ANNUAL REPORT 2013 2013: The year in brief
The 2013 Festival was one of Glydebourne’s Journey into cyberspace most ambitious, showcasing six highly Months before the Festival itself, diverse operas. Glyndebourne’s auditorium was the Ariadne auf Naxos was a choice prompted venue for the world premiere of our latest by Music Director Vladimir Jurowski, community opera, Imago*. Our education who, in his last season at Glyndebourne, department commissioned the work, in longed to tackle his first staged opera partnership with Scottish Opera, from by Richard Strauss. Katharina Thoma composer Orlando Gough and librettist directed, making her Glyndebourne debut. Stephen Plaice. The two-act piece brought Rameau’s Hippolyte et Aricie, directed by together over 75 local amateur singers Jonathan Kent, continued Glyndebourne’s (ranging in age from 15 to 73) working with exploration of Baroque operas less well- professional soloists as well as 25 young known in the UK – an interest shared by musicians in the pit with members of conductor William Christie. Don Pasquale Aurora Orchestra. by Donizetti was revived by Mariame Likened to a ‘La bohème for the digital age,’ Clément with a cast including Danielle Imago tells how a wheelchair-bound woman de Niese and Alessandro Corbelli. For the of 80, confined to a care home, creates an Britten centenary, Billy Budd was an obvious 18 year old avatar through whom she can selection. Falstaff and Le nozze di Figaro made re-experience the joys – and uncertainties – welcome returns. of youth. All perfectly suited Glyndebourne’s 1,200- The first performance, on 6 March, was seat auditorium. And, for the first time, the culmination of two years’ work. every Festival production had a cinema Development workshops had begun in screening during the season; three of which 2011, with rehearsals starting in November had live transmissions. These screenings, 2012. Susannah Waters directed a combined with online streaming, reached spectacular production. an estimated 100,000 people – doubling the audience (98,000) who were able to join us Imago, like previous community operas, in person. This ‘virtual Festival’ prompted combines Glyndebourne’s passion for real-time social media acclaim from new works (we commissioned our first around the world, while demonstrating a new opera in 1970 – Nicholas Maw’s The significant commitment to accessibility. Rising of the Moon; our first community It also continued to fulfil John Christie’s opera was Hastings Spring in 1990) with an original ambition to achieve ‘Not just the enthusiastic commitment to promoting the best we can do, but the best that can be widest possible participation in opera. That done anywhere.’ includes welcoming international artists as well as those living locally. Even in another dimension…
2 GLYNDEBOURNE ANNUAL REPORT 2013 Photo: Robert WorkmanPhoto: 2013: 2013: THE YEAR IN BRIEF
‘You get the impression that the directors are not treating you as amateurs. They’re treating you as equals. They’re treating you as the instruments, the tools to produce the substance that they’re looking for. And that’s been a tremendous honour really, to work with people like that.’ Member of the Imago elders chorus
In 2013, Imago played four performances Which, according to critics, participants, to packed houses. Accessible seat prices audiences and the community, Imago encouraged attendance by the local certainly did. community as well as a wider audience. As composer Orlando Gough put it: ‘The difference between a wholly professional project and a community project is that the community project is more interesting, In 2014, Imago won the award for Learning more frustrating, more engaging, more and Participation at the Royal Philharmonic difficult to pull off, more exciting when Society Awards. it succeeds…’
GLYNDEBOURNE ANNUAL REPORT 2013 3 Nurturing talent In addition to 2013’s six main productions, The result: an extraordinary piece of theatre the Festival also featured, in our Jerwood consistent with Glyndebourne’s history of Showcase, Wakening Shadow, a celebration nurturing talent and experimentation. of collaborative creativity across every theatrical discipline. On the road Produced in partnership with the Jerwood The year’s Tour featured operas for all ages Charitable Foundation and staged in with Humperdinck’s Hänsel und Gretel and the Jerwood Studio, this chamber opera Donezetti’s L’elisir d’amore. The Tour’s third placed three Britten Canticles within a new offering was a new production ofThe Rape framework by Luke Styles, Glyndebourne’s of Lucretia, which had its world premiere at Young Composer-in-Residence (a post Glyndebourne in 1946. Directed by Fiona supported by the New Generation Shaw, it formed part of our our Britten Programme – NGP). Director Daisy Evans centenary celebrations. helped to bring out the best in the young artists who worked on the project, while Music Director Vladimir Jurowski, who led the London Philharmonic Orchestra, was instrumental in helping to shape the work’s The Rape of Lucretia went on to win the existential theme. Glyndebourne’s Jerwood Best New Opera Production for 2013 in the Young Artists and the Glyndebourne Chorus What’s On Stage opera poll. provided the singers. Photo: Richard Hubert Smith
4 GLYNDEBOURNE ANNUAL REPORT 2013 2013: THE YEAR IN BRIEF 5 2013 A Midsummer Night’s A Midsummer Night’s GLYNDEBOURNE ANNUAL ANNUAL REPORT GLYNDEBOURNE since ‘that’s exactly what my time at my what exactly since ‘that’s situated next to the wild garden and lawns, wild garden and lawns, situated next to the facilitates this by accommodating more vehicles than previously. closely associated with Glyndebourne and Mendelssohn’s Dream he said. Glyndebourne has been,’ New arrival our new coach park. we opened In 2013 ambitions Glyndebourne’s support To we to reduce its overall carbon footprint, for some time encouraged audience have members to use rail and coach services to reach the opera house, providing a free coach service to and from Lewes ideally The new coach park, train station. Fittingly, considering his enthusiasm for considering Fittingly, young talent, all funds raised developing New Generation were Glyndebourne’s for Programme (NGP). was also His choice of programme entirely appropriate: a Mozart symphony because the composer has come to be so
To mark his departure, a special concert To August. was held on 23 under his direction us at Glyndebourne.’ and profound musicianship have been a and profound musicianship have constant inspiration and revelation for all of Director David Pickard says, ‘ Vladimir’s Vladimir’s ‘ Pickard says, Director David generosity of spirit, ferocious intellect easy accessibility as a mentor. As General As easy accessibility as a mentor. Young directors, singers and fellow Young conductors particularly appreciated his Also under his leadership, Glyndebourne’s Glyndebourne’s Also under his leadership, efforts to develop talent accelerated. which expanded during his time with us. which expanded during his time are indicative of his degree of comfort with are indicative of his degree of comfort repertoire, Glyndebourne’s the full range of Orchestra, which he also serves as Principal which Orchestra, Conductor Those Advisor. links and Artistic Enlightenment (of which he is Principal Enlightenment (of Artist) and the London Philharmonic working with the Orchestra of the Age of Orchestra of the with the working this position. During that time, he conducted 19 operas, Music Director, only the sixth person to hold The 2013 season marked the end of Vladimir The 2013 season marked the end of Glyndebourne’s 13-year tenure as Jurowski’s A fitting departure
Photo: Roman Gontcharov Photo: Alastair Muir Photo: Alastair
‘Everything fits superbly and the production captures the fragility of happiness and the undertow of melancholy better than any I can remember.’ Barry Millington, London Evening Standard
Ariadne auf naxos RICHARD STRAUSS
‘There is no more life- Falstaff enhancing night at the opera than a Falstaff as GIUSEPPE VERDI good as this.’ Richard Fairman, Financial Times Photo: TristramKenton Photo: Robert WorkmanPhoto:
‘The singing is excellent, the playing of the LPO is crisp and delightful, but above all, Michael Grandage’s production brings out the humour in the opera magnificently.’ William Hartston, Daily Express
Le nozze di Figaro WOLFGANG AMADEUS MOZART
‘In this, the first-ever production of a Rameau Hippolyte et Aricie opera at Glyndebourne, JEAN-PHILIPPE RAMEAU Hippolyte et Aricie, Jonathan Kent may have produced something as original and startling in its own way as was Rameau’s original conception for what was his first opera.’ Curtis Roger, Classical Source Photo: Bill Cooper Photo: Photo: Clive BardaPhoto: Clive
‘The simplicity and charm of this Don Pasquale production make it a GAETANO DONIZETTI Glyndebourne classic.’ Andrew Clark, Financial Times
‘Glyndebourne’s chorus is Billy Budd on unbeatable form, and BENJAMIN BRITTEN the London Philharmonic conveys the sweep of the score under conductor Andrew Davis…’ George Hall, The Guardian Photo: Richard Hubert Smith Photo: Robbie Jack Photo:
‘There are two outstanding performances in the title roles… Victoria Yarovaya’s warmly sung Hänsel and Andriana Chuchman’s glinting Gretel … make a lively duo but find all the stillness for a touching Evening Prayer.’ Hänsel und Gretel John Allison, Daily Telegraph ENGELBERT HUMPERDINCK
‘Unmissable’ Hugh Canning, L’elisir d’amore The Sunday Times GAETANO DONIZETTI Photo: Sisi Burn Photo: Sisi
‘Nicholas Collon’s crystalline conducting of one of Britten’s most original scores also puts the opera under a forensic light: all the music’s nervous shudder and electric shimmer register at the highest pitch. Photo: Richard Hubert Smith The Rape This is opera at its most nakedly powerful.’ of Lucretia Rupert Christiansen, Daily Telegraph BENJAMIN BRITTEN Financial Overview
With a full complement of Festival and Tour performances – including three new productions, an additional community opera premiere, a bigger roster of principal singers and a larger chorus than ever before – 2013 was always going to be a costly year at Glyndebourne. So it proved to be.
Photo: David Fernandes At the same time, as the world emerged from one of its longest economic crises, we experienced disappointing Tour box office sales, fewer production hires from overseas and considerable fundraising challenges. These hurdles notwithstanding, overall budget was achieved. We were able to do this because Glyndebourne operates under a cost-control imperative that is integral to our culture. In 2013, we focused in particular on improving communications about Glyndebourne finances. This was part of a larger effort to instil greater budget ownership among departments. Increased understanding and enhanced financial responsibilities are having the desired effects. Meeting Glyndebourne’s financial objectives has become a universal goal. This builds on our established discipline of preparing production budgets before issuing contracts; ensuring, as far as possible, that financial objectives are achievable. However, it is the nature of what we do that a large proportion of the costs relating to a particular year are necessarily committed years in advance of the funds required to
10 GLYNDEBOURNE ANNUAL REPORT 2013 FINANCIAL OVERVIEW 11 2013 GLYNDEBOURNE ANNUAL ANNUAL REPORT GLYNDEBOURNE Glyndebourne’s steady rise in Glyndebourne’s in Tour sales, despite critical acclaim for all sales, despite critical acclaim Tour in three productions. challenge, represents a significant Tour The with increasing audience sensitivity to Growth in repertoire and ticket prices. cinema ticket sales continued, up by over 50%, a result of our continued policy of delivering a high quality experience through appropriate venues. Although very small cinema sales still represent a proportion of total turnover, it is an area of that has great significance in the context audience development. a combined 2013 turnover of £24.5m, of £24.5m, a combined 2013 turnover 2012. compared to £25m in most was the As usual, the sale of tickets accounting for 64% significant contributor, yielding a fundraising with of turnover, further 29%. Office Box income from ticket sales continued in 2013 up from the previous to a total of £15.7m, achieved this through We £15.5m. year’s Cashtake of Office. record Festival Box with 2012, exceeded budget. in line 96.3%, partly offset by a drop was However, this Revenue Ltd (GPL) Glyndebourne Productions and Glyndebourne Arts Trust (GAT), that manages the connected charity funds to support membership and raises GPL, had of the charitable activities Sarah Hopwood, Director of Finance & Resources Hopwood, Director Sarah ambition: opera of unrivalled quality in a ambition: opera of unrivalled quality in a sublime and sustainable environment. this is consistent with Glyndebourne’s Glyndebourne’s with this is consistent years ago and our continuing beginnings 80 by train, taking advantage of the free coach by train, taking advantage of the free coach All of transfer to and from Lewes station. audience numbers than ever before to arrive audience numbers than ever before to arrive investment in 2013 was the development in 2013 investment This enabled larger of a new coach park. while improving audience facilities, main infrastructure Glyndebourne’s In conjunction with our continued In conjunction aspiration to achieve carbon neutrality did in 2013. best that opera can offer in a uniquely That inspirational is what we environment. our mission, which is to engage the widest is to engage the which our mission, with the possible cross section of people business model. What will not change is What business model. effective a manner as possible, we are effective a manner as possible, constantly reviewing Glyndebourne’s of delivering some of the world’s most world’s of delivering some of the acclaimed opera productions in as cost- In order to resolve the perennial dilemma In order to resolve the Nevertheless, financial independence is still Nevertheless, financial a core objective. remains a problem. well ahead. Therefore, despite our cautious well ahead. operating deficit Glyndebourne’s approach, order to attract the best people to work atwork people to order to attract the best but to plan no choice we have Glyndebourne, support them. These funds come from support them. and sponsorship. Inticket sales, donations Fundraising and membership Total Operating costs fundraising income decreased slightly in Glyndebourne’s 2013 total operating costs of 2013 to £7m, despite several fundraising £25.5m were virtually unchanged from the successes. The number of Members previous year’s. Production-related costs of increased during the year, largely as £16.6m accounted for 65% of the total – as a result of the success of Associate they did in 2012. This having been achieved Membership, launched five years ago to despite mustering artists in greater provide a waiting list for Glyndebourne numbers and mounting the additional new Festival Society’s life membership. production, Imago. All six Festival productions, the new Management costs were reduced by 3.5% in production for the Tour of The Rape of Lucretia, 2013. The total of £5.7m, or 22% of total costs, and the Tour itself were fully sponsored. reflected a lower average weekly headcount, Our legacy campaign yielded income of the timing of IT expenditure and reduced over £200k. We did, however, experience professional fees. a further fall in funds raised for the NGP. With no large donations received during Bottom line the year, funding this important part of Despite the stringent cost control, our Glyndebourne’s work for the future is operating deficit in 2013 was £1m – the proving to be increasingly challenging . largest for some years. This was largely due Other income In 2013 Glyndebourne’s other to the scale of our repertoire during the income, generated from merchandise sales, year and the timing of investment in NGP catering, the programme book and other projects. This deficit was budgeted and media sales, amounted to £1.8m, compared is considered affordable on the basis of a to £2.3m in 2012. Much of this decrease is three-year rolling target. attributable to the lack of co-production income, which had yielded £320k the year Cash before. Such income fluctuates, depending Glyndebourne’s total cash and investments on each year’s repertoire and the funding increased by £2.7m over the year to £27.2m available to potential partners, which tend despite an additional £1m discretionary to be international venues of similar stature contribution to the pension scheme. to Glyndebourne. This was largely due to investment gains, A small portion of our income – just higher Box Office sales pre-year-end for under 1% – came from the generation of Festival 2014 and the fact that there were no electricity by Glyndebourne’s wind turbine. significant capital projects during the year. In its second full year of operation, the Free cash at year-end amounted to £10.4m, turbine met just over 100% of our electricity an increase of £1m and slightly ahead of our demand. Energy sales and subsidies, 2013 target of £9.5m combined with significant savings on electricity costs, are expected to yield a project payback of six years.
12 GLYNDEBOURNE ANNUAL REPORT 2013 FINANCIAL OVERVIEW 13 2013 58% 32% 0% 10% 65% 22% 10% 3% 0 (3) 559 7,516 £’000 4,779 2,130 8,081 2009 2,236 1,919 13,835 13,470 21,303 23,222 22,530 (1,922) 56% 34% 2% 8% 65% 23% 10% 2% 410 486 9,111 £’000 2,178 1,063 4,955 2010 8,554 4,777 3,714 2,049 13,703 14,023 21,322 25,036 23,936 GLYNDEBOURNE ANNUAL ANNUAL REPORT GLYNDEBOURNE 2% 10% 66% 22% 10% 2% 61% 27% 39 537 587 421 460 7,832 2011 £’000 2,414 5,526 2,385 6,599 15,278 16,391 24,878 24,839 21,802 0% 9% 65% 23% 10% 2% 62% 29% 0 510 638 182 7,218 £’000 2012 2,310 5,903 2,508 9,362 (456) 16,529 25,450 15,466 24,510 24,994 0% 7% 65% 22% 11% 2% 64% 29% 0 64 444 2,761 £’000 2013 1,820 1,064 5,696 6,962 27,174 16,561 15,680 10,362 25,462 24,462 (1,000)
Of which unrestricted reserves TOTAL CASH & TOTAL INVESTMENTS NET SURPLUS/(DEFICIT) INVESTMENT INCOME & REALISED GAINS SURPLUS/(DEFICIT) OPERATING OPERATING Other Premises/depreciation Production-related Management/admin OPERATING COSTS OPERATING Other Fundraising/ – exceptional membership membership – core Box Office Box Fundraising/ TURNOVER
Glyndebourne Productions Ltd and Glyndebourne Arts Trust Arts Glyndebourne and Productions Ltd Glyndebourne Five Year Financial Highlights Financial Year Five Photo: Tristram Kenton 2013 GLYNDEBOURNE ANNUAL ANNUAL REPORT GLYNDEBOURNE 14 FINANCIAL OVERVIEW 15 2013
GLYNDEBOURNE ANNUAL ANNUAL REPORT GLYNDEBOURNE as landfill, is now going to an incinerator as landfill, is now going directly to be converted in Newhaven where it helps to power into electricity, thousands of local homes. Sustainability will continue to be a core will continue to be a Sustainability Champions’ are theme. ‘Environmental to reduce ways new dedicated to finding In 2013 carbon footprint. Glyndebourne’s consumption by we reduced electricity And and 3% overall. 12% per performance waste, instead of ending Glyndebourne Looking ahead Looking essence of every Glyndebourne production. essence of every retain the high artistic standards that are the will naturally have a bearing on our plans in will naturally have will we Whatever happens, terms of scale. fundraising. The results of our Arts Council Arts The results of our fundraising. England funding application for 2015-2017 The Tour presents another significant presents Tour The andOffice both Box challenge in terms of this area whilst we rebuild reserves. whilst this area In the short term, without an increase in NGPwithout an increase In the short term, will need to curb expenditure in we funding, over-reliance on Box Office and investments. Office and over-reliance on Box has been growing over the past three years the past three has been growing over sources to avoid and diversifying our income In broad fiscal terms, Glyndebourne has two In broad fiscal terms, operating deficit thatpriorities: reducing an New Generation Programme (NGP)
As we celebrate Glyndebourne’s 80th Securing artistic excellence anniversary in 2014, our focus is on • The continued support of young, the future. emerging operatic talent in the The NGP, founded in 2009, is primarily Glyndebourne Chorus through the dedicated to the long-term funding Jerwood Chorus Development Scheme of additional audience and artists’ development initiatives, over and above Education & community outreach the activity required to meet our core • The performance of Imago, a new strategic objectives. work for the digital age, providing the The NGP reserve at the year end, opportunity, both on stage and in the pit, including investment income accrued for a large scale collaboration between to date, amounted to £3.5m. Thanks to professionals and over 100 members of the generosity of our donors, we raised a the community of all ages further £603k in 2013, bringing total funds • The commissioning of the smaller scale raised to date to £7.2m. Of this total, just Captain Blood’s Revenge aimed at younger over £4m has been invested, the NGP schools audiences on Tour Trustees having authorised a further investment of £1.2m during the year in • Continued support of the Glyndebourne the following key activities: youth groups, providing young people with opera skills development Developing future audiences opportunities and the chance to perform on the main stage • Over 7,000 tickets were subsidised for Under 30s, family and schools performances, supported by special Developing our skills events and digital resource • Over 400 development opportunities provided for staff across the year • The doubling of audience numbers to 200,000 through continued investment • Support for six participants in Routes into in IP, enabling the screening of all six Glyndebourne – paid internships, study Festival productions into cinemas and posts and traineeships across IT, Box free streaming through glyndebourne. Office, Development, Communications com and www.guardian.com and the Gardening departments
16 GLYNDEBOURNE ANNUAL REPORT 2013 NGP 17 2013 300 £’000 Total 7,219 7,219 2,193 3,166 4,053 5,026 3,466 - - 863 £’000 2009 1,497 2,360 2,360 2,360 45 20 28 150 410 503 463 £’000 2010 2,317 1,814 1,854 4,324 GLYNDEBOURNE ANNUAL ANNUAL REPORT GLYNDEBOURNE 5 5
75 13 67 50 50 30 30 28 132 218 190 586 924 (175) (175) (122) 2011 £’000 1,114 4,027 4,027 1,289
4 15 15 21 54 50 50 34 30 30 43 49 90 98 111 111 100 325 782 825 £’000 2012 (264) 3,861 1,089 5 2 0 15 35 79 50 23 30 38 48 10 181 118 100 146 603 292 174 174 603 £’000 2013 (569) 1,172 3,466
Net investment gains/(losses) Net investment year end Fund balance at Net cash inflow/(outflow) Ebert Room Investing in our facilities Investing Routes into Glyndebourne Learning and development Developing our skills Artists' training New work Youth groups Youth Glyndebourne Academy Opera Experience Young conductor Young Education & community outreach Composer-in-residence Studio commissions Securing artistic excellence Chorus Development Scheme Audio recording Audio Filming Content Web Performances for Schools Performances Dramaturg U30 ticket subsidy Family Performances Developing future audiences Grants to GPL Donations Associate Membership joining fee Associate Membership New Generation Programme Programme Generation New Income Summary Accounts Summary Governance
The NGP is one of the key activities of The NGP investment portfolio is managed Glyndebourne Arts Trust (GAT), a limited on a discretionary basis by NM Rothschild company and registered charity, whose in a segregated account, for which regular objective it is to manage membership and reports are received. The accounts for NGP fundraising in support of the charitable are reviewed by external auditors annually. objectives of the connected charity, Challenging times make the generosity of Glyndebourne Productions Ltd. NGP supporters more important than ever. I John Botts, a fellow Trustee, and I represent would like to take this opportunity to thank the committee with responsibility for them – and to encourage others to become the governance of NGP. We meet at least involved in work that will help to safeguard three times a year with members of the long term future of Glyndebourne. Glyndebourne’s executive management, Sir Martin Smith, Chair, NGP Committee our collective aim being to monitor the use of resources, portfolio investment performance and fundraising strategy. Together, we help scope, budget and approve all projects to receive NGP funding, ensuring that they meet NGP objectives and are considered sustainable without increasing Glyndebourne’s core operating cost base.
18 GLYNDEBOURNE ANNUAL REPORT 2013 NGP 19
2013
– in
Sound City support of with Brighton and partnership Hove Music Hub through Authority Park the Sustainable Communities Fund GLYNDEBOURNE ANNUAL ANNUAL REPORT GLYNDEBOURNE * Through * Through Glyndebourne Association America Inc. Education & Community Outreach Tufton Charitable Trust in Opera Glyndebourne Youth Winton Alex de William and Revenge Captain Blood’s Padfield Dr and Mrs John and Jo Imago Alaghband Maryam and Vahid The Bernard Sunley Charitable Foundation Cohen Foundation John S East Sussex County Council MariaMarina Foundation PRS for Music Foundation South Downs National White George and Patti
The Yellow The Yellow Sofa Mr B Bozic and V Mandic-Bozic Mrs Supporting under 30’s Supporting under 30’s The Coral Samuel Trust Charitable Williams Mark and Rosamund Securing Artistic Excellence The Jerwood Chorus Development Scheme Jerwood Charitable Foundation Conductor Young Catherine Stevenson Hugh and Composer-in-Residence and Nicholas Heesom Wendy Warburg Pincus Warburg And one anonymous supporter Digital The Gidlow-Jackson Family Clare Kershaw and David Knott and David Girard * Françoise The Sidney E Frank Foundation Martin and Elise Smith 2013 Family Performances The Donald Albert Anderson Trust Charitable Frederick and Ann O’Brien Trust Charitable Developing Future Audiences One anonymous supporter Schools for Performances In memory of Mark Allen and Elizabeth Foundation Ashley Family The Mike and Agatha Taylor
NGP supporters NGP Edward Zemek And five anonymous supporters Emma Whitaker In memory of James Mrs Marion Shepherd DL Gill Simmonds Julian and Professor T J Ryan Professor Mr and Mrs M J Seaton Prof Peter Baldwin Prof Peter Victor Rice Corinne and Sir David and Lady Prosser Sir David Dr Lisbet Rausing and Mrs Jane Ollerton Nicholas Parkhouse Nicholas and Lindsay Merriman Nicholas and Lindsay Madame Georges Meyer Mr D G Lewis Mr D C H McCall Mr André and Rosalie Hoffmann Pam & Philip Joseph and Alison Heath MBE and Melissa and Justin Hill Geoff and Meg Mann Roger Heath MBE Stewart Faulkes Godfray and Debbie David Mike and Mo Edwards Jamie Gidlow-Jackson and Celia and Andrew Curran Kate Dugdale Mr and Mrs Kenneth Costa Mr and Mrs Kenneth Mr I Croft Prof Leif Corydon and Prof Leif Corydon Ms Lis Mr and Mrs M J Cooper Mr and Mrs M J Cory * Robert and Laura C H Dixon Trust Trust C H Dixon Candide Charitable Trust Miss Carolyn Beckingham and Molly Borthwick David New Generation Programme Unrestricted Our 2013 Supporters
We would like to thank all the individuals, companies, trusts, foundations and other organisations who provided generous support to Glyndebourne in 2013. Please note the separate listing for supporters of our New Generation Programme.
Individual donors Ms Shawn Donnelley and Robert and Pat Lefever We would particularly like to thank Dr Christopher M Kelly * William Lock the following individuals for their Mr J L Drewitt Mrs Ursula Löfflmann generosity in donating £1,000 or more. The Hon and Mrs Timothy Dyk * Lawrence and Victoria Lunt * Hugo Eddis Deirdre and Thomas Lynch Mrs J Addison Smith Claire Enders Adam and Elizabeth Maberly Mrs Farah Alaghband Mr P I Espenhahn Guy and Barbara Madewell Vahid and Maryam Alaghband Handel and Yvonne Evans Benedict Marsh Richard and Alex Allsopp The Hon Mrs Julian Fane Dr and Mrs D S J Maw P A J Arengo-Jones Esq Mr and Mrs Michael Farmer David S McCue * Prof Ray Barrell Matthew and Sally Ferrey Mme Vera Michalski Mr and Mrs Quentin Bell Mrs D E Field Mr Euan Milroy FRCS Celia Blakey Miss Sarah R E Fletcher Odile and Marc Mourre Conrad Blakey OBE RD Hamish and Sophie Forsyth Moira and John Murphy Mr Simon Blakey Mr & Mrs Lawrence Friedland * Kevin Murphy and Dieter and Annemarie Boettcher Jack and Jill Gerber Karen O’Keeffe Mr P Bowman Mr P N H Gibbs Audrey Newall Mr B Bozic and Mr and Mrs J A Gilroy Graham and Sue Oates Mrs V Mandic-Bozic Alexander Girda Mr Ralph Omar Mr Philip Bradshaw Barbara and Robert Glauber * Mr Hamish O Parker Mr and Mrs Stephen Lady Gosling Tim and Therese Parker Brenninkmeijer William J Gronow Davis Mervyn and Jill Parry Mrs F M E Brenninkmeyer Peter and Cathy Halstead Shelby du Pasquier Mrs Melanie Brown Val Hamilton Mr G D B Pearse Mr and Mrs Roger Chadder Dr Peter Harper Ben and Christina Perry Roger Clark Rick and Janeen Sir Michael Perry Mr Michael Coates Haythornthwaite Mr and Mrs Jean Peters Mrs Christine Collins Roger Heath MBE and Alison Lord & Lady Phillimore Mr Crispian Collins Heath MBE Mr and Mrs Ernst Piech Mr and Mrs Paul Collins * Mrs E Heinrichs Sir Desmond and Lady Pitcher Mr Simon Hill and G A Pitt-Rivers Esq David W Cooper Esq Mrs Helen Hill Miss Judith Portrait Mr and Mrs M J Cooper André and Rosalie Hoffmann Mr and Mrs Ian Posgate Mr and Mrs Nicholas Coulson Christopher A Holder The Priestley Family Robert and Laura Cory * Dr and Mrs Keith Howard Valerie and Melanie Rademacher Donald and Zoe Cosgrove * Michael Javett Corinne and Victor Rice * Mr I Croft Gabriella Jeffries Mr David B Rockwell * Mr David E Crowe and Patricia and Philip Jelley Mr and Mrs M S Rohan Mrs Helen Crowe Vincent and Amanda Keaveny The Rothenberg Family Mr Geoffrey Manning David and Clare Kershaw Mrs Cheryl Roux Patricia Davenport Chris and Birthe King Mrs Yvonne Lady L Wong Davies Audrey Lynn Klein Sanielevici Destribats Geoff Dawson and Mark Knight Perry Sayles and Hilary Spencer Dee Lahiri Stephen Harvey * Alan and Shirley Day Lord and Lady Laidlaw Mr S L Scott Joanna Dickson Leach Mrs R A F Lascelles Mr and Mrs M J Seaton
20 GLYNDEBOURNE ANNUAL REPORT 2013 Sir Patrick Sheehy Brian Mitchell Fidelity International Mr James B. Sherwood Charitable Settlement Foster Wheeler
Martin and Gillian Shirley The Chalk Cliff Trust Freshfields Bruckhaus SUPPORTERS 2013 OUR Sir David and Lady Sieff Charles Peel Charitable Trust Deringer LLP Mr & Mrs N Silver Daily Mail and General Trust PLC Fugro, Inc * Mr A M H Simon The Donald Albert Anderson Guy Carpenter & Company Ltd Mr Henry Simon Charitable Trust Hanover Acceptances Ltd Jane Simpson and Allen Thomas Dunard Fund John Jenkins & Sons Ltd Howard and Sarah Solomon * The Emmanuel John Lewis plc Morton and Estelle Sosland * Kaye Foundation John Swire and Sons Ltd Jonathan and Hazel Sparey Glyndebourne Association Jones Day America Inc Stephen A Sprenger * JTI The Godinton Charitable Trust Vivien and Michael Starkie Leo Burnett Limited The Headley Trust Sir Adrian Swire Lloyds Banking Group plc Mrs Gwen Thornley The Ian Askew Charitable Trust London Philharmonic Orchestra Mark Tousey * Kirby Laing Foundation The Mactaggart Family Ms Ursula Van Almsick The Mercers’ Company Marsh Ltd Mr Franklin F Wallis * The Monument Trust Miller Insurance Services LLP John and Carol Wates Ofenheim Charitable Trust Mitmuse Travel Pat Watson The Patrick and Helena Frost Mr and Mrs L R Wernick Foundation Mitsubishi Corporation Philip and Rosalyn Wilkinson The Robert Blay Trust Finance PLC Allister Wilson The Spencer Wills Trust Morgan Stanley Rev and Mrs Peter Wintgens Swire Charitable Trust National Grid Susan Wood The Wessex Glyndebourne Nomura International Lord Wraxall Association NYNAS UK AB Ari and Heba Zaphiriou-Zarifi The Worshipful Company Ogilvy & Mather Limited Dr Theodora Zemek of Musicians Orchestra of the Age And 21 anonymous donors Youth Music of Enlightenment PwC Corporate Supporters Legacies Rothschild Academy Travel A D Hill 1985 Settlement Saatchi & Saatchi Allied Irish Bank (GB) Miss E R Baer Santander UK plc American Express J Barlow Memorial Fund Schlumberger Mr T Brodbelt Anglo American PLC Arup Group Ltd S E B Miss Kathleen Dibley Shell International Limited Mrs Margaret Edwards The Avon Group BALLI Société Générale Mr David Selwyn Strutt & Parker LLP Miss Nona Ann White Bank Lombard Odier & Co Ltd Sweett Group Mrs N Whittaker BG Group PLC Talisker Ltd Wood Peters British American Tobacco Bunzl plc Tata Steel In Memorium Charterhouse Development Thomson Reuters In memory of Lord Carr Capital Limited Tim Smartt and Nigel Farrow of Hadley Cinven TOTAL In memory of June Dandridge Cleary Gottlieb Steen & Unilever PLC In memory of John Higgins Hamilton LLP URENCO In cherished memory of Deloitte Vacheron Constantin Geoffrey Lawson Deutsche Bank Wates Group Die Zeit Wilkinson Building Co Trusts, Foundations and DLKW & Partners (Leeds) Ltd Organisations DMG Media WT Partnership The Archie Sherman Eco-Bat Technologies Ltd And one anonymous supporter Charitable Trust EDF Energy Arts Council England EFG Private Bank Ltd The Bernard Sunley ExxonMobil International * Through Glyndebourne Charitable Foundation Limited Association America Inc.
GLYNDEBOURNE ANNUAL REPORT 2013 21 Glyndebourne
Glyndebourne’s Management Team Gus Christie Executive Chairman David Pickard General Director Sarah Hopwood Director of Finance & Resources Steven Naylor Director of Artistic Administration Dave Locker Technical Director George Bruell Director of Communications Andrew Higgins Director of Development Lucy Lowe Head of Education Julia Murray Logue Head of Human Resources
Glyndebourne Productions Ltd Registered Charity No 243877 Trustees: John Botts CBE, Lord Davies of Abersoch CBE, Hamish Forsyth, Louise Flind, André Hoffmann, Lord Stevenson of Coddenham CBE
Glyndebourne Enterprises Ltd Wholly owned subsidiary of Glyndebourne Productions Ltd Directors: John Botts CBE, Lord Davies of Abersoch CBE, Matthew Searle, Gus Christie, David Pickard
Glyndebourne Arts Trust Registered Charity No 208743 Trustees: John Botts CBE (Chairman), Paul Collins, Claire Enders, Peter Loescher, Michael Lynch, Lord Rothermere, Sir Martin Smith, Lady Helen Taylor, Henry Wyndham
Glyndebourne Association America Inc IRS Registration No 23-7099474 Trustees: Michael Lynch (Chairman), John Botts CBE, Gus Christie, Robert Conway, Harry Lee, Helen Little
22 GLYNDEBOURNE ANNUAL REPORT 2013 Photo: Clive Barda
Glyndebourne Productions Limited Registered No. 358266 England Registered as a Charity No. 243877 | Words: Lloyd Slater Glyndebourne Lewes, East Sussex BN8 5UU England +44 (01273) 812 321 | glyndebourne.com Design: Kate Benjamin