opera is scored for 14 Asian republic who falls in love with a belly- players and includes the tiplé (the Colombian dancer. guitar) to reflect the South American sensibility of Under the Volcano, a new opera by Joseph Phibbs the subject matter. Mary Plazas, one of the UK’s and Laurie Slade, based on the novel by leading singing actresses, created the role of Analía Malcolm Lowry. Torres, the opera’s central character, whose solitary life is transformed by a series of love letters.

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The was by Donald Sturrock, who had a Twitterdammerung: the Twitter Opera by Marc Teitler unique insight into the piece having grown up in and Helen Porter; Ed Hughes’s Cocteau in the Colombia. Performed in the Linbury Studio Underworld; Andrew Lovett’s Don’t Breathe a Word Theatre, and then on tour around the country, and a snapshot of Marc Teitler’s Stuck on a Sunday Letters of a Love Betrayed was a co-production which included an animated sketch. Works by between ROH2 and . rising stars Laura Bowler, Sasha Siem and Phillip For the seventh successive year FIRSTS featured Neil Martin also featured. an intriguing variety of groundbreaking and The Royal Ballet never rests on its laurels and experimental work by young and emerging artists members of the Company are always exploring appearing in the Linbury Studio Theatre for the fresh methods of challenging themselves as artists. first time. Three separate programmes showcased Draft Works, in the Clore Studio Upstairs, presented artists in a variety of art forms including ten, diverse, experimental pieces made by and for , aerial performance, circus, members of the Company and those associated live art and physical theatre, and in a particularly with it. An open brief was set for aspiring exciting season included the ROH2 commission choreographers, who selected themselves for Your Eyes by choreographic duo Vera Tussing and participation, as a platform for the expression of Albert Quesada. short ideas or longer choreographic essays. The In April Exposure offered a unique opportunity to resulting highly individualistic works, created in experience a taste of new opera work in progress, the midst of heavy commitments to the Season, by composers of all ages, in a series of semi-staged reflected the imagination and commitment of all pieces. The Linbury Studio Theatre became the those who took part. Exposure Cabaret venue for four nights and featured contemporary opera work by up and coming composers drawn from among the 35 current or recent opera development projects at the Royal Opera House and with partners. n Highlights included extracts from Tarik O’Regan’s Heart of Darkness, which had workshops with OperaGenesis in 2008; ROH2’s acclaimed

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Connecting with audiences in unexpected ways is central to our strategy as an organization. For the second year, ROH2 took a programme of work to the Latitude Festival in Suffolk with an audience of almost 23,000. This involvement opened up our art forms to new audiences and extended general awareness of the varied work taking place at the Royal Opera House. Pleasure’s Progress, a newly commissioned dance piece from Will Tuckett, which originally opened at the Jerwood DanceHouse Ipswich as part of our On the Road programme, ran for four performances to festival goers and went on to be performed in the Covent Garden Piazza, the Linbury Studio Theatre and at the Lowry in Salford. The Enchanted Pig by Jonathan Dove, a wonderfully vivid production for family audiences, was revived by ROH2 having first appeared at the in 2006. It presented a highly visual, fast- moving and entertaining tale providing a first, agreeable taste of opera that joyfully kindled an interest in the art form in the hundreds of enthusiastic children who went to see it. We supported members of the armed services and their families with a Tickets for Troops performance, made possible by Lord and Lady Laidlaw of Rothiemay.This took place on Valentine’s Day. Sir Richard Dannatt, former Chief of the General Staff, commented, ‘On behalf of all those The Tsarina’s Slippers

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S that attended, thank you for an absolutely splendid evening yesterday. You billed it as a family treat for Valentine’s Day and that’s exactly what it was.’ Curtain Up! at the Thameside Theatre in Grays was a three-day festival of celebration, participation and education for young people and the local community that showcased our educational work in the Thurrock and Thames Gateway region. It was a packed 72 hours with workshops, training events, exhibitions and performances attended by more than 500 young people, participants and local audiences. The focus for the final day was the first Royal Opera House Creative Partnerships Learning Conference which more than 150 people attended. In September 2009 we celebrated 40 years of ROH Collections. Exhibitions in the Royal Opera House throughout this Season offered us the opportunity to highlight the wealth and diversity of the Collections which continue to grow both through deposits from other departments and through gifts and bequests. This year, external donations have included the bequest of a collection of costume and prop designs by Leslie Hurry for (1947) and (1952), a costume worn by Geraint Evans as Papageno in Die Zauberflöte (1962), ’s collection of material relating to her role in Isadora (1981), and the purchase of a diary kept by the Royal Box Christopher Maltman, Jeremy White and Robin Leggate The Cunning Little Vixen

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steward from 1892 to 1909. Individuals celebrated during this Season included Dame Eva Turner, whose generous gift of costumes, photographs, letters and diaries forms a comprehensive record of one of the first 20th-century British sopranos to enjoy an international career. Kenneth MacMillan’s great contribution to The Royal Ballet was commemorated through costumes and designs from his work. The designs were drawn from the collections of two individuals: Ian Spurling, purchased through the generosity of Deborah MacMillan, and , purchased with the generous assistance of Anya Sainsbury. Plácido Domingo’s long connection with the Royal Opera House was highlighted in a Spotlight display that coincided with his performances in the title role of Simon Boccanegra. We are always keen to push the boundaries of what we do and to offer new experiences to our audiences. Voices Across the World is the Royal Opera House’s annual world music festival which takes place each July. Now in its fifth year, this celebration of tradition, diversity and innovation in vocal music from across the globe included artists from Pakistan, Iraq, Egypt and Hungary performing in a range of vocal styles such as Qawwali, Maqam, Sudanese mystic trance music and Hungarian folk in the Linbury Studio Theatre and the Paul Hamlyn Hall.

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Deloitte Ignite stretches preconceptions about the The Royal Opera House connects directly Royal Opera House by offering a stimulating and with so many places. eclectic range of performances and events for diverse, younger audiences. This year, curated by Time Out, it involved more than 8,000 visitors in a programme of concerts, installations, film, performance and flash mob actions, pivoting around dance and opera. Artists included Dreamthinkspeak, Angela Woodhouse, Yinka Shonibare, Kathleen Herbert, Bourgeois and Maurice, and the St Paul’s Cathedral choir, alongside new works by Will Tuckett and Chris Goode.

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WE HAVE WORKED WITH ALL OF THESE PEOPLE London Sinfonietta Premiere Space 05 Sweetshop Revolution The Lowry Purfleet Community Forum Tanja Råman AND ORGANIZATIONS, OFFERING THEM OUR Luke Daniels Queen of Puddings Music Taraf de Haïdouks FACILITIES, EXPERIENCE AND SUPPORT. Maki Mannami Theatre Tartan Chameleon Maria Ryan Wild Roots Rachael Mossom Thameside Theatre Collective Rachel Erdos The Clod Ensemble A Filetta Chisato Minamimura Gryphon Trio Marie-Gabrielle Rotie Rajyashree Ramamurthi The Coal Porters a2 Chitah Halle Ensembles Márta Sebestyén-Bolya- Rambert School of Ballet and The Ensemble Group Ajose Cutting Dance Chris Cox Heather Hoyle Dongo Trio Contemporary Dance The Errollyn Wallen Akademi Chris Goode Helen Chadwick Group Matilda Leyser (Springboard) Company All Marble Crew Cimarron Helena Hunter Matt Hennem Random Dance The Opera Group Altai Kai Sinfonia Helga Stromberger and Vilas Matthew Hawkins Dance Random International The Trust American Ballet Theatre II Claire Cunningham con Krilas Company Rango (Springboard) Amina Khayyam Collectif and then… Hertfordshire County Matthias Sperling Ray Lee The Shout Amy Bell & Valentina Compañia La Council Mavin Khoo Dance Rizwan-Muazzam Qawwali The Sugar Beast Circus Golfieri Daimohk (Springboard) Hetain Patel Mem Morrison RNIB The Unthanks Angela Woodhouse and Dance Southwest High House Community METAL Rob Horsman The Zig Quartet Caroline Broadhead Dance Umbrella Group Midnite Youth Theatre Robert Harbron Theatre Absolute Arc Dance Company Dance Xchange Hofesh Shechter Company (Springboard) Robert Hylton Theatre Cryptic Arts Council England, East DanceEast Hoipolloi and Tiebreak Millicent Hodson & Kenneth Theatre Francais de la Arnold Hill School Dante or Die Horsemeat Disco Archer Roswitha Gerlitz and Harvey Musique of Compiègne (Springboard) Dartington International Illuminago Mitsoura Brough Theatre Is Arron Sparks Summer School Ilona Jäntti Modified Toy Orchestra Rotterdam Dance Academy Thurrock Council Askew and Avis David Hughes Dance Impact Dance Momentum Thurrock Learning Aurelie David Rothenberg Irven Lewis Dance Theatre Music Theatre Wales Partnership Australian Ballet Dhafer Youssef Jack and the Band of Thieves Nancy Kerr Sap Dance Thurrock Music Services Bad Taste Cru DJ Phat and Suki Mok James Cotterill Natalie Williams Satoshi Takeishi Thurrock Thames Gateway Ballet Black Dragon Tongue Squad James Fagan National Ballet of Seeta Patel Development Corporation Ballet Central (Springboard) Dreamthinkspeak Jamie Woon National Ballet of Turkey Tilanne Base Chorus Dynamo’s Rhythm Aces Jan Bang National Dance Network Company Tim Van Eyken Bedlam Oz East of England Jason Carter National Skills Academy for Shrewsbury School Timberlina Beijing Modern Dance Development Agency Jean Abreu Creative and Cultural Skills (Springboard) Time Out Company East London Dance Jessica Curry and Dan National Youth Dance Sidsel Endresen Tom Hull Bellowhead Eddie Ladd Pinchbeck Company (Springboard) Silent Disco Toronto Dance Theatre Benji Reid International Joana Amendoeira Natural Theatre Company Dance ToyHearts Bern:Ballett Festival John-Martin White Niall Ashdown and Between Company Trio Gitano Bgroup El Toro Theatre Jointworks The Notes Smallpetitklein Unicorn Theatre for Children Birkbeck College Jon Young Nick Luscombe Sofia Buchuck and Andean Union Dance Etran Finatawa Jonny Woo Nicole Conibere Band Urban Magik Birmingham Ballet Essex County Council jonzi d productions Nina Rajarani Soothsayers Ursula Martinez Bistrotheque Exeter University Josephine Dyer NITRO Soulseekers Allowance Vayu Naidu Company Blast Theory Farida and The Iraqi Maqâm Katy Carr Northern School of Southbank Sinfonia Vena Ramphal Blind Summit Theatre Ensemble Kazuko Hohki Contemporary Dance Southend Borough Council Vera Tussing and Albert Bloody Foreigners Fatima Keiradance (Springboard) Southend Educational Trust Quesada Bourgeois and Maurice Faulty Optic Kerfuffle Northern Youth Dance South Essex College Vox Clamantis British Library Fernando’s Kitchen KW4K (Springboard) Company (Springboard) Council Walker Dance Park Music Britten Sinfonia Fiona Talkington Little Kwesi Johnson ocean for sale Spiltmilk Dance Wired Aerial Theatre Capital Shopping Centres Dragon Laïla Diallo Ockham’s Razor Spiro Yasmin Levy Cath and Phil Tyler Focal Point Gallery Lambeth Council Open Heart Productions St Clement Danes Church of Youth Dance England Dance Project Future Creative Levon Minassian England Primary School Youth Sports Trust Gemma Palomar Lo Còr De La Plana opera-te St. Paul’s Cathedral Choir Youth Music (Springboard) Genius Sweatshop London Film School Other/Other/Other Stac Zinc Creativity Culture and Gisele Edwards and Simon London International Mime Palya Bea Quintet Stammer Productions Education Blendis Festival Pete Firman Stan’s Café Chi2 Goddard | Nixon Project London Jazz Festival Pina Sväng New Harmonica n Chinatown Arts Space Gravity & Levity London Sevdah Portico Quartet Quartet

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Paul Keohone and Arlene Rolph S Letters of a Love Betrayed

PARTNERSHIP

We give our support in numerous ways to strengthen our art forms.

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Continuing our policy of embracing and collaborating with other companies to share our facilities and support and to bring their creative energy inside the Royal Opera House, Ballet Black followed its highly successful 2009 Linbury Studio Theatre performances with a return in spring 2010. This featured new commissions from Christopher Hampson, Robert Hylton, Raymond Chai and Henri Oguike. Working with companies such as Ballet Black allows the Royal Opera House to explore different artistic perspectives and to welcome increasingly diverse audiences. This is why we value our creative partnerships so highly. God’s Garden was an ROH2 co-commission with Dance East of a new, full-length work from choreographer Arthur Pita. Dance East is the partner organization for our On the Road programme in the East region and this production is just one of several collaborative projects. God’s Garden, based on the parable of the Prodigal Son, is a family drama set on the island of Madeira where Pita was born, laced with comic undertones, danced in a dreamlike context. Live fado music was just one highlight of this multi-layered work of dance theatre which featured a dynamic cast of six dancers. God’s Garden opened in Dance East’s home, the new Jerwood DanceHouse in Ipswich, and then moved to the Linbury Studio Theatre where it was warmly received. Michael Henry Dalston Songs

90 Diana Payne-Myers, Nuno Silva and Lorena Randi God’s Garden ROYAL OPERA HOUSE ANNUAL REVIEW 2009/10 CHAPTER 7 PARTNERSHIP

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The Royal Opera House’s role as the national Kristen McNally were involved in the selection of centre for opera and ballet means that we are the choreographers, mentoring and contributing to first port of call for all enquiries about material the Residential week. relating to our art forms. Significant additions to We endeavour to nurture our art forms with our our database include details of all Plácido collective skill, knowledge and experience so that Domingo’s performances at the Royal Opera they may flourish. Mentoring young talent House, as both singer and conductor, and complete internally and in partnership with external details of all of the choreographed by organizations is central to this ambition. The Kenneth MacMillan performed here by our Benesh Institute provides education programmes, resident Companies. During the 2009/10 Season, validated by the , in the ROH Collections online responded to more than a Benesh system of Movement Notation. This thousand enquiries ranging from requests for framework is used by dance companies, worldwide, photographs to detailed academic research. Our to record, preserve and restage choreographic archive is clearly of real value to countless works. The Royal Ballet pioneered the use of individuals and organizations and we are proud to Benesh Notation and currently has a staff of three have made a contribution to so many varied projects. full-time notators who record and teach the As part of a developing relationship, Royal Opera Company’s repertory in-house and also re-stage House Education and The Royal Ballet School Royal Ballet productions for companies around worked in partnership with Youth Dance England the world. A mentoring scheme has been to support the nationwide Young Creatives developed between the two organizations that programme. In January, 35 young choreographers, provides a placement for a Benesh student notator aged 14–19, attended a sharing event at the Royal to work alongside the Company’s notators at the Opera House from which the final 12 Young Royal Opera House. During the 2009/10 Season Creatives were selected. These winners were given Grant Coyle, The Royal Ballet’s Principal Dance the opportunity to work with a professional Notator and Répétiteur, mentored a final-year mentor, take part in a Residential programme and Benesh Notation student as part of her perform their work at the Linbury Studio Theatre professional qualification. Unique placements such in April. Associate Artists Freddie Opoku-Addaie as this, offer invaluable ‘learning by doing’ in what and Sarah Dowling and Royal Ballet Soloist is a highly specialized and invaluable job while at

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S S the same time providing a mentor with the Sawhney, Orlando Gough and Jocelyn Pook. Their opportunity to reflect on their own practice. Mutually creative collaborators included Caryl Churchill and beneficial partnerships are the bedrock upon which Ninja Culture. The subject matter ranged from the Royal Opera House is built. entanglement theory to football chants, and was Opera Shots is an exciting initiative that promises to engaging and stimulating for both new and existing strengthen contemporary opera. This major new opera audiences. Orlando Gough’s A Ring a Lamp a initiative from ROH2 is one aspect of a range of opera Thing was an unaccompanied music drama for a development work across the Royal Opera House, single female voice using Ableton Live looping from full-scale commissions to development technology which looped and mixed the singer’s workshops, courses and observer programmes. Each voice during the live performance. Nitin Sawhney’s Season three to four composers, established in fields Entanglement, inspired by Schrödinger’s Cat beyond traditional opera with a broad appeal for hypothesis, centred on a young female at the moment audiences, will be commissioned to create 30-minute of reading a pregnancy test. It used singers from operas that will be staged over a two-week period. The diverse backgrounds and a mixture of traditional and new work is all composer-led and the artists are Indian instruments. Ingerland, by Jocelyn Pook, encouraged to push the boundaries of the art form. explored the parallel passions of football and opera, The launch took place in June 2010 with three world and grew from the composer’s fascination with the premieres and featured commissions from Nitin chants floating from Arsenal, her local football club.

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Bennet Gartside and Tamara Rojo in rehearsal I

milestone L BRIGHT FUTURES

Involving young people with the Royal Opera House and helping them to realize their potential is a crucially important aspect of our work.

The Fanfare Competition was launched in October 2009 to encourageE children to compose music. It gave school students aged 11–14 the opportunity to compose an original, 30-second fanfare to replace the Royal Opera House’s front-of-house bell, which summons audiences to their seats. The first task was to connect with potential entrants and so

a strong web campaign was conducted featuring films on ROHS Education uploaded to YouTube, extensive resources for teachers, and a partnership with schools’ music sharing site NUMU. As a consequence we were delighted to receive hundreds of entries from a hugely diverse range of schools. A judging panel that included Antonio Pappano, Barry Wordsworth (Music Director of The Royal Ballet), composers T Joby Talbot and Orlando Gough and members of the Orchestra of the Royal Opera House,chose ten winning entries.These young composers spent a day working with the Orchestra and composer Duncan Chapman to arrange their fanfares for a 45-piece orchestra. Some weeks later they returned to sit alongside Antonio Pappano to rehearse and O record their compositions. These entirely original fanfares can now be heard at every Royal Opera House performance. Due to the immense success of Fanfare we have run the competition again.

Fanfare winners: 1. Michael Ranasinghe, Stoke Newington School

2. Lucy-Rose Graham, Oakham School N 3. Song Eun Choi, The Purcell School, Herts 4. Josh Hagley, The Purcell School, Herts 5. Adam Deans, Burgoyne Middle School, Beds 6. Ainanshe Ali, Burgoyne Middle School, Beds 7. Group entry: India James and Lucy Farestvedt, Burgoyne

Middle School, Beds E 8. Group entry: Rebecca Seaton, Connor Smither, Billy Fisher, Alex Leach, Lewis Hobbs, Louis Juster, Glenthorne High School, Surrey 9. Jack Somerset Scott, Trinity School, Croydon 10. Max Brown, St Edwards School, Cheltenham S

MILESTONES INANCE F 101 S n HAPTER 8 HAPTER C experience. FINANCE to offer a unique to offer Our figures tell a tell Our figures positive story,positive forming the basis of our ability the basis of with Anna with , . Performances Manon enneth MacMillan’s as well as a concert as well Mayerling . wildly Both tours were and K and , Messiah dée La traviata MILESTONES TO JAPAN TO Romeo and Juliet Romeo ille mal gar La F apanese audiences. Massenet’s It presented performance of Handel’s Netrebko in the title role and Sir Richard Eyre’s lavishly staged lavishly Eyre’s and Sir Richard title role in the Netrebko production of Verdi’s successful and should cement relationships with Japanese with successful and should cement relationships of the Royal in the work interest audiences and kindle fresh OperaHouse. Maintaining the global profile of the Royal Opera Royal of the is House the global profile Maintaining ways. in myriad vital us to be It enables in the lives a presence the and to underline the world across of audiences and artists interest Kingdom generating United of the arts in the strength visitors.and attracting to way effective is no more There an historic and 2010 marked touring all of this than by achieve Opera the Royal House.double for of The The tours to Japan Opera and The Royal Ballet in June in September Royal the visited the first time that bothmarked companies have year.country in the same three Ballet offered The Royal comic Ashton’s its repertory: from Frederick works signature ballet were staged in Tokyo at the Bunka Kaikan and at the Hyogo and Kaikan Bunka at the staged in Tokyo were Arts Centre,Performing Nishinomiya, Osaka. In an emotional homecoming Japanese-born, Guest Artist Miyako Principal Ballet performance The Royal with her farewell gave Yoshida as Juliet, joined in 1995. having Opera, The Royal Antonio Pappano, led by that Company a 200-strong with toured included the full Chorus and the Orchestra of the Royal Opera experience a total House to offer to enthusiastic J MILESTmasterpieces ONES ROYAL OPERA HOUSE ANNUAL REVIEW 2009/10 CHAPTER 8 FINANCE

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In a global economic downturn our success in stewarding our finances and consistently attracting capacity audiences, is a considerable achievement. For the 11th full accounting year since the Royal Opera House re-opened in 1999, we have achieved a £2+ break even financial result. A small surplus on the raised for every £1 received unrestricted general fund of £29,000 was achieved for the 52 week period ended 29 August 2010. in public subsidy Furthermore we continued to hold positive cash balances throughout the year. Total income on the unrestricted fund for the year reached £106.7million, an increase of £10million over 11th the previous full accounting year. successive balanced full In the main auditorium 150 Royal Opera, 135 Royal Ballet and 26 visiting company performances accounting year attracted total audiences of some 658,000. The Royal Opera staged 23 productions including five new commissions. The Royal Ballet staged six full length 11th productions and six mixed programmes including three new one-act commissions. successive year of positive cash The strength of our work, combined with vigorous pricing and subsidy initiatives, has helped to maintain balance retained throughout our audiences during the current recessionary climate. the year Box office income was strong throughout the year and average main stage audiences were 94.5% of capacity. The Royal Opera House now generates nearly £3 for n every £1 received in public subsidy. We received Arts Council England funding of £28million representing 26% of our total income.

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UNRESTRICTED GENERAL FUND INCOME UNRESTRICTED GENERAL FUND COSTS

£60m 2010 £106.7MILLION £60m 2010 £106.7MILLION £50m £50m £40m £40m £30m £30m £20m £20m £10m £10m £0m £0m A B C D E F A B C D E F G H

A ACE £28.0million A Performance, education and outreach £64.9million B Box Office £35.5million B Premises and depreciation £10.6million C Donations, legacies and similar income £20.3million C Marketing and publicity £6.0million D Commercial trading, touring and other income £20.6million D Management and administration £4.7million E Sponsorship £2.1million E Fundraising £2.3million F Other income £0.2million F Commercial £12.7million G House management £1.7million H Capital and project fund £3.8million

£60m 2009 £96.4MILLION £60m 2009 £96.4MILLION £50m £50m £40m £40m £30m £30m £20m £20m £10m £10m £0m £0m A B C D E F A B C D E F G H

A ACE £27.3million A Performance, education and outreach £64.9million B Box Office £35.5million B Premises and depreciation £10.4million C Donations, legacies and similar income £17.0million C Marketing and publicity £5.9million D Commercial trading, touring and other income £13.9million D Management and administration £5.0million E Sponsorship £1.9million E Fundraising £2.1million F Other income £0.8million F Commercial £5.0million G House management £1.8million H Capital and project fund £1.3million

104 105 Write An Opera Mara Galeazzi and The Tsarina’s Slippers M

PHILANTHROPISTS AND SPONSORS

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L LOCAL PRODUCE PHILANTHROPISTS AND SPONSORS 2009/10

Our ongoing commitment to Thurrock, established by the INDIVIDUALS Lady Jarvis Aud Jebsen creation of the High House Production Park, allows us to Lady Alexander of Weedon Mr and Mrs Christopher W.T. Johnston

E engage closely with the community and local audiences to Nicholas Allan Mrs Philip Kan Jane Van Ammel David and Marion Khalili deliver real and lasting benefits. We want to capitalize on the Lady Ashcroft George Kingston opportunity that our permanent presence in the area presents Edward and Celia Atkin Frances Kirsh to encourage and enable people of all ages and backgrounds Geoff and Judith Batchelar Mr and Mrs Aboudi Kosta Dame Margaret Booth Lord and Lady Laidlaw of Rothiemay to become directly involved with the process of creativity that Frank and Kyra van den Bosch Peter Lloyd

S feeds our art forms. Nowhere is this better represented than in Lorna and Christopher Bown Sir Frank Lowe Gillian Buckle Thomas and Deirdre Lynch the creation of The Purfleet Opera Ludd and Isis. The opera’s Janine Roxborough Bunce Michael Mallinson genesis came from the community itself with many of its John and Susan Burns Ingeborg Margulies motifs rooted in local history and significant events such as a Sue Butcher The Margulies Family Jill and Michael Carpenter The Metherell family German Zeppelin being shot down in 1916 by the Purfleet The Earl and Countess of Chichester Mr Jeremy Middleton T garrison. It tells the tale of a confrontation between Queen Isis Ricki Gail and Robert Conway Catherine and David Moss Siri and Rob Cope Margaret Mountford and King Ludd, rulers of the Thames, over the creation of the Mr and Mrs Nicholas Coulson Trifon and Thespina Natsis Production Park. The audience is subsequently taken on a Deborah Cowles Mrs Sara Naudi journey through local history and characters to resolve the Virginia Crum-Jones Mr Stefan Olsson Richard and Jennie Cunis Rosemary O’Mahony situation. Every aspect of the production from plot, staging O Sarah and Lloyd Dorfman Keith and Hilary Orrell-Jones and music, to set and costume design, was conceived and Kimbell and Yelena Duncan Fraser Partridge Peter and Barbara Elliston Marian Pell developed – in collaboration with composer Richard Taylor, Peter and Fiona Espenhahn David and Diana Pilling librettist Stephen Plaice, designer Rhys Jarman and director Estate of Dr Anthony Pike Judith Portrait Tom Guthrie – by local people through a series of workshops Patrice and Frederica Feron Mr John Rank Mr Graham Fletcher Janine Rensch held in schools, colleges and within the community. Purfleet’s Francesca Fremantle Yvonne and Bjarne Rieber history provided rich material as did the personal experiences Sir Donald Gordon Sir Simon and Lady Robertson

N Stephen and Peg Hale The Robey Family of numerous individuals and families. The result was a piece of D W Hancock Kristina Rogge high-quality work about the area made by the people of Linda and Philip Harley Stephen and Helen Rose Thurrock, for the people of Thurrock, with ROH expertise on Michael Hartnall Bryan and Sirkka Sanderson Mr and Mrs Steven Heinz Carolina and Martin Schwab hand to enable their ambitions to be realized. Lucy Harris, a Malcolm Herring Gerry Smurfit local resident, commented after the performance: ‘Last night Mina Gerowin Herrmann and Stuart and Jill Steele was great! It really felt like Thurrock could actually change. I Jeffrey Herrmann Dr and Mrs Timothy Stone CBE

E Marina Hobson MBE and Susie Thomson was so impressed with the use of the space and how it worked The Hobson Charity Lindsay and Sarah Tomlinson with the opera. All the supporting staff guiding us around the Alan and Sabine Howard Professor Michael Trimble Glenn Hurstfield and David de Jager Mr and Mrs Graham Turner Park smiled and were lovely. Well done to everyone at the Sarah Ingham Robert and Kathleen Wallace ROH; as Thurrock residents we are glad to have you here.’ Olga and Renaud Isman Bonnie Ward S

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INDIVIDUALS continued The Taylor Family Foundation Mrs Alfiya Kuanysheva AMERICAN FRIENDS OF COVENT The Walcot Foundation Liberty International plc GARDEN SUPPORTERS Adrienne Waterfield Zvi and Ofra Meitar Family Fund Lloyds TSB Group plc Dr and Mrs Michael West Marks & Spencer Group Plc Jayne Wrightsman Peter Wiggins Zvi and Ofra Meitar Family Fund Dr Yvonne Winkler CORPORATE Susan A Olde OBE and David and Liz Wootton Graeme C Thomson BOB AND TAMAR MANOUKIAN Danny and Lillan Wyler Accenture Prudential plc PRODUCTION WORKSHOP Audi Rolex THURROCK Bank of America Merrill Lynch Rothschild TRUSTS AND FOUNDATIONS BP Mrs Lily Safra Arts Council England, East The Canary Wharf Group St James’s Co Ltd East of England Development Agency The American Fund for the Charterhouse Telegraph Media Group The Foyle Foundation Royal Opera House The Communications Store Tesco plc Bob and Tamar Manoukian The Anson Charitable Trust Coutts & Co Sir Brian Williamson CBE Medicor Foundation The Archie Sherman Charitable Trust Deloitte Xstrata The Rayne Foundation Audrey and Ronnie’s Fund Finsbury Group Lord and Lady Young of Graffham Redcase Limited The Band Trust FREDDY Thurrock Borough Council The Bernard Sunley Charitable Foundation Hildon Thurrock Thames Gateway The Boltini Trust J Sainsbury PLC FIRST NIGHT PATRONS Development Corporation The Constance Travis Charitable Trust Lazard The David and Elaine Potter Foundation Pernod Ricard Blackburn Associates Ltd Ernest Cook Trust Pom Wonderful UK Ltd Dr Genevieve and Mr Peter Davies PHILANTHROPY AND BEQUESTS The Estate of the late John Franklin Rolex Frank and Sylviane Destribats TO THE ROYAL OPERA HOUSE Estate of Dr John Hayes Sotheby’s Huntswood ENDOWMENT FUND The Fidelity (UK) Foundation Tokio Marine Rogge Lord and Lady Kalms MBE Fondation 1796 Xstrata Catherine and Pierre Lagrange The Estate of the late John Franklin Foundation for Sport and the Arts Anonymous (22) Dr and Mrs Mortimer Sackler Jean Sainsbury Royal Opera House Fund Garfield Weston Foundation Smiths Group plc Paul Hamlyn Foundation The Gerald Ronson Foundation The Gordon Foundation SEASON PATRONS The Headley Trust AMERICAN FUND FOR THE The Helen Hamlyn Trust Anglo American plc ROYAL OPERA HOUSE The John Beckwith Charitable Trust The Bank of Tokyo-Mitsubishi UFJ, Ltd SUPPORTERS Sir John Ritblat Family Foundation Bovis Lend Lease The Joseph and Lena Randall Canaccord Adams Ltd The Annenberg Foundation Charitable Trust Canary Wharf Group plc Mr and Mrs Jeffrey Eldredge n The JP Jacobs Charitable Trust Citi Terry and Jean de Gunzburg The Laura Ashley Foundation The Clore Duffield Foundation Mrs Aline Foriel- Destezet The Michael Harry Sacher Charitable Trust David Cooper and Co Hélène and Jean Peters The Monument Trust Mrs Aline Foriel-Destezet Anonymous (2) National Lottery through the Heritage Lady Forte Lottery Fund Finsbury Group Oak Foundation Lord and Lady Gavron The Peter Cruddas Foundation Seifi Ghasemi PF Charitable Trust GlaxoSmithKline The Quercus Trust DW Hancock The Samuel Sebba Trust Christopher Holder The Shauna Gosling Trust Alan and Sabine Howard The StratREAL Foundation Mr Timur Kuanyshev and

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Plácido Domingo Simon Boccanegra S

REFERENCE

FINANCE £2+ raised for every £1 received in public subsidy 11th successive balanced full accounting year 11th successive positive cash balance retained throughout the year £106.7million total income £60+million for frontline performance, education and outreach £35.5million box office revenue PERFORMANCE 94.5% occupancy throughout the year 311 performances on the main stage 211 performances on other stages 658,000 total audience PRICING Tickets Held at 2008/09 prices 50% of tickets at £50 or less 39% of tickets at £30 or less REACH 64 regional On the Road events, performances and exhibitions 150,000 worldwide cinema audience for ROH screenings 2,518,001 multimedia views and listens ACCESS 79,242 people participated in Education events 55,191 new customers for the main stage

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Photography

Fran Hergessel (Cover) Rob Moore 3 Sim Canetty-Clarke 9, 17, 82 Bill Cooper 20, 23, 25, 27, 38, 43, 44/45, 76, 79, 107 Tristram Kenton 2 Johan Persson 24, 26, 28/29, 46/47, 53, 81, 91, 98, 115 Catherine Ashmore 30, 37, 66/67, 112 Clive Barda 33, 40/41, 48/49, 88 Richard Hubert Smith 50 Inside Ilona Jäntti 60/61 back cover Paul Starr 64/65 Bertil Nillson 69 Philip Conrad 92/93 Kate Mount 106

Laura Morera in rehearsal

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