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ANNUAL REPORT 2018/19

Chance to Dance TRUSTEES’ ANNUAL REPORT INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS

75% of income generated from ticket sales, fundraising and commercial activity; £4+ generated through ticket sales, fundraising and commercial activity for every pound of grant received

1m visits, including 35,000 2 International awards attending events in our public (4 nominations) spaces and 14,000 taking a 1 Olivier award backstage tour as well as visitors (5 nominations) enjoying our new displays, 2 Critics Circle Dance Awards restaurants and shop (8 nominations)

189 performances and 389 staged performances participatory events in our at the Royal ; new RIBA-award winning including 11 commissions public spaces and 6 other new productions

LAST YEAR IN

SUMMARY 668,000 tickets sold. 10 productions were broadcast More than 30% were £35 on British TV channels, 2 were or less; over 21,000 people streamed and 11 were broadcast attended low-priced enhanced on BBC Radio 3 performances for schools, families, students and community groups

More than 1,250 schools have taken part in ROH national The most subscribed-to You learning programmes since Tube channel and fastest- the programme began 3 growing Facebook channel years ago. In Thurrock, 61% of any UK performing arts of schools accessing arts and organisation culture through the Trailblazer Almost 1 million attendances programme of ROH Cinema screenings worldwide in 53 countries; Live cinema screenings in the UK at 598 cinema screens 39,000 hours of streamed content were viewed online by audiences across the globe 5.25m people watched World Ballet Day 39,000 across 25 venues attended 3 BP Big Screen free outdoor ballet and opera screenings from Aberdeen to the Isle of Wight 2 TRUSTEES’ ANNUAL REPORT INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS

INCOME 2019 EXPENDITURE

Commercial Commercial and Front of House other income £12.2M, 9% Investment income £1.9M, 2% £30.8M, 23% £1.7M, 1% Fundraising £4.6M, 3%

Management, administration and governance Box office receipts £7.2M, 5% £43.9M, 33% Fundraising – Open Up Performance, £1.0M, 1% learning and outreach Marketing and £83.7M, 60% Fundraising publicity and Sponsorship £6.9M, 5% £30.5M, 23% ACE – NPO and Bridge £24.8M, 19% Premises and depreciation £22.4M, 16% Total income £132.7M, including capital donations and funding of £1.0M Total expenditure £138.9M excluding capital expenditure

INCOME 2018 EXPENDITURE

Commercial Commercial and Front of House other income Investment income £10.5M, 8% £1.8M, 1% £1.6M, 1% £28.7M, 21% Fundraising £4.4M, 3%

Management, administration Box office receipts and governance £45.5M, 33% £7.0M, 5% Performance, learning and outreach Fundraising – Open Up £82.9M, 63% £5.1M, 4% Marketing and publicity £6.7M, 5% Fundraising and Sponsorship £32.0M, 23% ACE – NPO and Bridge £25.2M, 18% Premises and depreciation £18.6M, 14% Total income £138.3M, including capital donations and funding of £5.1M Total expenditure £131.8M excluding capital expenditure

3 Figures exclude gains on investment, profit on disposal of operations and taxation. TRUSTEES’ ANNUAL REPORT INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS

CHAIRMAN AND CHIEF EXECUTIVE

Berenice 4 Jacquelyn Stucker as Alessandro and Claire Booth as TRUSTEES’ ANNUAL REPORT INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS

DAVID ROSS CHAIR

Welcome to House Foundation (Limited by Guarantee) 2018/19 Annual Report.

The publication of our annual report for the 2018/19 Season, like that of many organisations around the country, was upended by the unparalleled impact of the COVID-19 pandemic, which forced the Royal Opera House to close its doors to the public in March 2020. As we re-focus our energies and adapt all our activities to COVID-safe performing restrictions I would like to thank all our close friends and supporters as we prepare for the extraordinary challenges that lie ahead, enabling us to look forward to a day when we can regularly and at scale welcome audiences back to our auditorium and artists back onto our stages.

I must also take the opportunity to thank Suzanne Heywood for leading the Board so ably as Acting Chair after our previous Chair, Ian Taylor, stepped down from the Board in December 2019 due to ill health. Under her guidance the organisation navigated the immediate challenges of lockdown, and she played a vital role in helping to shape the Royal Opera House’s response to the COVID-19 crisis and its future plans.

Ian Taylor sadly passed away in June 2020. He led the board with great vision, remarkable commitment and extraordinary business acumen. The achievements outlined in this report were all delivered under his watch, and on behalf of all his fellow trustees I would like to express our profound gratitude and appreciation for all he has done over the course of his life for the Royal Opera House.

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Our art forms explore with unrivalled force the emotions that define our common humanity. When society is dealing with such challenging times, the arts must remain front and centre of the national conversation, shaping cultural discourse and reaching as many people as across the UK.

The completion of our three-year Open Up project has transformed our public spaces and opened the doors to a new generation of ballet and opera lovers. We were delighted to welcome more than one million visitors through our doors in our first year, the largest attendance in our history.

Open Up was a triumph of philanthropy and would not have been possible without the support of the trusts, foundations and individuals closest to us who were asked to make an exceptional gift in addition to their ongoing support of the Royal Opera House. We are truly grateful to them, and all our generous, loyal and supportive partners who care so much for the success of this great institution, together with the vital investment from Arts Council and support from the Department for Digital, Culture, Media and Sport, which underpins all of the work we do at the Royal Opera House, not just inside our Covent Garden home but across the whole of the UK.

None of the achievements of this defining Season for the Royal Opera House would have been possible without the passion, dedication and constant striving for the highest standards by the Royal Opera House’s staff and the resilience of every team across the organisation. I would like to thank all those who work with this remarkable family, not just in Covent Garden but in Thurrock and Aberdare, as well as the great work in schools and communities across the entire country.

David Ross 16th December 2020

TBC 6 Family Sundays TRUSTEES’ ANNUAL REPORT INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS

ALEX BEARD CHIEF EXECUTIVE

At time of publication, the Royal Opera House continues to navigate the biggest crisis in its history as a result of the COVID-19 pandemic. There is much to achieve over the coming months, and the road ahead for the industry will be difficult, but we are doing all we can to prepare for the future. We have a four-pronged plan for recovery: a programme of restructuring and staffing cuts, reducing our costs wherever possible; a fundraising campaign; support from Government; and realising such value as we can from our assets. All of this will be required to ensure we can continue to delight audiences for decades to come with extraordinary ballet, dance, music and opera.

In happier times, the 2018/19 Season saw us open the doors to a transformed Royal Opera House, unveiling a state of the art new Linbury Theatre, new entrances, foyers and terraces, a new café, bar and restaurant and refurbished Clore Studio, as well as an extensive programme of free and ticketed daytime events, activities and festivals for people of all ages. Three years in the making, and at a cost of £50.7m, Open Up not only changed what it meant to visit the Royal Opera House, open every day from 10am, but opened the organisation - welcoming more people than ever before as we celebrated and showcased our art forms.

Equally important work continued backstage as we approached the twentieth anniversary of the 1999 redevelopment. The year under review saw us mid-way through the renewal of our flying system, no mean feat with an intensive repertoire in full swing, and with comprehensive surveys on our technical estate and infrastructure completed to inform capital investment priorities for the next decade.

On stage delighted packed houses. Amongst a full and varied programme of much-loved classics, revivals and new commissions, Marius Petipa’s , featuring additional choreography from , is now fully

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established in the Company’s repertoire and showcased brilliantly the and artists, working with a number of other organisations to ensure best leading dancers in the Company; Peter Wright’s inimitable Nutcracker practice is encouraged and implemented across the sector. once again entranced audiences over the Christmas season; Kenneth MacMillan’s extraordinary contribution to the art form was celebrated The artistic heart of the Open Up project was our new state-of-the-art with outstanding revivals of Mayerling, and . New work Linbury Theatre, providing a second, more intimate, world-class stage for included the world premiere of The Unknown Soldier, marking the The Royal Ballet, The Royal Opera and a host of internationally celebrated centenary of World War I, and Sidi Larbi Cherkaoui’s debut piece Medusa. artistic partners. In its inaugural Season, the theatre presented a wide Our resident choreographers featured strongly with the return of Wayne range of work including world premieres ranging from Gavin Higgins’ MacGregor’s contemporary classic Infra and Christopher Wheeldon’s The Monstrous Child, based on Francesca Simon’s book, to five new works Within the Golden Hour, performed alongside a first revival of Crystal in a partnership between The Royal Ballet and Sinfonietta. More Pite’s award-winning Flight Pattern. The Season concluded with a gala successful partnerships and collaborations followed: Isango Ensemble celebration of our Prima Ballerina Assoluta, Dame , performed the moving and deeply affecting A Man of Hope and SS alongside a classic triple bill of The Firebird/A Month in the Country/ Mendi; Ballet Black presented Cathy Marston’s acclaimed The Suit, and Symphony in C, and the remarkable talents of the in a host of global dance companies joined The Royal Ballet for a flavour their annual Main Stage summer performance. of exciting work-in-the-making in International Draft Works. The Royal Opera also continued its exploration of Handel with a new production In the fiftieth year of its Royal Charter, The Royal Opera opened with of Berenice, in partnership with the London Handel Festival. Leoš Janáček Music Director Tony Pappano leading four outstanding and widely featured again in The Diary of One Who Disappeared, a partnership with acclaimed full cycles of Wagner’s . After Muziektheater Transparant. The Royal Opera’s inaugural Engender conducting Stefan Herheim’s production of Tchaikovsky’s The Queen of weekend put women front and centre, both onstage and behind the Spades he led an exceptional account of Verdi’s La forza del destino, in scenes, and the Jette Parker Young Artist Programme brought Hans Christof Loy’s new production with , and Werner Henze’s final opera Phaedra to life in a new production directed Ludovic Tezier, a cast showing the extraordinary respect in which Tony by Noa Namaat. is held by the world’s leading singers. Antony McDonald’s new Hansel and Gretel, the first in a series of Main Stage productions for families, A new year-round programme of events, activities and festivals for people delighted audiences over Christmas under Sebastian Weigle’s baton in his of all ages brought our front of house spaces to life, complementing debut with the Company. Ed Gardner also made his conducting debut in the talent and artistry on both stages. These packed events brought new ’ new and viscerally intense production of Katya Kabanova, audiences to the ROH and included workshops exploring backstage continuing our cycle of Leoš Janáček , while ’s theatrecraft, guest artist performances, Family Sundays, Tea Dances, electrifying, and now Olivier Award winning, signalled a workshops and recitals. New displays showcased some of the most renewed commitment to the work of . famous moments in the history of The Royal Ballet and The Royal Opera including the extraordinary craftsmanship of costume makers and All productions on our stage were underpinned by the extraordinary designers. Our Insights programme went from strength to strength, with musicianship, talent and commitment of the Orchestra of the Royal Opera more than 70 events over the course of the Season covering topics from House and the Royal Opera Chorus, both of whom came on stage for the LGBTQ+ icons of ballet and opera, to a celebration of the centenary an unforgettable performance of Verdi’s Requiem under Tony Pappano, of Margot Fonteyn’s birth, as well as an exploration of the relationship marking the World War I centenary. Following the conclusion of a High between disability and dance with representatives from The Royal Ballet Court case involving noise and hearing protection in the orchestra pit, and Candoco dance company. we redoubled our commitment to the health and safety of all our staff

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Our national learning programmes extended their reach through three flagship programmes: Create and Sing, Create and Dance, and Design and Make, supporting teachers from over 1,250 schools, 81% of which are located outside Greater London. In June, more than 1,000 pupils and staff from 35 schools across the country came together to perform in the UK’s largest ever staging of at the Olympic Park’s Copperbox Arena. The performance was the culmination of a year-long project inspired by the Royal Opera House’s Create and Sing programme in partnership with United Learning, English Pocket Opera Company and The Voices Foundation.

We continued our live and as-live screenings to cinemas, with almost 400,000 tickets sold in 600 cinemas around the UK and just under 500,000 tickets sold in 53 countries across the globe. The ROH continued to reach new audiences through free BP Big Screen presentations of Carmen, The Marriage of Figaro and Romeo and Juliet at 25 outdoor sites across the UK, with more than 39,000 people experiencing free culture on their doorstep, from Aberdeen to the Isle of Wight.

The reach of our social media channels continued to grow, with more people than ever before engaging with our art forms across a range of platforms. Our cross-channel following now numbers more than 2.5m users. A highlight of the year was our annual #WorldBalletDay campaign which inspired audiences across the world with insights into life behind the scenes in the world’s leading ballet companies.

Ultimately it is our extraordinarily committed staff and artists that make the Royal Opera House such a remarkable institution, and my deepest thanks go to all my colleagues for their inspiration, dedication and professionalism. Profound gratitude also to our extended family of friends, patrons, philanthropists and audiences, without whom none of this year’s achievements would have been possible.

Alex Beard, Chief Executive 16th December 2020

Jette Parker Young Artists Summer Performance 2019 Hongni Wu and Thando Mjandana 9 TRUSTEES’ ANNUAL REPORT INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS

WHO WE ARE AND WHAT WE DO

Asphodel Meadows 10 Luca Acri and Meaghan Grace Hinkis TRUSTEES’ ANNUAL REPORT INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS

Family Sunday

Who we are and what we do We are a National Portfolio Organisation, supported by the The Royal Opera House’s aim is for many more people to enjoy British public via , and a registered charity, and engage in exceptional ballet and opera. receiving donations from those who share our ambitions.

As The Royal Ballet, The Royal Opera and the Orchestra of One of the world’s busiest theatres the Royal Opera House, we bring together the world’s most • presenting 550+ performances and events extraordinary ballet and opera artists in live events that thrill, • 1m+ people through our doors move and excite, that transport people to other worlds. Our • 1m+ people enjoying our work in cinemas, at free screenings theatre is in Covent Garden but our work is experienced across and through streamed and televised productions the UK and globally through touring partnerships, cinemas, free • 1,250+ schools so far engaging with ROH national learning outdoor screenings, radio, TV and live-streaming. programmes • 150+ partnerships We constantly question and discover, re-imagining the great masterpieces of the past, and investing in new works, exceptional talent and innovative ideas. Our Learning and Participation programme opens up opportunities, deepens learning and connects people with affordable performances for families, schools, students and community and health groups.

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Angel Blue as Violetta Valéry in La Traviata Marta Fontanals-Simmons as Hel and Dan Shelvey as Baldr in The Monstrous Child

Our priorities • Enhance and animate front of house spaces • Expand cinema and digital participation The overall ROH Plan was approved by the Board in late 2017 • Participate in high-impact national events and shared with staff and with our principal funder Arts • Refresh our brand identity Council England. It sets out four priorities and the actions and • Improve our understanding of audiences performance indicators for each over the period 2018–2022. • Outcomes: reach outside London, diversity of audiences, daytime engagement and spend at ROH. Strengthen Excellence – consistently reflect today’s best people and ideas, appealing to the broadest possible audience. Ensure Financial Resilience – improve how we use our resources • Develop exciting programming and grow income to ensure a healthy organisation. • Reopen the Linbury Theatre • Grow earned income • Nurture astonishing, diverse artists • Lay foundations for future philanthropy • Expand opportunities nationally • Make permanent cost savings • Outcomes: audience satisfaction, diversity of artists, • Futureproof our theatre box office income. • Optimise our use of technology • Outcomes: balance sheet health, productivity, Open Up – introduce many more people to the worlds of ballet fundraising income. and opera so they feel they belong at the Royal Opera House and want to deepen their involvement. 12 TRUSTEES’ ANNUAL REPORT INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS

Curtain call after La Forza del Destino performance with Sir and cast Sir Antonio Pappano and Aigul Akhmetshina rehearse La Forza del Destino

Be a Great Place to Work – make working here more safe, inclusive and productive. • Improve health, safety and well-being • Embed ROH values and behaviours • Improve how we plan and produce • Support staff to learn, develop and share • Develop a resource plan for the future • Outcomes: staff health and well-being, diversity of staff, staff engagement and satisfaction.

The coming pages expand on what was delivered against this plan during 2018/19.

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ACHIEVEMENTS AND FUTURE PLANS

The overall ROH Plan was approved by the Board and shared with staff and with our principal funder Arts Council England. Over the coming pages we will expand on what was delivered against each priority during 2018/19 and provide an overview of our Plan for 2019/20 to 2022/23

Medusa 14 Natalia Osipova as Medusa and artists of the Royal Ballet as soldiers TRUSTEES’ ANNUAL REPORT INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS

Cas Public in 9

2018/19 IN Develop exciting, deliverable programming premieres and work by Ivo van Hove, Aletta Collins, Adele SUMMARY The Royal Opera House presents the world’s most Thomas, Wayne McGregor, , Alessandra Ferri, accomplished ballet and opera artists in productions of National Dance Company Wales, Introdans, Cas Public, Ballet extraordinary quality and scale. Our 389 performances during Black, Yorke Dance Project, Lost Dog, London Handel Festival, STRENGTHEN the 2018/19 Season featured outstanding artistic contributions Isango Ensemble and Muziektheater Transparant, along with EXCELLENCE from The Royal Ballet, the Royal Opera Chorus, the Orchestra a festival of Young Talent with Junior Companies and of the Royal Opera House, Angel Blue, Jessica Cottis, Marta The Royal Ballet School and an extended programme of Fontanals-Simmons, , Gavin Higgins, new choreography. Ermonela Jaho, Richard Jones, Anna Netrebko, Antonio Pappano, , Deborah Warner and hundreds of other In the 1858 auditorium, The Royal Ballet’s Season was notable artists too numerous to mention. Audience appetite remained for strong revivals, starting with well-received revivals of strong, with 668,000 tickets sold and an increase to 96% Mayerling and La Bayadère. The Company commemorated occupancy and 90% of available financial capacity. the centenary of the end of World War I with a new, Olivier- nominated commission from Alistair Marriott, The Unknown The first performances in the new Linbury Theatre took place Soldier, and invited Sidi Larbi Cherkaoui to make his Company in January 2019. The new theatre, which has an exceptional debut with Medusa. The Royal Opera’s Season opened with intimacy and acoustic, is enriching the programming with new Wagner’s Ring Cycle, a monumental achievement that attracted creative voices and ideas. Its opening season included four world significant critical acclaim. The ensuing Season featured five

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Billy Budd © Yasuko Kageyama - Opera di Roma

ambitious new productions, including Deborah Warner’s The Nutcracker was once again enjoyed by over 145,000 people, Billy Budd (beginning the Royal Opera’s Britten Cycle), an in cinemas worldwide and at Covent Garden, including exceptionally cast La forza del destino directed by Christof Loy, special performances for schools, families, community groups and Richard Jones’s Katya Kabanova, which received outstanding and, for the first time, the families of our committed staff and reviews and an Olivier Award for Best Opera Production. The contractors. Family audiences also experienced Cas Public Royal Opera also began its series of works which Handel wrote in Hélène Blackburn’s fascinating 9, inspired by dancer for Covent Garden with an acclaimed concert of and Cai Glover’s experience of hearing loss. the first production of Berenice in London for nearly 300 years. Across the Season more than 30% of tickets at our Under the vision of our Director of Opera, Oliver Mears, Covent Garden home were priced £35 or less. Low-priced we successfully introduced a programme to engage new, ‘First Encounter’ performances, enhanced by support for and especially, younger audiences. The Royal Opera’s new teachers, pop-up performances and workshops, reached production of Hansel and Gretel was enchantingly directed and an audience of 21,389. designed by Antony McDonald, featuring fairytale woodlanders and a murderous chocolate pot. In the Linbury, Francesca Simon’s young adult novel The Monstrous Child was successfully brought to life by composer Gavin Higgins.

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• 22 Royal Opera productions, including 1 commission • 2 Critics Circle Dance Awards, 2 International Opera Awards and 6 other new productions: and an Olivier Award The Monstrous Child – Gavin Higgins, Francesca Simon, Timothy Shearer (commission) • Performances from 22 partner companies and 8 Hansel and Gretel – Antony MacDonald junior companies Queen of Spades – Stefan Herheim Katya Kabanova – Richard Jones TRIO ConcertDance Southbank Sinfonia London Sinfonietta Cas Public La forza del destino – Christof Loy Aurora Orchestra Ballet Black Berenice – Adele Thomas National Dance Company Wales Muziektheater Transparant Billy Budd – Deborah Warner Introdans Ballet Zürich Junior Company London Handel Festival Norwegian National Ballet 2 • 14 Royal Ballet productions, including 10 commissions: ABT Studio Company Rambert 2 The Royal Ballet School The Unknown Soldier – Alastair Marriott, Dario Marianelli Dutch National Ballet ROH Chance to Dance Company New Work, New Music: Hamburg Ballet Young Creatives Based on ‘A’ true story – Kristen McNally, Samantha Fernando The National Ballet of Canada Rambert School Uncanny Valley – Alexander Whitley, Mica Levi Norwegian National Ballet Dutch National Ballet Juniors Circular Ruins – Goyo Montero, Owen Belton Royal Ballet of Flanders Something Borrowed – Calvin Richardson, Anna Meredith Isango Ensemble Bolshoi Ballet Two Sides Of – Juliano Nuñes, Luke Howard Lost Dog Yorke Dance Project Blue Moon – Aletta Collins, David Sawer International Draft Works: • 189 performances and participatory events in our new, Canto de Ossanha – Joshua Junker RIBA-award-winning public spaces Zohar – Hannah Grennell Medusa – Sidi Larbi Cherkaoui, Olga Wojciechowska,

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Live at Lunch: The Rite Re-envisioned A Man of Good Hope

Nurture astonishing, diverse artists its programming from approximately a third to a half by 2022, The Royal Opera House employs more artists than any other and launched Engender which encompasses events, open calls UK arts organisation and works with an expansive network and a network for women working in opera. The Royal Ballet is of freelance creatives, singers and other performers. Across the especially focused on nurturing relationships with established programme, and particularly in our mid-scale work and within and new female choreographers, and announced a 2019/20 our talent development programmes, there has been an increase Season within which 40% of the new works were to be created in participation from ethnically diverse performers and female by women. practitioners. However, we recognise that our organisation and our art forms have further to go to reflect the diversity of the UK. The Jette Parker Young Artists Programme continues to provide one of the world’s leading centres for new operatic talent, New creative partnerships – projects with Isango Ensemble, offering two years’ training for artists with potential to forge Candoco, Ballet Black, Rambert, Acosta Danza, and residencies an international career, plus additional support for emerging Arts4Dementia, Synergy, Streetwise Opera, Culture Device and artists from under-represented backgrounds. Other development Magpie Dance – are enabling us to foreground and support opportunities included a further course for female conductors artists from under-represented communities. The Royal with the Royal Philharmonic Society, opera days with Young Opera signed up to the Keychange initiative, working Vic Directors’ Network, the BA Opera Makers course and PhD towards increasing the number of female creatives across Composer in Residence with Guildhall School of Music

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Chance to Dance

and Drama, the Draft Works and International Draft Works choreographic strands, a collaboration between the ROH Audience Labs and GUAP, a Peckham-based magazine dedicated to emerging creative talent. We also continued our long-standing relationship with Southbank Sinfonia, an orchestra of recent graduate musicians.

The roll-out of the national Chance to Dance programme commenced, enabling many more young people to gain a first taste of ballet and access opportunities to develop raw talent. The programme is delivered in partnership with the Royal Ballet School and other players working in dance education, uniquely bringing together state primary schools and private dance schools. At the centre of the Young Talent festival was an industry symposium, ‘Exposure, Access and Opportunity: exploring the cultural barriers to ballet training’ , facilitated by the inspirational expert and former dancer Theresa Ruth Howard.

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Create and Sing, Copperbox Arena

Expand first opportunities nationally Our season launch included the announcement of a major Over the last three years, teachers from 1,394 schools have been programme as part of Doncaster Creates in 2020. In Thurrock, trained to deliver the new ROH national learning programmes: home to our Bob and Tamar Manoukian Production Workshop, Create and Sing, Create and Dance and Design and Make. costume centre and the ROH Bridge team, and supported Forty-three percent of those trained last year were from schools by Thurrock Borough Council, we worked through the outside London and, to encourage participation from a wide Trailblazer programme to embed cultural learning at the heart range of schools, especially in areas of low cultural engagement, of Thurrock’s schools. A total of 61% of Thurrock schools we delivered taster Continuing Professional Development took part, reaching an estimated 16,000 pupils. ROH Bridge sessions and formalised partnerships with Music Education continues to deliver Arts Council England’s Bridge programme Hubs from Berwick-upon-Tweed to Barnstaple. More than 1,000 in North Kent, Essex, Hertfordshire and Bedfordshire, building pupils from 40 schools under the United Learning academies connections and infrastructure. This year partnership umbrella came together at the Copperbox Stadium in the investments were secured with Cultural Education Partnerships Queen Elizabeth II Olympic Park to create an extraordinary in Bedford, Southend and Colchester. massed performance of Carmen. Our Digital Learning Platform includes a wide range of teacher-written schemes of work and ‘how to’ videos to support delivery of ROH programmes and wider classroom learning. At Schools Matinees, 60% of schools attended from outside London, with an average 63% providing free school meals (national average: 13.6%). 20 TRUSTEES’ ANNUAL REPORT INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS

Family Sundays

OPEN UP Enhance and animate front of house space Since reopening in September 2018, we have received over 1m Following the £50.7m ‘Open Up’ project, our public spaces people through our doors, with 98% of surveyed attendees reopened in September 2018. The RIBA award-winning saying they feel welcome. There have been 35,000 attendances of redesign by Stanton Williams has created new spaces for the new daytime programmes, with 38% of ticket bookers new everyone to enjoy, uniting 19th-century grandeur with 21st- to the ROH and over 14,000 people attended a backstage tour. century elegance. We are enormously grateful to all those whose generous philanthropy made the project possible.

We are now open every day from 10am, offering a glimpse of the creativity at play here and an introduction to our art forms, with daytime events, activities and festivals for all ages: from Opera and Ballet Dots for toddlers, through to Family Sundays, participatory workshops and free and ticketed recitals. We have developed our retail offer to encompass specially designed products inspired by our theatre, craft and art from some of Britain’s most exciting designers, with a new café, restaurant and bars offering delicious food and drink in a range of beautifully designed spaces.

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Rehearsal for The Unknown Soldier

Expand cinema and digital participation partnership with distributor Tencent. An additional 39,000 hours of We celebrated 10 years of ROH Live in cinemas with a festival masterclasses, workshops, discussions, rehearsals and performance in the new Linbury Theatre, showcasing some of our most extracts were viewed online over the course of the year. important and popular releases. A UK audience of almost 400,000 across 598 cinemas and a global audience of just The second year of the Audience Labs project saw continued under 500,000 in 53 countries experienced 11 titles in our Live exploration in the potential of immersive and other new Cinema Season. Three productions were relayed to 25 sites technologies in engaging new audiences in collaboration with across the UK (five more than the previous year) as part of our culture, technology and higher education partners. Working Big Screen programme, reaching 39,000 people. with Google, Leap, Arup and GUAP, a number of projects are now in their development stage, with a hyper-reality opera BBC FOUR’s Christmas broadcast of Swan Lake attracted more experience opening in the Linbury at the end of 2020. than 400,000 views. The Royal Ballet visited Romania to create a filmed version of Romeo and Juliet with Ballet Boyz and the Participate in high-impact national events BBC for release in 2019/20. Ten productions were televised, two Our season launch included the announcement of a major new streamed and 11 productions were broadcast on BBC Radio 3, programme of work and ROH as a lead partner in Doncaster with reach extended further through the BBC’s international Creates, incorporating Royal Ballet performance at Cast broadcast partnerships. During World Ballet Day 5.25m people (postponed due to the Covid-19 pandemic), a community watched the 24-hour live stream including 3.77m in China through project (delivered as a socially-distanced project with

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The Royal Opera House, Bow Street

community groups) and, in 2021, embedding our free national Social media reach continues to grow, rising to 446m learning programmes in every local primary school and rolling impressions (from 284m) and 10.9m engagements (5.2m). out Chance to Dance. Improve our understanding of audiences Refresh our brand identity We implemented Net Promoter Score, providing a core We created a refreshed identity for the launch of our evaluation mechanism across all our performances and events new public spaces in September. Striking stop-motion to inform future planning. We are in the process of surveying photography was combined with text to create a more audiences to understand more about the new visitor experience inviting, intriguing proposition for a broader audience. and programmes enabled by the Open Up project. The campaign won several D&D awards and was nominated for the Campaign BIG Awards.

Alongside the campaign, a new website was unveiled, with further work on ticket and events pages launched in March. Supporting the launch of new front of house programmes, catering and retail, the site has seen a 175% increase in views of non-production event pages, 30% increase in catering page visits, as well as 4% improvement in conversion for users on mobile devices.

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Baton Associates event The Royal Opera House Shop

ENSURE Grow earned income Lay foundations for future philanthropy FINANCIAL By exceeding Box Office, fundraising and commercial targets, The ROH Endowment Fund grew from £45.2m to £48.1m, RESILIENCE we were able to maintain a stable level of income, balance our largely through legacy giving. Income from the fund plays an expenditure and deploy reserves to finance some of the most increasingly important role in underpinning artistic excellence, urgent infrastructure projects. Box office performance was talent and outreach. We continued to promote legacies 3.6% over budget. through talks from at General Rehearsals, one-to-one conversations and mailings. Fundraising delivered a 4.2% higher income against challenging targets but in setting future budgets we remain The Baton Associates programme involves and thanks those mindful of the uncertainty surrounding Brexit, the winding who have made a legacy commitment during their lifetime. up of several large cultural charitable foundations, increasing This year we began an aural history project, delivered by public scrutiny of funding sources and increased competition. volunteers, to capture the extraordinary memories of those who Enterprises delivered a 6.2% higher income than budget. The new share a deep love of the ROH and a desire to secure its future. shop is designed and operated to deliver higher annual revenues, as are the new offers being introduced incrementally in the new bar, restaurant and café areas.

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Media Suite

Make permanent cost savings technical, accommodation, MEP (mechanical, engineering and Given declining Arts Council funding, the economic plumbing) and IT infrastructure reviews, from which we are uncertainties of leaving the European Union, inflationary developing a comprehensive estates plan. pressures and the need to invest in our back-of-house infrastructure, it is crucial that we develop a sustainable We made good progress with several of our most pressing financial and operating model for the future. A plan to deliver infrastructure projects: a methodology for replacing the Main this was developed, agreed by the Board and shared with senior Stage flying system was developed and the next phase approved, managers. An e-procurement system was implemented to and the media suite was upgraded to ensure high-quality support change. capture, including 4K broadcast. Thirty-five linear metres of boxed archives were reappraised, rehoused or catalogued. Futureproof our theatre To remain open and deliver our plans, our buildings must be Optimise our use of technology safe, compliant with legislation, financially and environmentally A pro bono review of IT was undertaken by a third party sustainable, fit for purpose and welcoming. Our estate is large consultant and a number of systems were rolled out aimed at and complex, comprising three locations: London, Thurrock increasing efficiency: a new planning system, e-procurement and Aberdare. Much of the equipment and infrastructure system and the PARiM workforce management system to installed in the 1990s Covent Garden development needs to support management of technical and production resources. be upgraded or replaced. Over the year we progressed fabric,

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Family Sunday, Family Pride

BE A GREAT Improve health, safety and wellbeing although the recommendation in the original High Court PLACE TO Audits of health and safety, sound management measures and judgement that hearing protection be made mandatory was WORK fire safety were conducted, along with training and awareness dismissed at appeal. Whilst the liability related to the appeal on manual handling, mental health, security, performance is covered under insurance, the ROH continues to work with sound, safeguarding and fire safety. Modifications were made to sector bodies and organisations to promote best practice in several productions in our revival repertoire in order to reduce sound management and minimise risk. risks and several feasibility studies were carried out regarding modifications to reduce sound exposure. A new muscular- Embed ROH values and behaviours skeletal service was introduced and we ran a series of staff Over 400 staff were involved in articulating a set of ROH Values activities for Mental Health Awareness Week. and Behaviours which will be rolled out across the organisation over the coming year. We undertook a range of activities to mark The year included the conclusion of a case brought against the International Women’s Day, Pride and Mental Health Royal Opera House by Chris Goldscheider, a viola player in Awareness Week. the Orchestra of the ROH who was diagnosed with a hearing condition known as acoustic shock following a rehearsal of Die Walkure in 2012. In a case that has significant implications for the performing arts sector, the court found against the ROH,

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Pascale Van Os and Orchestra, Women Conductor Course

Improve how we plan and produce We continue to share our learning and skills with the wider The year saw the development and implementation of a new sector and to convene best practice. Three events were held artistic producing and planning software solution, offering under the ‘ROH Conversations’ umbrella – the ROH Bridge additional functionality and efficiency in our management of Conference (live-streamed to five venues across England), the production process. We also updated production design Engender and the ‘Exposure, Access and Opportunity’ ballet processes and introduced new methodology for evaluating training symposium – with an extended programme of activity future seasons against artistic, audience, financial and to commence next year, including sharing learnings from our operational considerations. first Audience Labs projects. Staff were encouraged to share their skills as Board members of 38 other organisations and their Support staff to learn, develop and share learnings at a variety of conferences in the UK and overseas. More than 1,000 people work at the ROH, with many more involved in creating and performing in our productions on stage as freelancers. A robust induction process is in place and all managers are expected to attend training on management skills and diversity and inclusion. BAME and disabled staff had the opportunity to participate in the Accelerate management programme, delivered in conjunction with the Southbank Centre and the National Theatre.

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Harvey Thompson, Learning and Participation Apprentice Daisy Claisse, Royal Opera House Apprentice

Develop a resource plan for the future We celebrated the graduation of our 50th backstage apprentice, Restructuring was undertaken in legal and business affairs, with nine new people joining the programme, and offered technical, box office and tour guide teams. The mean gender 171 work placements, and we continue to deliver the BA in pay gap at 5 April 2018 had reduced from 14.8% to 12.6%, Costume Making with Thurrock against a UK average of 17.1%. The number of new BAME Community College at our employees recruited increased slightly to 17%. Three percent Bob and Tamar Manoukian of new employees were disabled; we increased our engagement Costume Centre in Thurrock. with the Disability Confident scheme, offered a guaranteed Bendy Ashfield, who has run interview to all disabled candidates meeting minimum criteria, the apprenticeship programme with a view to increasing this. We continue working with Mind since its inception, pioneering and the Camden Society to attract people from a wide range training and inclusion within of backgrounds and continue to ensure that all ROH staff and the theatre industry, was awarded directly contracted staff, including cleaning and security staff, with a Special Recognition receive London Living Wage or National Living Wage as a Olivier Award. minimum where appropriate.

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FINANCIAL SUMMARY

Götterdämmerung 29 Claudia Huckle, Lise Davidsen and Irmgard Vilsmaier as Norns TRUSTEES’ ANNUAL REPORT INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS

2019 2018 £m £m INCOME Box office receipts 43.9 33% 45.5 33% ACE - NPO and Bridge 24.8 19% 25.2 18% Fundraising 30.5 23% 32.0 23% Fundraising - Open Up 1.0 1% 5.1 4% Commercial and other income 30.8 23% 28.7 21% Investment income 1.7 1% 1.8 1% 132.7 100% 138.3 100% EXPENDITURE Performance, learning and outreach 83.7 60% 82.9 63% Premises and depreciation 22.4 16% 18.6 14% Marketing and publicity 6.9 5% 6.7 5% Management, administration and governance 7.2 5% 7.0 5% Fundraising 4.6 3% 4.4 3% Commercial 12.2 9% 10.5 8% Front of House 1.9 2% 1.6 1% 138.9 100% 131.8 100%

TRANSFERS FROM/(TO) FUNDS Open Up fundraising (1.0) (5.1) Fixed Asset and Heritage Asset Funds 4.3 (1.9) Other transfers 3.0 0.6 NET SURPLUS ON UNRESTRICTED GENERAL FUNDS 0.1 0.1

For full details, please refer to the statutory accounts available from Companies House. This summary excludes gains on investments and taxation. Income includes capital donations and funding (2019: £1.0m, 2018: £5.1m), but expenditure does not include capital expenditure.

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GOVERNANCE

Winter Dreams 31 Vadim Muntagirov as Lieutenant Colonel Vershinin and Sarah Lamb as Masha TRUSTEES’ ANNUAL REPORT INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS

Directors and Trustees The directors of the charitable company (‘The Royal Opera House’ or ‘the charity’) are its Trustees for the purpose of charity law and throughout this report are collectively referred to as the Trustees. The Trustees who held office during the period and since period end were as follows:

Ian Taylor (Chair - retired 10th December 2019) Dame Vivien Duffield Lady Heywood (Acting Chair - appointed 10th December 2019, retired 1st September Susan Hoyle obe 2020) (Deputy Chair - retired 10th December 2019, appointed 1st September 2020) Sir (Senior Independent Director – retired 10th December 2019) Sir John Kingman (Acting Senior Independent Director - appointed 10th December 2019) David Ross (Chair - appointed 1st September 2020) Julian Metherell Zeinab Badawi (appointed 8th October 2019) Munira Mirza (retired 10th December 2019) Lord John Browne (appointed 1st September 2020) Paul Morrell obe Tim Bunting (appointed 1st September 2020) Kirsty Cooper Laura Wade-Gery Dr Genevieve Davies Roger Wright cbe Sir Lloyd Dorfman cbe Danny Wyler Chief Executive Alex Beard cbe Audit and Risk Committee Development Committee Sir Simon Robertson (retired 5th Learning and Participation Julian Metherell (Chairman) Danny Wyler (Chairman – appointed 10th November 2019) Committee Kirstine Cooper December 2019) Kristina Rogge (retired 28th November 2019) Susan Hoyle obe (Chairman - appointed Lady Heywood Ian Taylor (Chairman – retired 10th Dame Gail Ronson 10th December 2019) Sir Nicholas Hytner December 2019) David Ross (appointed 1st September 2020) Munira Mirza (Chairman – retired 10th Sir John Kingman Ian Andrews (retired 31st August 2020) John Singer (retired 13th December 2019) December 2019) Paul Morrell obe Roger Barron (retired 26th November 2019) The Earl of Snowdon Alex Beard cbe Ian Taylor (retired 10th December 2019) Tim Bunting (appointed 5th November 2019) Natasha Tsukanova (retired 30th Helen Bruckdorfer Laura Wade-Gery The Countess of Chichester November 2019) Hilary Carty Danny Wyler Nicola Davidson Andrew Walton Dame Vivien Duffield Dr Genevieve Davies (retired 19th Lady Young of Graffham Jane Ellison (retired 19th November 2020) Finance and Operations Committee November 2019) David Hall Lady Heywood (Chairman) Dame Vivien Duffield (appointed 3rd Donation and Income Acceptance Anne McElvoy (retired 19th November 2020) Sir Lloyd Dorfman cbe December 2020) Committee (formerly Ethics Dame Theresa Sackler (retired 19th Sir Nicholas Hytner Lady Heywood (appointed 22nd January Committee) November 2020) Sir John Kingman 2020, retired 1st September 2020) David Ross (Chairman – appointed 1st Jonathan Sands Julian Metherell Simon Holden (retired 20th November 2019) September 2020) Ian Taylor (retired 10th December 2019) Paul Morrell obe Martin Houston (retired 20th November 2019) Lady Heywood (Chairman – appointed 10th Bridget Whyte Ian Taylor (retired 10th December 2019) Robert Kalff December 2019, retired 1st September 2020) Laura Wade-Gery Sophie Lecoq (retired 26th November 2019) Ian Taylor (Chairman – retired 10th Danny Wyler Thomas Lynch (died in post November 2019) December 2019) Julian Metherell (retired 6th December 2019) Kirsty Cooper Paul Raphael (appointed 22nd June 2020) Danny Wyler 32 TRUSTEES’ ANNUAL REPORT INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS

Nominations and Remuneration Committee Executive Management Team (formerly People and Organisation Alex Beard, Chief Executive Committee) Jillian Barker, Director of Learning and Participation David Ross (Chairman – appointed 1st Heather Baxter, Administrative Director, September 2020) The Royal Ballet Lady Heywood (Chairman – appointed 10th Bob Brandsen, Production Director December 2019, retired 1st September 2020) (until 31 August 2020) Ian Taylor (Chairman – retired 10th December 2019) Melanie Crompton, Orchestra Dame Vivien Duffield Administrative Director Julian Metherell Jane Crowther, Director of Human Resources Danny Wyler (until 13 December 2019) Susan Hoyle obe Mark Dakin, Technical Director Helen Dunne, Acting Orchestra Administrative Company Secretary Director (started 1 September 2018 until 1 Leah Hurst (appointed 8th October 2019) November 2019) Ivan Daffern (appointed 1 October 2018, retired 8th Lindsey Glen, Head of Policy and Strategy October 2019) (until 10 December 2020) Fiona Le Roy (retired 30 September 2018) Dale Haddon, Director of Human Resources (from 17 June 2020) Peter Katona, Director of Casting Koen Kessels, Music Director, The Royal Ballet Mindy Kilby, Director of Finance Joe McFadden, Chief Technology Officer (until 31 July 2019) Terry McGrath, Director of Audiences & Media (from 11 November 2019) Oliver Mears, Director of Opera Kevin O’Hare, Director, The Royal Ballet Antonio Pappano, Music Director Richard Piercy, Director of IT (from 2 September 2019 until 16 March 2020) Hazel Province, Director of Planning (until 18 January 2019) Amanda Saunders, Director of Development and Enterprises Cormac Simms, Administrative Director, The Royal Opera Lucy Sinclair, Director of Audiences and Media (until 18 July 2019) Laura Stevenson, Renewal Programme Director (from 1 September 2019) Heather Walker, Director of Operations Sarah Younger, Open Up Project Director (until 31 December 2018) 33 TRUSTEES’ ANNUAL REPORT INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS

Governance and Management Ricki Gail Conway Dr Genevieve Davies The direction and control of the Royal Sir Mick and Lady Barbara Davis Opera House is determined by the Board of Sir Lloyd Dorfman cbe Trustees, which meets at least six times a year. Dame Vivien Duffield The role of the Board is to direct the Royal Aline Foriel-Destezet Hamish and Sophie Forsyth Opera House strategy and to ensure that Kenneth and Susan Green the Royal Opera House is on the approved Lady Hamlyn strategic course (including artistic strategy) Jane Hamlyn and that it is properly and effectively Dr Catherine Høgel managed. The Trustees are also responsible Charles Holloway Aud Jebsen for the appointment of the Chief Executive, Frances Kirsh as well as the most senior management Doug and Ceri King positions. The Chief Executive, with the Alfiya and Timur Kuanyshev assistance of the Executive Management Lord and Lady Laidlaw Team, manages the day-to-day operation of Rena and Sandro Lavery Margarita Louis-Dreyfus and Phillipp Hildebrand the Royal Opera House. The Marguiles Family We would also to thank the following for Bertrand and Elisabeth Meunier support, advice and encouragement throughout Marit Mohn the year: OANDA Europe Limited – David Hodge Ambassadors Mrs Susan A Olde obe The Countess of Chichester Stefan Sten Olsson Dame Gail Ronson dbe Jette and Alan Parker Natalie Parker The Board of the Royal Opera House Mrs Clarissa Pierburg Endowment Fund Melinda and Donald Quintin Dame Vivien Duffield Chair, Tim Bunting, Hamish Julia and Hans Rausing Forsyth, Sir Simon Robertson, Sir Simon Robey, Yvonne and Bjarne Rieber Baroness Shackleton of Belgravia, Peter Troughton cbe Sir Simon and Lady Robertson Rolex – Arnaud Boetsch Board of Honorary Directors The Gerald and Gail Ronson Family Foundation Ian Taylor Chair (retired 10th December 2019) Ruinart – Mr Bertrand Steip Lady Heywood Chair (appointed 10th December Dame Theresa Sackler 2019, retired 1st September 2020) Mrs Lily Safra David Ross (appointed 1st September 2020) Lord and Lady Sainsbury of Preston Candover The Countess of Chichester Honorary Vice Chair Kim Samuel Dame Gail Ronson cbe Honorary Vice Chair John Studzinski cbe Gregory and Regina Annenberg Weingarten Tina Taylor Lady Ashcroft Lindsay and Sarah Tomlinson Mikhail Bakhtiarov Celia Blakey Van Cleef & Arpels – Geoffroy Medinger BP International – Peter Mather Dr and Mrs Michael West Tim and Sarah Bunting Danny and Lillian Wyler Susan and John Burns Meet the Young Artists Lunchtime Recital Anonymous (4) 34 Jacquelyn Stucker TRUSTEES’ ANNUAL REPORT INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS

ACKNOWLEDGEMENTS

35 Carmen TRUSTEES’ ANNUAL REPORT INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS

The Marriage of Figaro

Royal Opera House gratefully acknowledges the generosity of all those who have provided support this period, including:

INDIVIDUALS Cynthia Brown and Andy Tomkins Dr Genevieve Davies Sherry and Michael Guthrie Lady Rosemary Buchanan Terry and Jean de Gunzburg Angela Hamilton Spindrift Al Swaidi Anthony and Elizabeth Bunker Misook Doolittle Linda and Philip Harley Jorge Alcover The Bunting Family Sir Lloyd and Lady Dorfman Sir Michael and Lady Heller Lady Alexander of Weedon John and Susan Burns Peter Dutton Katrin and Christoph Henkel Ian and Helen Andrews Sue Butcher Mr and Mrs Jeffrey Eldredge Malcolm Herring Lady Ashcroft Mrs Carolyn Calcutt Peter and Fiona Espenhahn Marina Hobson obe and The Hobson Charity Mr and Mrs Edward Atkin cbe David Campain Ailsa and Jonathan Feroze Simon and Tracey Holden Ben Babcock and Debbie De Girolamo Sir Roger and Lady Carr Matthew and Sally Ferrey Charles Holloway Richard and Delia Baker Ann Casement Graham S Fletcher Martin and Jane Houston Mikhail Bakhtiarov The Earl and Countess of Chichester Louise Fluker Alan Howard and Caroline Byron David Ballance and Amanda Evans Sonia Churchill Mrs Aline Foriel-Destezet Sarah Ingham Mercedes T. Bass obe Hamish and Sophie Forsyth Frederick Iseman Mr and Mrs Baha Bassatne Ricki Gail and Robert Conway Francesca Fremantle Lady Joan Jarvis cbe Geoff and Judith Batchelar Kirsty Cooper Virginia Gabbertas Aud Jebsen Michael Blank and Jakob Schroeder Miss Ann Copsey Gonzalo and Maria Garcia Mr and Mrs Christopher W.T. Johnston Mr & Mrs Michel Bolloré Deborah Cowles Beth and Gary Glynn Mrs Philip Kan Ingemo and Karl Otto Bonnier Hadyn and Joanna Cunningham Mary Ellen Johnson and Richard Karl Goeltz Anna and Moshe Kantor Sally and Simon Borrows Peggy Czyzak Dannenbaum Joan Granlund David and Clare Kershaw Lorna and Christopher Bown Christian and Béatrice Schlumberger Nigel Grimshaw Dame Zarine Kharas dbe 36 TRUSTEES’ ANNUAL REPORT INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS

Doug and Ceri King Basil and Maria Postan Peter Harrison and Fiona Willis Beacon Rock Limited Tessa and Charles King-Farlow Melinda and Donald Quintin Danny and Lillan Wyler Beauty Seen PR George Kingston Julia and Hans Rausing Boodles Frances Kirsh Yvonne and Bjarne Rieber TRUSTS AND FOUNDATIONS BP Mr and Mrs Aboudi Kosta Sir John Ritblat and Lady Ritblat obe Bucherer Alfiya and Timur Kuanyshev Sir Simon and Lady Robertson GRoW @ Annenberg Foundation Capital & Counties Plc Lord and Lady Laidlaw Sir Simon and Lady Robey The Anson Charitable Trust Clifford Chance LLP Rena and Sandro Lavery Mrs Bonnie Robinson The Clore Duffield Foundation & Co Peter N Lawrence Mrs Rebecca Rogers Dunard Fund Criterion Ices Alan G. Levin Kristina Rogge Gisela Graham Foundation Delancey Ida Levine Ms Viviana Ronco The Goldhammer Foundation Edwardian Hotels London Dr Gwen Lewis and Dr Jonathan Holliday The Gerald and Gail Ronson Family Foundation J. Paul Getty Jr Charitable Trust Fedora Dr and Mrs Peter James Linden Georgia Rosengarten The John Lyon’s Charity Finsbury Ruth and Stuart Lipton Janine Roxborough Bunce The Foundation (UK) Freed of London Ltd Peter Lloyd Kim Samuel Oak Foundation Freshfields Bruckhaus Deringer Margarita Louis-Dreyfus and Phillipp Hildebrand The Sargent Charitable Trust Orinoco Foundation Goldman Sachs Criona and Tony Mackintosh Benoît and Catherine Savoret Paul Hamlyn Education Fund Hildon Beth Madison Nick and Barbara Scholes Stavros Niarchos Foundation Kenneth Green Associates Bob and Tamar Manoukian Kevin and Olga Senior The Ballet Association Konica Minolta Marketing Services The Margulies Family John and Tita Shakeshaft The BAND Trust Leica Camera Iain Marshall Susan and John Singer The Bernard Sunley Charitable Foundation Lodha Group Kiki McDonough John and Mariavittoria Slamecka The Carne Trust Lululemon John McGinn and Cary Davis Lady Slynn of Hadley The Clore Duffield Foundation NEC Display Solutions Europe Alan McLean Mary Stassinopoulos The Foyle Foundation OANDA Europe Limited Mrs Andrea Medeiros Castro Rachael Stearns Garfield Weston Foundation Premier Mode Isabelle and Adrian Mee Stuart and Jill Steele The Gordon Foundation Quintessentially The Metherell family Malcolm Strong The Headley Trust Rolex Bertrand and Elisabeth Meunier Mrs Trevor Swete The Helen Hamlyn Trust Ruinart The Mikheev Charitable Trust Ian and Tina Taylor and The Taylor Family The JP Jacobs Charitable Trust The Santa Fe Opera The Mohn Westlake Foundation Foundation The John S Cohen Foundation Sotheby’s Margaret Mountford Jennifer Taylor The Lord Leonard And Lady Estelle Wolfson Switzerland Tourism Odile and Marc Mourre Malcolm and Alison Thwaites Foundation Van Cleef & Arpels Sara Naudi and Professor Mark Layton Lindsay and Sarah Tomlinson The Mouth and Foot Painting Artists Trust Yusen Travel Co Ltd Mrs Susan A. Olde obe Eric Tomsett The Sackler Trust Zaeem Jamal Mr Stefan Sten Olsson and Mr John Tierney The Constance Travis Charitable Trust The Steel Charitable Trust Zürcher Kantonalbank Sir Antonio and Lady Pappano Professor Michael Trimble The Tsukanov Family Foundation Hamish Parker Vladimir and Irina Tsarenkov SEASON PATRONS Nancy Peck Green John G. Turner & Jerry G. Fischer CORPORATE Marian and Gordon Petchey Foundation Stefan Vilsmeier Canary Wharf Group PLC Hélène and Jean Peters Bundy Walker ACPI Investments Ltd Mrs Aline Foriel-Destezet Lady Pitman Adrienne Waterfield American Express Services Europe Ltd Lady Gavron Mr and Mrs Anthony Pitt-Rivers Dr and Mrs Michael West Axis & Globe Travel Ltd Alfiya and Timur Kuanyshev Professor Paul Cartledge and Judith Portrait obe Nick and Juliet Wilkinson BB Energy Holdings NV Jamie McAlpine

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Mitsui & Co Europe PLC SUPPORTING ORGANIZATIONS PHILANTHROPY AND BEQUESTS Mrs Susan A. Olde obe TO THE ROYAL OPERA HOUSE Tim and Theresa Parker AMERICAN FRIENDS OF ENDOWMENT FUND Rolex COVENT GARDEN BOARD Rothschild & Co Mrs Lily Safra Mercedes T. Bass, Chairman PHILANTHROPY Mr Pierre-Alain Wavre Alex Beard cbe Sir Brian Williamson cbe and Susan S. Braddock Paul Hamlyn Foundation Mrs Caroline Hoare G. Scott Clemons, Treasurer Mrs Susan A. Olde obe Lord and Lady Young of Graffham Peggy Czyzak Dannenbaum The Jean Sainsbury Royal Opera House Fund Misook Doolittle FIRST NIGHT PATRONS Lord Eatwell BEQUESTS HRH Princess Firyal of Jordan Daily Mail and General Trust plc Bart Friedman Sonia Churchill Dr Genevieve and Mr Peter Davies Beth W. Glynn Jacqueline Dean Barbara and Mick Davis Richard Karl Goeltz Miss Joan Edwards Mr Charles Holloway Joan Granlund Dame Theresa Sackler dbe Frederick Iseman Anonymous (4) Bruce Kovner AMERICAN FRIENDS OF Alan G. Levin COVENT GARDEN SUPPORTERS Beth Madison John P. McGinn Spindrift Al Swaidi Mrs Susan A. Olde obe Mercedes T. Bass Nancy Peck Green Peggy Czyzak Dannenbaum John G. Turner Mr and Mrs Jeffrey Eldredge David A Shelvin, Legal Counsel Mrs Aline Foriel-Destezet Elizabeth Gray Kogen, Ricki Gail and Robert Conway Secretary and Executive Director Beth and Gary Glynn Joan Granlund Michael Guthrie Frederick Iseman Mary Ellen Johnson and Richard Karl Goeltz Beth Madison Bob and Tamar Manoukian John McGinn and Cary Davis Mrs Susan A. Olde obe John G. Turner & Jerry G. Fischer

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