Annual Review 2009/10 Royal Opera House Annual Review 2009/10 Contents
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UTION /10 ANNUAL REVIEW ANNUAL 2009 RESOL ROYAL OPERA HOUSE ANNUAL REVIEW 2009/ 10 ovent Garden ovent ondon WC2E 9DD ondon WC2E Managing Editor, Dan Foulkes for Milknosugar for Dan Foulkes Managing Editor, 211775 Charity no. Registered Royal Opera House Opera Royal C L 1200 +44 (0)20 7240 Telephone www.roh.org.uk ANNUAL REVIEW 2009/10 ROYAL OPERA HOUSE ANNUAL REVIEW 2009/10 CONTENTS S S 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 Nicholas Hytner 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 Monica Mason DBE – Director, The Royal Ballet Sir Nicholas Hytner 5 Nurture Antonio Pappano – Music Director, Thomas Lynch 6 Reach 77 The Royal Opera 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 The Royal Ballet (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 SS 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 6 7 M TONY HALL CHIEF EXECUTIVE I S L NEW HORIZONS Tony Hall, Chief Executive The Royal Opera House aims to act as a catalyst for positive change within the arts, 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 English National Opera, 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 time 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.