Post on 19-Apr-2022
Royal Opera HouseCovent GardenLondon WC2E 9DDTelephone +44 (0)20 7240 1200www.roh.org.uk
Managing Editor, Dan Foulkes for MilknosugarRegistered Charity no. 211775
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ROYAL OPERA HOUSE ANNUAL REVIEW 2009/10 CONTENTS
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The year at a glanceChief ExecutiveChairmanTalentPerformanceNurtureReachPartnershipFinanceReference
GOVERNANCE AND MANAGEMENTThe direction and control of the Royal Opera House is determined by the Boardof Trustees, which meets at least six times per year. The role of the Board is todirect the Royal Opera House strategy to ensure that it is on the right course
and that it is properly and effectively managed. The Trustees are alsoresponsible for the appointment of the Chief Executive, as well as the most
senior management positions. The Chief Executive, with the assistance of theExecutive Team, manages the day–to–day operations of the Royal Opera House.
BOARD OF TRUSTEESSimon Robey (Chairman)
Baroness BlackstoneThe Countess of Chichester
Sir David ClementiPeggy DannenbaumSir Nicholas Hytner
Sir Frank LoweThomas Lynch
Professor Margaret MadenNicholas Prettejohn
Heather RabbattsSir Simon Robertson
Dame Gail Ronson DBEAnthony Salz
Dame Sue Street DCBKenneth Tharp OBE
Robert WallaceJudith Weir CBE
EXECUTIVE MANAGEMENT TEAMTony Hall CBE – Chief Executive
Monica Mason DBE – Director, The Royal BalletAntonio Pappano – Music Director,
The Royal OperaCaroline Bailey – Director of Marketing
Elizabeth Bridges – Director of PersonnelDeborah Bull CBE – Creative Director
Ruth Jarratt – Director of Policy DevelopmentPeter Katona – Director of Opera Casting
Jeanetta Laurence – Associate Director,The Royal Ballet (from April 2009)
Stephen Michael – Managing Director, RoyalOpera House Enterprises (from July 2009)
Christopher Millard – Director of Press and Communications
Sally Mitchell – Orchestra Administrative Director
John Mortlock – Deputy Director of Financeand Company Secretary
Kevin O’Hare – Administrative Director,The Royal Ballet
Sally O’Neill – Director of Finance (from February 2009)
Elaine Padmore – Director of OperaHazel Province – Director of Planning
Paul Reeve – Director of EducationAmanda Saunders – Director of Development
John Seekings – Director of Operations
DEVELOPMENT COMMITTEESimon Robey (Chairman)
The Countess of ChichesterPeggy Dannenbaum
Thomas LynchSir Simon Robertson
Dame Gail Ronson DBEDanny Wyler
Lady Young of GraffhamENGAGEMENT, EDUCATION AND
ACCESS COMMITTEEProfessor Margaret Maden (Chairman)
Peggy DannenbaumCharlie Leadbeater
Abigail PogsonSimon Robey
Kenneth Tharp OBERob Thomas
Judith Weir CBE
FINANCE AND AUDIT COMMITTEENicholas Prettejohn (Chairman)
Sir David ClementiSir Nicholas Hytner
Thomas LynchSir Simon Robertson
Simon RobeyDame Sue Street DCB
FOUNDATION ADVISORY CIRCLESimon Robey (Chairman)
Frank Van den BoschJosephine Fitzalan Howard
Hamish ForsythViscount LinleyVictoria MatherJulian MetherellSalim MoollanKristina RoggeRoland Rudd
Sir James SassoonBernard Taylor
Sir Brian WilliamsonNOMINATIONS COMMITTEE
Simon Robey (Chairman)Sir David Clementi
Thomas LynchProfessor Margaret Maden
Nicholas PrettejohnSir Simon Robertson
REMUNERATION COMMITTEESimon Robey (Chairman)
Sir David ClementiThomas Lynch
Nicholas Prettejohn
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REACH64
regional On the Road events, performances and exhibitions
150,000worldwide cinema audience for ROH screenings
2,518,001multimedia views and listens
ACCESS
79,242people participated in Education events
55,191new customers for the main stage
311performances on the main stage
211performances on other stages
658,000total audience
PERFORMANCE
£106.7million total income (an increase of £10.3 million over last year)
£35.5 millionbox office revenue
INCOME
Tickets held at 2008/09 prices
50%of tickets at £50 or less
39%of tickets at £30 or less
PRICING
£2+ raised for every £1 received in public subsidy
11th successive balanced budget
£60+milliondirected to frontline performance, education and outreach
FINANCE
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The Royal Opera House aims to act as a catalyst for positive change withinthe arts, in partnership with likeminded organizations. Our Culture QuarterProgramme epitomizes this approach. In February 2010 we were awarded agrant from the Future Jobs Fund, a government initiative set up to supportthe creation of temporary,paid jobs for long-term unemployed young peopleaged 18– 24. The Royal Opera House used this funding to design and lead aunique employment project, the Culture Quarter Programme (CQP), inconjunction with nine other high profile creative and cultural institutions.The CQP partner organizations offered 68 young people paid work andtraining opportunities for a six-month period. Of these jobs, 21 were at theRoyal Opera House and 47 were among the nine partner employers,including English National Opera, National Portrait Gallery, SomersetHouse and the V&A Museum. The roles offered were in a diverse range ofbackstage positions, encompassing the full spectrum of departments withinthe various organizations. In leading this project the Royal Opera Housesought to play its part in addressing the issue of youth unemployment. Thisalso fed into our strategic objectives of developing a more diverse workforcefor the sector and assisting young people who may have previously beenexcluded from a career in the creative industries. The CQP was carefullystructured to ensure that all participants benefited from their time on theprogramme. In addition to their job, each participant studied towards aNational Vocational Qualification and attended a weekly programme ofmasterclasses delivered by experts from across the sector, giving them aninsight into the range of work that goes on behind the scenes. In parallel tothis they were involved in a range of off-the-job training sessions to supporttheir employability skills including one-to-one mentoring, CV building, jobsearching and mock interviews. The participants also worked as artsambassadors,developing their creative talents and sharing their experience ofworking in the arts with their local community. This culminated in thecreation of images,podcasts and videos displayed in Seven Days in Seven Dials,an exhibition staged in a vacant shop used as a gallery. More than 500 peopleviewed this work. It is a measure of the success of the programme that morethan three quarters of the CQP graduates went on to further employment,many taking up jobs with the organizations involved, or progressed on tofurther education opportunities.
NEW HORIZONS
There are moments in the life of every organization thatcome to define it. Seismic shifts in government fundingfor the arts mean that we now inhabit a changedlandscape. The challenge is how to navigate through itwithout compromising the essence of why we exist: tolead, nurture and set the standards for our art forms; toconnect with audiences nationwide and around the worldwith unequivocally outstanding work; to encourage adiverse artistic tradition; to expand the opportunities foraccess to what we do; to inspire young minds and hearts;to work in partnership with other organizations withinthe arts sector; and to evolve and live by a coherent strategythat will sustain all of this.
This Review is a retrospective of the exceptional workthat has taken place over the past year in every sphere ofour operations. It also marks, however, a transition to anew paradigm. So we must look and plan ahead to ensurethat we continue to serve our audiences,our art forms,andour country in the best possible way. We are well placed todo this primarily because our strategy of the past decadehas equipped us to respond in a positive and sustainablefashion to the new funding realities that we face.We are anarts organization, a learning resource, a facility for artists, atourist attraction, an engine of social change, a player inthe digital arena and a global brand. We are home to a pairof globally respected Companies, a world-class orchestraand chorus, three stages and a landmark building that
Tony Hall, Chief Executive
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affordable. Our pricing strategy, facilitated to a significantextent by the generosity of our supporters, is predicated onremoving financial impediments to experiencing theRoyal Opera House. In 2009/10, 50% of our tickets were£50 or below retaining the same prices as 2008/09. Ourwell established commitment to enabling children to tastewhat we do continues in the shape of The Taylor FamilyFoundation Schools Matinees which boast 12,000 annualattendees. In Thurrock and the Thames Gateway we havenow worked with more than 230 schools. We aim to buildon this and to utilize the High House Production Park asa centre for training to develop a diverse workforce andbring new opportunities for the people of the region.
We will continue to play a role as a national leader forthe arts and cultural sector of our country. This is why ourparticipation in programmes such as the London 2012Cultural Olympiad, our leadership of the Culture QuarterProgramme for the jobless that won Runner Up in theYouth Employment Awards, and our mentoring andsupport of companies such as Ballet Black, is so important.The Royal Opera House is an engine for so much in thebroadest cultural terms.
Our location in London does not obscure the fact thatwe are here to serve the entire nation and also to act as aglobal ambassador and champion of opera and ballet.We will expand our reach as an organization to maximizethe number of people that we can inspire. We connectwith communities beyond the capital through ourcommitment to places such as Thurrock, our On the Roadinitiatives, our BP Summer Big Screens, our use ofbroadcast and online media, and directly to the wider
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never sleeps. All of this must be supported by our ownefforts as much as by funding from government. We willcontinue to embrace that challenge.
Our art is the lifeblood of what we do. It flows into every aspect of the Royal Opera House. We areuncompromising in our creative and artistic ambition tobe the best. This is why the greatest performers in theworld come to our stages. These artists are a magnet forour audiences. We are incredibly fortunate to have thekind of people here who can create and deliverextraordinary experiences for those audiences – such asMonica Mason and Antonio Pappano who guaranteesensational work that consistently plays to capacity houses.There is no greater testimony to the hunger for what wedo than a full house night after night. Our job is to expand, diversify and inspire our audiences.
There should be a democracy of access to the RoyalOpera House. We do not believe in exclusivity or somehackneyed notion of elitist art. It is one of our keyresponsibilities to ensure that we enable and encouragediversity in our audiences, in every sense of the word. I wasdelighted to see our efforts recognized by theGramophone Awards where we won The Classic FMInnovation Award (given to an initiative or organizationthat has broken down barriers and attracted newaudiences). This was for our Hamlyn First Night of DonGiovanni, offered to Sun readers, supported by The HelenHamlyn Trust. It is one of many initiatives that seek newand better ways of connecting with people to expand ouraudience base. It is also obviously critical to enableattendance here by making the price for a ticket
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world through our tours. Touring our work ensures thatwe remain a genuine presence nationally and a globallysignificant advocate for our art forms. From 2011/12 wewill stage annual concert performances in Birmingham.This year our BP Summer Big Screen performancesattracted over 24,000 people; we anticipate audiences for our revenue-generating cinema programme, newlysupported by Bank of America Merrill Lynch, increasingsubstantially from their 150,000 level of last year as weextend our screenings to 106 cinemas. In 2011/12 we willrelease ten ROH titles to cinema and we partnered withRealD in the 2010/11 Season to produce an innovative 3DCarmen.In conjunction with the BBC and other broadcasterswe are watched by over a million viewers every year, with afurther 1.5 million radio listeners. Our website attracts270,000 unique visitors per month and our use ofappropriate digital media, such as YouTube, to reach specificaudiences strengthens our ability to connect more intimatelyand memorably with people. Taken collectively, the strengthof our strategy to ensure that the Royal Opera House can beexperienced nationwide and worldwide becomes clear.
The breadth of our work, on all our stages, offers astimulating range with uniquely wide appeal. This isfuelled not only by the multiplicity of productions by TheRoyal Ballet and The Royal Opera, augmented by theOrchestra of the Royal Opera House and the Royal OperaChorus, but also by the work of ROH2 and our numerouscollaborations with external artists and companies. TheLinbury Studio Theatre is a vital performance space forcontemporary opera and dance, encouraging innovation,creative risk-taking and the development of new talent.
Guest companies and artists from beyond the ROH havefound it an invaluable resource. Since 2002, it has hosted246 productions, 66 world premieres and provided 144opportunities for visiting companies, welcoming over250,000 people to 900 performances. In recognition of theLinbury Studio Theatre’s pivotal role in expandingcreative opportunities and attracting diverse audiences weare launching Open Up ROH. This is an ambitious newcapital project that will better present the Royal OperaHouse as a single venue, increase the visibility of work inthe Linbury Studio Theatre, and share the space with anincreased range of small-scale artistic companies. It aims toopen up the heart of the building facing the Piazza inCovent Garden and will create new space for creative,participatory and educational activity, as well as upgradingthe Linbury Studio Theatre’s seating capacity. Inaccordance with our umbrella strategic policy of self-reliance, this vision can only be realized with significantadditional private support.
We are proud of the incredible work that we produceand its appeal to different audiences. Every month you canexperience a completely different artistic perspective here,uniform only in its uncommon quality. That is so exciting.It was gratifying for our efforts to have been recognizedthis year with so many awards. The Royal Ballet scoopedfour of the most prestigious at the National Dance Awardsof the Critics’ Circle, and Nina Stemme deservedly wonthe Outstanding Achievement in Opera Olivier Award forher Isolde in Tristan und Isolde which also won us the BestNew Opera Production Award. Our excellence isaugmented by our eclecticism. As a national home for our
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art forms we need to reflect their diversity; but sometimesthe sheer scope of what we do is amazing. Cast a briefglance over the past year and you will see Tristan und Isoldeand Goldberg: the Brandstrup - Rojo Project both of whichwon Olivier Awards; the wonderful revisiting of ThomasArne’s Artaxerxes; and The Tsarina’s Slippers which sold outeven though it was virtually unknown outside Russia,alongside perennial favourites such as The Nutcracker. TheTsarina’s Slippers was released on DVD through Opus Arteand was also broadcast on television and radio by the BBC.We gave it that exposure. The list goes on: The Gambler,Aida, Manon, Mayerling, Chroma, Romeo and Juliet, TheJudas Tree. Then consider such work as Simon Boccanegrawhich uniquely received three successive standingovations, sold out its Prom appearance at the Royal AlbertHall and really highlighted the incredible talent of theRoyal Opera Chorus,among other things.Together, it is allquite breathtaking.
Talent builds art. We build talent. It is wonderful to seesuch productions as Limen, As One and Asphodel Meadowsshowcasing outstanding, contemporary choreographers,respectively Wayne McGregor, Jonathan Watkins andLiam Scarlett.These are people from within our own wallsraising the bar for ballet. This year our Jette Parker YoungArtists received a record number of applicants fromaround the world. Our Apprenticeship schemes continueto strengthen both the futures of its participants and ourorganization as a whole. From ROH2 Associates to ourorchestral mentoring partnership with SouthbankSinfonia and Chance to Dance, our broad, long termcommitment to nurturing talent is most apparent. In a
year in which we lost Dame Joan Sutherland, PhilipLangridge and Sir Charles Mackerras, whose finalperformance of The Cunning Little Vixen we wereprivileged to stage, it is heartening to recognize thecontinuity of excellence that feeds our art forms. Lastyear’s service at Westminster Abbey held in November todedicate a memorial stone, in Poets’ Corner, to thefounders of The Royal Ballet underlined that continuum.We are the guardians of opera and ballet and everygeneration makes its contribution. If we stand on theshoulders of giants, our role is to enable people to becomethose giants.
In this economic climate it is more imperative than everthat we are both efficient as an organization, and self-reliant in terms of developing and diversifying income.This is what ensures that we will not have to compromiseon the quality of our work or our ability to include asmany people as possible in what we do. We have made aconcerted effort to achieve savings across the Royal OperaHouse, including streamlining procurement andtendering processes and restructuring our productionsystem. We have also evolved a robust and productivecommercial strategy that has scrutinized every aspect ofhow we work. It has examined new opportunities forrevenue streams, it has explored how to strengthen ourretail and commercial operations, and it has also looked toadapt our planning, scheduling and contracts so that theycan accommodate the demands that the new dynamics offunding present to every arts’ organization. Look at RoyalOpera House Restaurants, operated in conjunction withCompany of Cooks, or our brand licensing business
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partnering companies such as FREDDY, Joules, ArtFileand Paul Smith. Strategic partnerships enable us notsimply to broaden our operational and financial base butalso enhance the experience of the Royal Opera House ina variety of ways.
Fundamentally everyone here has a contribution tomake. We are one of the UK’s great institutions andinternationally recognized as such. We have a role to playboth nationally and globally by producing great art. Wehave to value that and to feel proud, as a country, that wehave places such as the Royal Opera House. Our peers arein New York, Milan and Paris, but our roots are incommunities such as Thurrock. This is what we are a partof and this is where we look to create a different sense ofthe future. We are a partner for other companies, acrucible for developing talent and young artists, a placethat generates jobs and prospects for people, and a homefor our own Companies which are second to none. TheRoyal Opera House is a catalyst for so much. We willensure that it remains so.
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Simon Robey, Chairman
We talk about the Royal Opera House as a singularentity, but really it is a nexus for so much in a variedrange of activities across the culture sector. Its significantcontributions to the artistic life of the United Kingdomhave to be safeguarded. There is only one way to do that:through responsible and responsive management andfinancial prudency. That is what permits everything elseto happen. This is what allows the Royal Opera Houseto be creatively ambitious and to dare to take artisticrisks - the hallmark of a truly great artistic institution.
Funding is key to all arts’ organizations. Simplybecause a cultural centre is unequivocally successful, aswe are, does not remove the need for governmentalsupport. Success should never be penalised. That we aresuccessful in all that we do is due to the skill of theExecutive Team under Tony Hall’s leadership and theimmense talent and commitment of the performers andstaff here. In turn our success enables us to contribute tothe development of other companies and artists as thelist of our partnerships on page 86 illustrates. On TonyHall’s watch the correct decisions have been taken, andthe right preparations made, to assure the future of theRoyal Opera House in the face of a substantial reductionin funding from government. These actions will alsohelp to strengthen other organizations within the artsby extending resources and expertise to them so thatthey are more able to weather these challenging times.
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EXCEPTIONAL PHILANTHROPY
The Chief Executive, Chairman and Trustees of the Royal Opera Housewould like to thank the following individuals and organizations whoseexceptional generosity has helped to make our 2009/10 Season possible.
Lady Ashcroft, BP, Deloitte, The Fidelity (UK) Foundation,Mrs Aline Foriel-Destezet, The Foyle Foundation, Garfield Weston
Foundation, Sir Donald Gordon, The Helen Hamlyn Trust, Ronald andMarina Hobson, Alan and Sabine Howard, Jean Sainsbury Royal Opera
House Fund, Aud Jebsen, The John Beckwith Charitable Trust, Lordand Lady Laidlaw of Rothiemay, Tamar and Bob Manoukian, Medicor
Foundation, The Monument Trust, Oak Foundation, The Peter CruddasFoundation, Sir Simon and Lady Robertson, The Robey Family, Rolex,
The Taylor Family Foundation, Xstrata and two anonymous donors.
The financial underpinning of the wonderful work thattakes place here is significantly bolstered by the RoyalOpera House’s considerable success in supporting itself.We have to be aware of the imperative, in the currentfunding model for the arts, to connect artistic quality tothe need to pursue income vigorously. Really this shouldbe an axiom for any contemporary arts’ organizationthat is truly ambitious about the standards of its workand its capability to engage with its audiences. This iswhy we have to make every effort to be as self-reliant asis practicably possible. In parallel with this we mustconnect with our numerous supporters ensuring thatthey have a sense of being included in the life of ourorganization, and that their immense generosity andcontribution to enabling the amazing things that takeplace here is recognized. As an organization we willwork closely with government to enable and sustain aclimate of giving, so that philanthropy is encouragedand its value to the artistic life of the countryacknowledged.
The breadth of the activities and productions that theROH is involved in will always present a challenge as tohow to fund them so that artistic excellence and therichness of the experience here are never diluted.Thankfully, the Royal Opera House’s financial figurestell a clear story. It is one that is both an exemplar ofgood management and a demonstration of the kind ofartistic work that can be achieved when this is the case.For the eleventh successive year the books are balancedand the Royal Opera House is still raising nearly £3 forevery £1 it receives in public subsidy. It is part of our
responsibility to the nation as custodians of this uniqueplatform for opera and ballet to ensure that we nevertake those figures for granted. That is a daily effort.
This place is, quite simply, a marvel. Ask anyone whohas sat in front of our stages. This is what inspires thephenomenal dedication of everyone here. That is why theRoyal Opera House will continue to epitomize excellencein opera and ballet and define the way in which a 21st-century arts’ organization can lead and shine. We willembrace the realities of this financially challenging yearand emerge even stronger. This is our pledge.
TALENT
We give ouraudiences the
world’s greatestartists, established
and rising.
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Sarah Lamb and Rupert Pennefather Tryst S
Rupert Pennefather Cinderella Marianne Cornetti and Marcelo Álvarez Aida
Sarah Lamb and Sergei Polunin The Nutcracker Edward Watson As One
Tamara Rojo and Bennet Gartside Asphodel Meadows Micaela Carosi Aida
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Artists of The Royal Ballet Asphodel Meadows
Yves AbelFranco-Canadian
Conductor La traviata
Carlos AcostaCuban
Prince Rudolf MayerlingColas La Fille mal gardéeRomeo Romeo and JulietForeman The Judas Tree
Roberto AlagnaSicilian-French
Don José Carmen
Eleanor AlbergaJamaican
Composer Letters of a Love Betrayed
Marcelo ÁlvarezArgentinian
Radames Aida
Ildebrando d’ArcangeloItalian
Escamillo Carmen
Angela DenokeGerman
Polina The GamblerTitle role Salome
Natalie DessayFrench
Marie La Fille du régiment
Plácido DomingoSpanish
Title role Simon Boccanegra
Juan Diego FlórezPeruvian
Tonio La Fille du régiment
Tommy FranzenSwedish
Goldberg: The Brandstrup - RojoProject
Feruccio FurlanettoItalian
Philip II Don Carlo
Mara GaleazziItalian
Mary Vetsera MayerlingJuliet Romeo and JulietWoman The Judas Tree
Chroma
Semyon BychkovRussian
Conductor Don Carlo
Joseph CallejaMaltese
Gabriela Adorno Simon Boccanegra
Bruno CampanellaItalian
Conductor La Fille du régiment
Tannishtha ChatterjeeIndian
Singer Ingerland (Opera Shots)
Alina CojocaruRomanian
Sugar Plum Fairy The NutcrackerLise La Fille mal gardée
Title role CinderellaRushes - Fragments of a Lost Story
Alessandro CorbelliItalian
Don Geronio Il turco in ItaliaSulpice La Fille du régiment
Annette DaschGerman
Countess Almaviva Le nozze di Figaro
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Clara BarberaSpanish
Goldberg: The Brandstrup - RojoProject
Piotr BeczalaPolish
Rodolfo La bohème
Leanne BenjaminAustralian
Mary Vetsera MayerlingJuliet Romeo and JulietWoman The Judas Tree
Infra
Maurizio BeniniItalian
Conductor Il turco in Italia
Kim BrandstrupDanish
Choreography Goldberg: TheBrandstrup - Rojo ProjectRushes – Fragments of a
Lost Story
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Elina GarancaLatvian
Title role Carmen
Angela GheorghiuRomanian
Violetta La traviata
Valentina GolfieriItalian
The Bride God’s Garden
Vittorio GrigoloItalian
Chevalier des Grieux Manon
Kyle KetelsenAmerican
Nick Shadow The Rake’s Progress
Johan KobborgDanish
Prince Rudolf MayerlingAgon
Romeo Romeo and JulietSymphony in C
Sophie KochFrench
Brangäne Tristan und IsoldeOctavian Der Rosenkavalier
Aleksandra KurzakPolish
Fiorilla Il turco in Italia
Mariusz KwiecienPolish
Count Almaviva Le nozze di Figaro
Sarah LambAmerican
Countess Marie LarischMayerling
Princess Aurora The SleepingBeauty
Title role CinderellaTryst
Colin LeeSouth African
Don Narciso Il turco in ItaliaTonio La Fille du régiment
Robert LepageCanadian
Director The Rake’s Progress
Nicola LuisottiItalian
Conductor Aida
Steven McRaeAustralian
Goldberg: The Brandstrup - RojoProject
Colas La Fille mal gardéeRomeo Romeo and Juliet
Chroma
Charles Mackerras (1925 - 2010)Australian
Conductor The Cunning Little Vixen
David MakhateliGeorgian
Prince The NutcrackerPrince Cinderella
Prince The Sleeping BeautySymphony in C
Roberta MarquezBrazilian
Princess Aurora The Sleeping BeautySugar Plum Fairy The Nutcracker
Lise La Fille mal gardéeJuliet Romeo and Juliet
Ingo MetzmacherGerman
Conductor The Rake’s Progress
Laura MoreraSpanish
Countess Marie LarischMayerling
Sugar Plum Fairy The NutcrackerLise La Fille mal gardée
Rushes - Fragments of a Lost StoryChristianne Stotijn Tamerlano
ROYAL OPERA HOUSE ANNUAL REVIEW 2009/10
Ben HeppnerCanadian
Tristan Tristan und Isolde
Dmitri HvorostovskyRussian
Giorgio Germont La traviata
Jacques ImbrailoSouth African
Count Almaviva Le nozze diFigaro
Soile IsokoskiFinnish
The Marschallin DerRosenkavalier
Countess Almaviva Le nozze diFigaro
Ermonela JahoAlbanian
Violetta La traviata
Mikhail KarakisGreek
Singer Ingerland (Opera Shots)
Jonas KaufmannGerman
Title role Don Carlo
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Ann MurrayIrish
La Marquise de Berkenfeld La Fille du régiment
Andris NelsonsLatvian
Conductor La bohème
Anna NetrebkoRussian
Title role Manon
Marianela NuñezArgentinian
Princess Aurora The SleepingBeauty
Title role SphinxLise La Fille mal gardée
Title role Cinderella
Antonio PappanoAnglo-Italian
Conductor Tristan und IsoldeL’Heure espagnole/Gianni Schicchi
The GamblerManon
Laurent PellyFrench
Director La Fille du régimentManon
Kirill PetrenkoRussian
Conductor Der Rosenkavalier
Saimir PirguAlbanian
Alfredo La traviata
Arthur PitaPortugese
Choreographer God’s Garden
Sergei PoluninUkrainian
Prince Florimund The SleepingBeauty
Prince CinderellaPrince The NutcrackerElectric Counterpoint
Marina PoplavskayaRussian
Elizabeth of Valois Don CarloAmelia Simon Boccangera
Ivan PutrovUkrainian
Prince Florimund The SleepingBeauty
Colas La Fille mal gardéePrince The Nutcracker
Romeo Romeo and Juliet
Albert QuesadaSpanish
Dancer and choreographer Your Eyes
Johan ReuterDanish
Jokanaan Salome
Tamara RojoSpanish
Goldberg: The Brandstrup - RojoProject
Mary Vetsera MayerlingPrincess Aurora The Sleeping Beauty
Juliet Romeo and Juliet
Roberto SaccáGerman-Italian
Alexei The Gambler
Nitin SawhneyAnglo-Indian
Composer Entanglement(Opera Shots)
Erwin SchrottUruguayan
Title role Le nozze di Figaro
Nuno SilvaPortugese
Prodigal SonGod’s Garden
Giles de Tourette Pleasure’s Progress
Thiago SoaresBrazilian
Prince Rudolf MayerlingPrince Cinderella
Foreman The Judas TreeRomeo Romeo and Juliet
Nina StemmeSwedish
Isolde Tristan und Isolde
Christianne StotijnDutch
Title role Tamerlano
Kurt StreitAmerican
Marquis The GamblerBajazet Tamerlano
Vera TussingGerman
Dancer and choreographer Your Eyes
Michael VolleGerman
Kurwenal Tristan und Isolde
Miyako YoshidaJapanese
Sugar Plum Fairy The NutcrackerTitle role Cinderella
Juliet Romeo and Juliet
Francesca ZambelloAmerican
Director CarmenThe Tsarina’s Slippers
Liping ZhangChinese
Micaëla Carmen
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John Tomlinson The Gambler
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HOME GROWN
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Thomas AllenTitle role Gianni Schicchi
Prosdocimo Il turco in ItaliaFaninal Der Rosenkavalier
Rakie AyolaSinger Dalston Songs
George BenjaminComposer Into the Little Hill
Ivor BoltonConductor Tamerlano
Laura CaldowDancer Goldberg: The Brandstrup
- Rojo ProjectPamela Prim
Pleasure’s Progress
Dave CamlinSinger Dalston Songs
Lucy CarterLighting Limen
Infra
Helen ChadwickComposer, creator and singer
Dalston Songs
Caryl ChurchillLibrettist A Ring, a Lamp, a
Thing (Opera Shots)
Paule ConstableLighting Carmen
The Cunning Little Vixen
John CopleyDirector La bohème
Michelle CorneliusDot The Enchanted Pig
Colin DavisConductor Le nozze di Figaro
Lucy CroweSophie Der Rosenkavalier
Anna DennisNancy Pleasure’s Progress
Jonathan DoveComposer The Enchanted Pig
Martin DuncanDirector Artaxerxes
Richard Edgar-WilsonJose Letters of a Love Betrayed
Mark EdlerConductor Linda di Chamonix
(in concert)
Paul EnglishbyComposer Pleasure’s Progress
Rebecca EvansMimi La bohème
Richard EyreDirector La traviata
Sarah FoxAsteria Tamerlano
John FulljamesDirector The Enchanted Pig
Dawn FrenchLa Duchesse de Crackentorp
La Fille du régiment
Chantelle GotobedDancer Ballet Black
Orlando GoughComposer A Ring, a Lamp, a
Thing (Opera Shots)
Jade Hale-CristofiDancer Ballet Black
Matthew HartTom Rakewell Pleasure’s Progress
Michael HenrySinger Dalston Songs
Ingerland (Opera Shots)
Nicholas HytnerDirector Don Carlo
George IkediashiSinger Ingerland (Opera Shots)
Richard JonesDirector L’Heure
espagnole/Gianni SchicchiThe Gambler
Rosemary JoshuaAnne Trulove The Rake’s Progress
Simon KeenlysideRodrigo, Marquis of Posa
Don Carlo
Beverley KleinThe Book of Fate The Enchanted Pig
Sarah KundiDancer Ballet Black
Karina LucasFlora The Enchanted Pig
Wayne McGregorChoreography Limen
InfraChroma
David McVicarDirector Aida
Le nozze di FigaroSalome
Christopher MaltmanRamiro L’Heure espagnole
Gamekeeper The Cunning LittleVixen
Marcello La bohème
Sally MatthewsFiordiligi Così fan tutte
Elisabeth MeisterFox The Cunning Little Vixen
Alasdair MiddletonLibrettist The Enchanted Pig
Pleasure’s Progress
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Jonathan MillerDirector Così fan tutte
Hannah PedleySinger Twitterdammerung
The Twitter Opera
Cassa PanchoArtistic Director Ballet Black
Melanie PappenheimSinger A Ring a Lamp a Thing
(Opera Shots)Ingerland (Opera Shots)
Rupert PennefatherPrince Rudolf Mayerling
Prince The Sleeping BeautyOedipus Sphinx
Romeo Romeo and Juliet
Mary PlazasAnalia Torres Letters of a Love
Betrayed
Jocelyn PookComposer Ingerland (Opera
Shots)
Helen PorterComposer Twitterdammerung
The Twitter Opera
John B. ReadLighting Mayerling
Agon, Sphinx, ConcertoElite Syncopations, Les Patineurs
La Fille mal gardéeRomeo and Juliet
Christine RiceConcepcion L’Heure espagnole
Title role Carmen
Joan RodgersDuchess Powder Her Face
Arlene RolphMother Superior/Gloria Letters of a Love Betrayed
Peter RoseBaron Ochs Der Rosenkavalier
Liam ScarlettChoreography Asphodel
Meadows
Tom SolomonKing of the East/The Moon
The Enchanted PigHogarth Pleasure’s Progress
Toby SpenceTom Rakewell The Rake’s
Progress
Donald SturrockLibrettist Letters of a Love
Betrayed
John TomlinsonGrand Inquisitor Don Carlo
General The Gambler
Graham VickDirector Tamerlano
Will TuckettChoreographer and Director
Pleasure’s Progress
Edward WatsonPrince Rudolf Mayerling
Anubis Sphinx
Jonathan WatkinsChoreography As One
Elizabeth WattsMandane Artaxerxes
Christopher WheeldonChoreography
Electric CounterpointTryst
Thomas WhiteheadDancer Goldberg: The Brandstrup
- Rojo Project
Simon WildingThe Pig The Enchanted Pig
Barry WordsworthConductor Mayerling
SphinxLa Fille mal gardée
CinderellaAsphodel Meadows
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SLeanne Benjamin and Steven McRae in rehearsal
ENTERPRISE CULTURE
The Royal Opera House has a long and successful tradition of almosttrebling the funding subsidy we receive through our own efforts, theresults of which we invest in our work, our landmark building and ourfacilities. In the present funding climate it is critical that we continue tostrengthen our position to ensure that we will never have to compromiseour standards. Royal Opera House Enterprises, the commercial tradingarm of the Royal Opera House, is a vital part of this strategy. Establishedin September 2009, Enterprises consolidates our merchandizing,licensing, venue hire, catering and digital media activities into a singledivision, led by Managing Director Stephen Michael. It has enjoyed anexcellent first year, characterized by revenue growth, increased reach of ourdigital output and by the inception of a number of innovative newcommercial partnerships. In June 2010, we joined forces with RealD, theworld’s leading 3D technology supplier, to film Bizet’s Carmen – the firstfull-length opera to be filmed in 3D for commercial cinematicdistribution. Carmen in 3D was released in cinemas globally in early 2011.We anticipate that further 3D projects will follow. Our other cinemaactivity goes from strength to strength with Opus Arte, our multi-platformarts production and distribution company, bringing the finest opera,ballet, theatre and music to cinemas around the world. This year it addedthe Bayreuth Festival to its roster in an exclusive partnership that willresult in the release of a number of Bayreuth titles on CD, DVD and incinemas over the next five years. In April 2010, Enterprises launched RoyalOpera House Restaurants, our new in-house bar and restaurant offer,operated in partnership with Company of Cooks. It offers our customersa fresh approach to eating and drinking at the Royal Opera House, as weroll out a programme of investment that will see our bars and restaurantsremodelled and refurbished. Enterprises has also reinvigorated the RoyalOpera House retail offer with a complete product refresh and a refit of ourshop. Our brand licensing business, too, has been developed throughoutthe year, with a number of new partnerships being established incategories as diverse as children’s clothing (Joules), stationery (ArtFile) andphotography (Paul Smith). We look forward to strengthening our tradingrevenues over the course of the coming years to empower the work of theRoyal Opera House further.
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PERFORMANCE
We give our audiences anincomparable range andquality of productions
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Opening the 2009/10 ballet Season, the three-actballet Mayerling was an immaculate revival ofKenneth MacMillan’s signature work, featuringfive Principals of The Royal Ballet sharing the roleof Prince Rudolf, one of the most challenging inthe whole male ballet repertory. John Kobborg,Edward Watson and Carlos Acosta had all dancedthe part before, while role debuts were made byThiago Soares and Rupert Pennefather. With itsphysically and technically demanding frameworkand exhilarating dance-acting, Mayerling provideda showcase for the monumental talents of some theCompany’s leading lights. In spring 2010MacMillan’s work was further celebrated in thetriple programme of Concerto, The Judas Tree andElite Syncopations. This presented the spectrum ofMacMillan’s career from his success in 1966 withConcerto to Elite Syncopations in 1974 and theaward-winning triumph of The Judas Tree in 1992.
The familiar and the boldly new combined indazzling fashion to lead ballet into winter with thetriple bill of Agon, Sphinx and Limen. Agon, the lastcollaboration between George Balanchine andIgor Stravinsky, presented an abstract piece thatextended classicism beyond its boundaries in its1957 premiere. Sphinx was created by Glen Tetleyfor American Ballet Theatre in 1977, inspired byJean Cocteau’s play of the same name. Royal BalletResident Choreographer Wayne McGregor set Limen, Marianela Nuñez Sphinx
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his new ballet, to Finnish composer KaijaSaariaho’s Notes on Light for cello and orchestrawith designs by the Japanese sculptor andinstallation artist Tatsuo Miyajima.
Our opera Season opened with two concertperformances of Donizetti’s Linda di Chamounix,never previously performed by The Royal Opera.Mark Elder, Music Director of the Hallé Orchestra,conducted a cast that included two notable RoyalOpera debuts: Eglise Gutiérrez, the rising Cuban-American soprano, in the title role of Linda andAmerican tenor Stephen Costello as Carlo. Theperformances were recorded for Opera Rara.
It is rare for a production to redefine how weview a key work. The double Laurence OlivierAward-winning Tristan und Isolde did precisely that.It reunited Antonio Pappano with Germandirector Christof Loy with whom he collaboratedon Ariadne auf Naxos when he first joined theRoyal Opera House. Loy’s creation of a stark,monochromatic world stripped the piece to itsessence to expose its pain and drama in a uniquefashion. This was amplified by the extraordinary
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Tommy Franzen Goldberg:The Brandstrup - Rojo Project
emotional depth and resonance of Nina Stemme’suniversally acclaimed performance as Isolde, whichwon her the Laurence Olivier Award for OutstandingAchievement in Opera. Leading Wagnerian tenor,Ben Heppner, sang the role of Tristan.Risk has alwaysbeen integral to great art and the gamble of revealingan entirely new aspect of a major work through acourageous interpretation, is not something easilyundertaken. It is a privilege for the Royal OperaHouse to be able to offer those kinds of performancesto its audiences.
In October audiences were given the opportunity toenjoy The Royal Opera in the Linbury Studio Theatreperforming Artaxerxes, a neglected but outstandingopera. Written in the 18th century by Thomas Arne, itwas last heard in repertory at Covent Garden duringthe 1842/3 Season. The new production was directedby Martin Duncan working with The Royal Opera forthe first time. South African-born countertenorChristopher Ainslie sang the title role.
In the lead up to Christmas Francesca Zambelloreturned to the Royal Opera House to direct thecharming tale of The Tsarina’s Slippers, based on aChristmas tale by Gogol. For this production TheRoyal Opera and The Royal Ballet shared the stage,and Alastair Marriott – working with The RoyalOpera for the first time – choreographed the ballet. Acast of Russian principals was conducted byAlexander Polianichko.
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Prokofiev’s opera The Gambler, based on Dostoevsky’snovel of the same name, paired the formidable talentsof Antonio Pappano and Richard Jones. Theirprevious collaborations include the award-winningLady Macbeth of Mtsensk and the double programmeof L’Heure espagnole/Gianni Schicchi, revived earlier inthe 2009/10 Season. The opera was presented for thefirst time by The Royal Opera and German-bornItalian tenor Roberto Saccà sang Alexei, with Germansoprano Angela Denoke as Paulina.Both were makingtheir debuts in their respective roles. The productionalso included six members of the Jette Parker YoungArtist Programme.
Laurent Pelly returned to direct The Royal Opera ina breathtaking new production of Massenet’s Manon,a co-production with La Scala, Milan, Théâtre duCapitole, Toulouse and the Metropolitan Opera NewYork.Russian soprano Anna Netrebko was dazzling asManon, the first time she has played the part with TheRoyal Opera. The role of Chevalier des Grieux wasbrought vividly to life by Vittorio Grigolo. The RoyalOpera Chorus was also on sensational form tocomplete an extraordinary production conducted byAntonio Pappano.
A new production in spring of Verdi’s Aida in amythical but non-Egyptian setting was directed byDavid McVicar in a co-production with NorwegianNational Opera and Palau de les Arts, Valencia. Italiansoprano Micaela Carosi played Aida,while Argentinian
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tenor Marcelo Álvarez,sang Radames for the first time.American mezzo-soprano Marianne Cornetti sang therole of the jealous Amneris having made her debutwith The Royal Opera singing Princess Eboli in DonCarlo in September 2009. The conductor was NicolaLuisotti, Music Director of San Francisco Opera.
In another remarkable Season, as it approaches itstenth year of life, ROH2 mounted some dazzlingwork including Goldberg: the Brandstrup - Rojo Project,an Olivier Award winning collaboration betweenDanish choreographer Kim Brandstrup and RoyalBallet Principal Tamara Rojo. Deloitte Ignite onceagain filled the ROH with an abundance of creativeenergy and introduced the much media heraldedTwitterdammerung: the Twitter Opera. The annualreturn of FIRSTS, Ballet Black and Voices Across theWorld were all much enjoyed.Dalston Songs, created byROH2 in 2007, made a welcome return to the RoyalOpera House in 2010. Its origins lay in composerHelen Chadwick’s work with OperaGenesis whichculminated in her composition of a series of songs toexplore the experiences and stories of the diasporacommunities of Dalston and East London.Choreography and direction was by FranticAssembly’s Steven Hoggett. Continuing ROH2’scommitment to enhancing the chamber operarepertory, Music Theatre Wales returned with theworld premiere of Eleanor Alberga’s opera, Letters of aLove Betrayed.
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HIGHLIGHTS OF THE YEAR 2009
SEPTEMBERNew productions
Deloitte Ignite 09 curated by Time OutGoldberg: the Brandstrup - Rojo Project Kim Brandstrup/J S Bach/Richard
HudsonTristan und Isolde Richard Wagner/Antonio Pappano/Christof
Loy/Johannes LeiackerWorld premiere of Twitterdammerung: the Twitter Opera
Major revivalsDon Carlo Giuseppe Verdi/Semyon Bychkov/Nicholas Hytner/Bob Crowley
Key debutsEglise Gutiérrez title role Linda di Chamounix in concert
Landmark performancesAntonio Pappano and the Orchestra of the Royal Opera House Tristan und Isolde
Jonas Kaufmann title role Don CarloTamara Rojo Goldberg: The Brandstrup - Rojo Project
Nina Stemme Isolde Tristan und Isolde
OCTOBERNew productions
Artaxerxes Thomas Arne/Ian Page/Martin Duncan/ Johan EngelsLimen World Premiere Wayne McGregor/Kaija Saariaho/Tatsuo Miyajima
Sphinx Glen Tetley/Bohuslav Martinu/Rouben Ter-ArutunianLetters of a Love Betrayed World Premiere Eleanor Alberga/Michael
Rafferty/Michael McCarthy/Colin Richmond/Holly McCarthy
Major revivalsCarmen Georges Bizet/Bertrand de Billy/Francesca Zambello/Tanya McCallin
L’Heure espagnole/Gianni Schicchi Maurice Ravel/GiacomoPuccini/Antonio Pappano/Richard Jones/John Macfarlane
Key debutsRupert Pennefather Prince Rudolf Mayerling
Thiago Soares Prince Rudolf MayerlingSergei Polunin Prince Florimund The Sleeping Beauty
Landmark performancesElina Garanca title role Carmen
Edward Watson Prince Rudolf MayerlingThomas Allen title role Gianni Schicchi
NOVEMBERNew productions
The Tsarina’s Slippers Pyotr Il’yich Tchaikovsky/AlexanderPolianichko/Francesca Zambello/Mikhail Mokrov/Tatiana
Nogovina/Alastair MarriottFIRSTS seventh season of groundbreaking and experimental art from
young and emerging artists new to the ROH. Included ROH2commission Your Eyes by Vera Tussing and Albert Quesada
Major revivalsThe Nutcracker Peter Wright/Lev Ivanov/Pyotr Il’yich Tchaikovsky/Koen
Kessels/Julia Trevelyan Oman
Key debutsAlastair Marriott with The Royal Opera. Choreography The Tsarina’s Slippers
Olga Guryakova Oxana The Tsarina’s SlippersViktoria Yastrebova Oxana The Tsarina’s Slippers
Landmark performancesMiyako Yoshida Sugar Plum Fairy The Nutcracker
DECEMBERNew productions
The Enchanted Pig Jonathan Dove/Tim Murray/John Fulljames/Dick Bird
Major revivalsDer Rosenkavalier Richard Strauss/Kirill Petrenko/John
Schlesinger/William Dudley/Maria BjörnsonLa bohème Giacomo Puccini/Andris Nelsons/John Copley/Julia Trevelyan Oman
Key debutsAndris Nelsons conductor La bohème
Akane Takada Les PatineursTeodor Ilincai Rudolfo La bohème
Landmark performancesSoile Isokoski Marschallin Der Rosenkavalier
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MARCHNew productions
Tamerlano George Frideric Handel/Ivor Bolton/Graham Vick/RichardHudson
Major revivalsLa Fille mal gardée Frederick Ashton/Ferdinand Hérold/Barry
Wordsworth/Osbert LancasterThe Cunning Little Vixen Leos Janácek/Charles Mackerras/Bill
Bryden/William Dudley
Key debutsKurt Streit Bajazet Tamerlano
Steven McRae Colas La Fille mal gardéeCarlos Acosta Foreman The Judas TreeThiago Soares Foreman The Judas Tree
Landmark performancesCharles Mackerras (1925–2010) conductor The Cunning Little Vixen.
Mackerras’s final performances with The Royal Opera
APRILNew productions
Aida Giuseppe Verdi/Nicola Luisotti/David McVicar/Jean-MarcPuissant/Moritz Junge
Major revivalsIl turco in Italia Gioachino Rossini/Maurizio Bennini/PatriceCaurier/Moshe Lesier/Christian Fenouillat/Agostino Cavalca
Powder Her Face Thomas Adès/Timothy Redmond/Carlos Wagner/ConorMurphy
Key debutsMarianela Nuñez title role Cinderella
Steven McRae Prince CinderellaSergei Polunin Prince Cinderella
Landmark performancesMarcelo Álvarez Radames AidaThe Royal Opera Chorus Aida
HIGHLIGHTS OF THE YEAR 2010
JANUARYNew productions
The Rake’s Progress Igor Stravinsky/Ingo Metzmacher/Robert Lepage/CarlFillion/François Barbeau
Romeo and Juliet Kenneth MacMillan/Sergey Prokofiev/Boris Gruzin/NicholasGeorgiadis
Key debutsJulia Jones conductor Così fan tutte
Kyle Ketelsen Nick Shadow The Rake’s Progress Troy Cook Guglielmo Così fan tutte
Landmark performancesSally Matthews Fiordiligi Così fan tutte
FEBRUARYNew productions
God’s Garden Arthur Pita/traditional fado/Jean-Marc Puissant/NatashaChivers
The Gambler Sergey Prokofiev/Antonio Pappano/Richard Jones/AntonyMcDonald/Nicki Gillibrand
As One World Premiere Jonathan Watkins/Graham Fitkin/BarryWordsworth/Simon Daw
Major revivalsDalston Songs Helen Chadwick/Steven Hoggett/Miriam Buether
Rushes - Fragments of a Lost Story Kim Brandstrup/Sergey Prokofiev/MichaelBerkeley/Daniel Capps/Richard Hudson
Infra Wayne McGregor/Max Richter/Julian Opie
Key debutsRoberto Saccà Alexey Ivanovich The Gambler
Angela Denoke Paulina The GamblerJohn Tomlinson General The Gambler
Landmark performancesThe Royal Opera Chorus The Gambler
Ballet Black’s sixth sold out season in the Linbury Studio Theatre
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MAYNew productions
Asphodel Meadows World Premiere Liam Scarlett/FrancisPoulenc/Barry Wordsworth/John Macfarlane
Major revivalsLa Fille du régiment Gaetano Donizetti/Bruno Campanella/Laurent
Pelly/Chantal ThomasElectric Counterpoint Christopher Wheeldon/J.S. Bach/Steve
Reich/Jean-Marc Puissant
Key debutsYves Abel conductor La traviata
Notable eventsBBC3 In Tune live from the Paul Hamlyn Hall. The entireprogramme was devoted to Royal Opera House content
Landmark performancesNatalie Dessay Marie La Fille du régiment
Juan Diego Flórez Tonio La Fille du régiment
JUNENew productions
Opera Shots Three world premieres by established composers new to opera
Pleasure's Progress Will Tuckett/Paul Englishby/Alasdair Middleton/JonBausor performed in Ipswich, Covent Garden Piazza and then
Latitude FestivalManon Jules Massenet/Antonio Pappano/Laurent Pelly/Chantal
Thomas/Jean-Jacques Delmotte
Major revivalsCarmen Georges Bizet/Constantinos Carydis/Francesca
Zambello/Tanya McCallinSimon Boccanegra Giuseppe Verdi/Antonio Pappano/Elijah
Moshinsky/Michael Yeargan/Peter J. Hall
Key debutsBryan Hymel Don José Carmen
Constantinos Carydis conductor Carmen
Landmark performancesTwo performances of Carmen were filmed in 3D by RealD – the first
full-length opera to be filmed in 3DPlácido Domingo title role Simon Boccanegra
Antonio Pappano and the Royal Opera Chorus and Orchestra of theRoyal Opera House Simon Boccanegra
JULYMajor revivals
Into the Little Hill George Benjamin/Franck Ollu/JohnFulljames/Soutra Gilmour
Key debutsJames Valenti Alfredo Germont La traviata
Landmark performancesAngela Gheorghiu Violetta La traviata
Voices Across the World annual world music season at the ROHBBC Promenade Concerts Antonio Pappano and The Royal Opera
Simon Boccanegra
AUGUSTWhile The Royal Ballet and The Royal Opera were on holiday or in
rehearsal, the Royal Opera House hosted visits from The BolshoiBallet and Bolshoi Opera
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Dance Dynamic is a key initiative to introduceschool children to dance and ballet in amemorable and exciting way. More than 800 pupilsfrom 24 schools participated in sessions in whichthey developed their dancing and choreographicskills after watching demonstrations by The RoyalBallet. The project used The Royal Ballet repertoryas a stimulus, drawing on La Fille mal gardée forprimary schools and Wayne McGregor’s Infra forsecondary schools. Teachers in the participatingschools also collaborated with our artists todevelop their skills in leading creative dancesessions: 583 pupils from 14 London primaryschools then gave performances through whichthey shared the work. A further 250 students fromsecondary schools in Ipswich, Essex, Thurrock andLondon, performed in the Clore Studio Upstairs,Thameside Theatre Thurrock and JerwoodDanceHouse Ipswich, as part of our On the Roadprogramme. Royal Ballet dancers Laura Morera,Ricardo Cervera, Eric Underwood, Philip Mosley,Melissa Hamilton and David Pickering workedwith the groups along with members of theOrchestra of the Royal Opera House, Adrian Reedand Margaret Campbell.
The impact of teachers’ skills on the lives of thechildren in their schools cannot be overestimated.This is why their professional development is acontinuing focus for the education programme of
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the Royal Opera House. By reaching and inspiringteachers we hope to achieve a ripple effect as theyimpart their enthusiasm to their pupils and applythe skills we have helped to equip them with. Thisyear we established a pilot project working inpartnership with Exeter University to develop anddeliver a training course for trainee primaryschool teachers. Using the cross-arts nature of operaas the foundation, professional artists (a director,composer and designer) worked with the group toexplore approaches and skills that would enable araft of work to be delivered throughout thecurriculum. The teacher trainees then implementedthis in practical sessions with pupils in localschools, and assessed their experiences with theircourse tutors and the Royal Opera House team. Anevaluation of the pilot revealed that the course hada very positive impact on confidence levels inteaching the arts. We hope that this blueprint willenable us to work more extensively with teachertraining institutions in the future.
The Royal Opera House believes in sustainingour engagement with schools and teachers to leavea genuine, lasting legacy. This is why we arecommitted to ongoing initiatives such as Voices ofthe Future, which aims to empower teachers to leadsinging in schools. We first began work with 46teachers in Kent in September 2007, andconcluding sessions took place in spring 2010.
The Purfleet Opera Ludd and Isis dance workshop
Renata Pokupic Tamerlano
Jon Young FIRSTS Dancing Like No-one’s Watching
We are confident that the journey these teachershave made will make a tangible difference to theirschools and strengthen the value and enjoymentthat they derive from singing.
Our Write an Opera programme celebrated its25th anniversary in 2010. Two courses attractedteachers from the UK and overseas. A large numberof opera world premieres composed, designed andperformed by children took place in school hallsacross the UK and in other European countriesduring the year. Since the programme began morethan 700 teachers have attended courses, creating awealth of new operas and inspiring countlessyoung performers.
In October 2009 we launched First Stage. Thisopened the doors for employment in the creativearts sector to people from diverse backgrounds byoffering placements within the Royal OperaHouse. Through this programme all workexperience opportunities are now advertised onour website for anyone to apply to. During the2009/10 Season, 174 placements were offeredacross 19 departments in Covent Garden, in ourworkshops in Beckton and in our stores inAberdare. Over a third of our placements wereoffered to applicants who were not from Londonand the Home Counties. The opening of the HighHouse Production Park in Thurrock will providefurther opportunities for extension of the
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programme, and the arrival of the carpentry andscenic art teams there will mean that placementscan be offered within the locality. Opportunitiesavailable within Thurrock and the ThamesGateway have been promoted in local schools andmedia, and through Insight events. Over the nextSeason, as well as increasing the number ofplacements offered by those departments alreadyparticipating, we will work to expand the rangeand diversity of available roles.
With support from Arts Council England’s Sustainprogramme, we have been able to offer a diverseportfolio of opportunities for opera practitioners,encompassing workshop opportunities for composersworking on new commissions for both the LinburyStudio Theatre and main stages, and courses fordirectors, composers and librettists led by ROH2. Thishas encouraged new talent and is enabling freshperspectives in opera. The Royal Opera House isgrateful to Arts Council England for both the Sustainsupport and for its confidence in this activity.
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SROH2’s first commission for the 2009/10 Season proved a tourde force, bringing together Danish-born, British-basedcontemporary choreographer Kim Brandstrup and RoyalBallet Principal Tamara Rojo. Staged in the Linbury StudioTheatre Goldberg: the Brandstrup - Rojo Project, set to Bach’sGoldberg Variations, offered an intriguing insight into thenature of dance rehearsal and highlighted the intense andintimate relationships that dancers share. Famed for hisnaturalistic and narrative approach, Brandstrup’s choreographyexposed the hard work, experimentation, repetition anddedication required to create a new piece of dance, opening awindow onto the essence of performance. Set in a stark,rehearsal studio, Goldberg: the Brandstrup - Rojo Project mixeddance traditions to great effect casting seven performersincluding Royal Ballet Principal Steven McRae and SoloistThomas Whitehead, alongside contemporary dancers ClaraBarbera, Laura Caldow, Riccardo Meneghini and street dancerTommy Franzén. The Goldberg Variations is one of the mostambitious compositions written for harpsichord and thischallenging music was played live by pianists Philip Gammonand Henry Roche. Rojo’s extraordinary performance, marriedto Brandstrup’s subtle, articulate, innovative choreographywon ROH2 the Laurence Olivier Award 2010 for Best NewDance Production.
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Development CoursesVOX2 – composing for voice. Four weeks spreadover 2009/10 Season (Dominic Muldowney andJohn Lloyd Davies).The Singing Word – two short, linked courses forwriters interested in becoming librettists (JohnLloyd Davies and guest tutors).The Operating Table – intensive course fordirectors interested in the challenge of opera(Elaine Kidd, John Lloyd Davies and guest tutors).As It Happens – opera observer programme formain stage productions.
Workshop DevelopmentAnna Nicole, by Mark-Anthony Turnage andRichard Thomas; Royal Opera commission forthe main stage. Two workshops.Traps, new opera by Kenneth Hesketh, fromFriedrich Dürrenmatt story. A Kafkaesquechamber opera of intrigue and menace.Don’t Breathe a Word, a new opera by AndrewLovett and Fraser Grace. Satirical tragicomedyabout an outspoken British ambassador to centralAsian republic who falls in love with a belly-dancer.Under the Volcano, a new opera by Joseph Phibbsand Laurie Slade, based on the novel by Malcolm Lowry.
The Royal Opera House believes in creatingmomentum and empowering the trajectories ofsuccess for artists. 2009/10 marked the completionof the first year of the structured two-year Associateprogramme for emerging choreographers. Thisprovides access for the participants to every aspectof our organization to help their development andevolution as artists. Wayne McGregor has beenclosely involved in appointing the choreographersand the three Associates currently attached to theROH until August 2011 are Laila Diallo, SarahDowling and Freddie Oppoku-Addaie. Each ofthem has had work commissioned by ROH2 intheir second year and been given the freedom andopportunity to work with all of our departments.Orlando Gough and Aletta Collins have also beenappointed as ROH Associates until August 2012.
Originally developed through ROH2’sOperaGenesis programme, Letters of a Love Betrayedwas Jamaican composer Eleanor Alberga’s firstopera, inspired by Isabelle Allende’s The Stories ofEva Luna. Drawing on the sounds and rhythms ofAlberga’s home country the opera is scored for 14players and includes the tiplé (the Colombianguitar) to reflect the South American sensibility ofthe subject matter. Mary Plazas, one of the UK’sleading singing actresses, created the role of AnalíaTorres, the opera’s central character, whose solitarylife is transformed by a series of love letters.
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The libretto was by Donald Sturrock, who had aunique insight into the piece having grown up inColombia. Performed in the Linbury StudioTheatre, and then on tour around the country,Letters of a Love Betrayed was a co-productionbetween ROH2 and Music Theatre Wales.
For the seventh successive year FIRSTS featuredan intriguing variety of groundbreaking andexperimental work by young and emerging artistsappearing in the Linbury Studio Theatre for thefirst time. Three separate programmes showcasedartists in a variety of art forms includingcontemporary dance, aerial performance, circus,live art and physical theatre, and in a particularlyexciting season included the ROH2 commissionYour Eyes by choreographic duo Vera Tussing andAlbert Quesada.
In April Exposure offered a unique opportunity toexperience a taste of new opera work in progress,by composers of all ages, in a series of semi-stagedpieces. The Linbury Studio Theatre became theExposure Cabaret venue for four nights andfeatured contemporary opera work by up andcoming composers drawn from among the 35current or recent opera development projects atthe Royal Opera House and with partners.Highlights included extracts from Tarik O’Regan’sHeart of Darkness, which had workshops withOperaGenesis in 2008; ROH2’s acclaimed
Twitterdammerung: the Twitter Opera by Marc Teitlerand Helen Porter; Ed Hughes’s Cocteau in theUnderworld; Andrew Lovett’s Don’t Breathe a Wordand a snapshot of Marc Teitler’s Stuck on a Sundaywhich included an animated sketch. Works byrising stars Laura Bowler, Sasha Siem and PhillipNeil Martin also featured.
The Royal Ballet never rests on its laurels andmembers of the Company are always exploringfresh methods of challenging themselves as artists.Draft Works, in the Clore Studio Upstairs, presentedten, diverse, experimental pieces made by and formembers of the Company and those associatedwith it. An open brief was set for aspiringchoreographers, who selected themselves forparticipation, as a platform for the expression ofshort ideas or longer choreographic essays. Theresulting highly individualistic works, created inthe midst of heavy commitments to the Season,reflected the imagination and commitment of allthose who took part.
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Steven McRae As One
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Connecting with audiences in unexpected ways iscentral to our strategy as an organization. For thesecond year, ROH2 took a programme of work tothe Latitude Festival in Suffolk with an audience ofalmost 23,000. This involvement opened up our artforms to new audiences and extended generalawareness of the varied work taking place at theRoyal Opera House. Pleasure’s Progress, a newlycommissioned dance piece from Will Tuckett, whichoriginally opened at the Jerwood DanceHouseIpswich as part of our On the Road programme,ran for four performances to festival goers andwent on to be performed in the Covent GardenPiazza, the Linbury Studio Theatre and at theLowry in Salford.
The Enchanted Pig by Jonathan Dove, awonderfully vivid production for family audiences,was revived by ROH2 having first appeared at theYoung Vic in 2006. It presented a highly visual, fast-moving and entertaining tale providing a first,agreeable taste of opera that joyfully kindled aninterest in the art form in the hundreds ofenthusiastic children who went to see it.
We supported members of the armed servicesand their families with a Tickets for Troopsperformance, made possible by Lord and LadyLaidlaw of Rothiemay.This took place on Valentine’sDay. Sir Richard Dannatt, former Chief of theGeneral Staff, commented, ‘On behalf of all those The Tsarina’s Slippers
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that attended, thank you for an absolutely splendidevening yesterday. You billed it as a family treat forValentine’s Day and that’s exactly what it was.’
Curtain Up! at the Thameside Theatre in Grayswas a three-day festival of celebration, participationand education for young people and the localcommunity that showcased our educational workin the Thurrock and Thames Gateway region. Itwas a packed 72 hours with workshops, trainingevents, exhibitions and performances attended bymore than 500 young people, participants andlocal audiences. The focus for the final day was thefirst Royal Opera House Creative PartnershipsLearning Conference which more than 150 peopleattended.
In September 2009 we celebrated 40 years ofROH Collections. Exhibitions in the Royal OperaHouse throughout this Season offered us theopportunity to highlight the wealth and diversityof the Collections which continue to grow boththrough deposits from other departments andthrough gifts and bequests. This year, externaldonations have included the bequest of acollection of costume and prop designs by LeslieHurry for Turandot (1947) and Swan Lake (1952), acostume worn by Geraint Evans as Papageno in DieZauberflöte (1962), Mary Miller’s collection ofmaterial relating to her role in Isadora (1981), andthe purchase of a diary kept by the Royal Box Christopher Maltman, Jeremy White and Robin Leggate The Cunning Little Vixen
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Antonio Pappano
steward from 1892 to 1909. Individuals celebratedduring this Season included Dame Eva Turner,whose generous gift of costumes, photographs,letters and diaries forms a comprehensive record ofone of the first 20th-century British sopranos toenjoy an international career. Kenneth MacMillan’sgreat contribution to The Royal Ballet wascommemorated through costumes and designsfrom his work. The designs were drawn from thecollections of two individuals: Ian Spurling,purchased through the generosity of DeborahMacMillan, and Yolanda Sonnabend, purchasedwith the generous assistance of Anya Sainsbury.Plácido Domingo’s long connection with theRoyal Opera House was highlighted in a Spotlightdisplay that coincided with his performances inthe title role of Simon Boccanegra.
We are always keen to push the boundaries ofwhat we do and to offer new experiences to ouraudiences. Voices Across the World is the Royal OperaHouse’s annual world music festival which takesplace each July. Now in its fifth year, thiscelebration of tradition, diversity and innovationin vocal music from across the globe includedartists from Pakistan, Iraq, Egypt and Hungaryperforming in a range of vocal styles such asQawwali, Maqam, Sudanese mystic trance musicand Hungarian folk in the Linbury Studio Theatreand the Paul Hamlyn Hall.
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Deloitte Ignite stretches preconceptions about theRoyal Opera House by offering a stimulating andeclectic range of performances and events fordiverse, younger audiences. This year, curated byTime Out, it involved more than 8,000 visitors in aprogramme of concerts, installations, film,performance and flash mob actions, pivotingaround dance and opera. Artists includedDreamthinkspeak, Angela Woodhouse, YinkaShonibare, Kathleen Herbert, Bourgeois andMaurice, and the St Paul’s Cathedral choir, alongsidenew works by Will Tuckett and Chris Goode.
The Royal Opera House connects directlywith so many places.
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Ajose Cutting DanceAkademi
All Marble CrewAltai Kai
American Ballet Theatre IIAmina Khayyam
Amy Bell & ValentinaGolfieri
Angela Woodhouse andCaroline BroadheadArc Dance Company
Arts Council England, EastArnold Hill School
(Springboard)Arron Sparks
Askew and AvisAurelie
Australian BalletBad Taste CruBallet Black
Ballet Central (Springboard)Base ChorusBedlam Oz
Beijing Modern DanceCompany
BellowheadBenji Reid
Bern:Ballett Bgroup
Birkbeck CollegeBird College
Birmingham BalletBistrothequeBlast Theory
Blind Summit TheatreBloody Foreigners
Bourgeois and MauriceBritish Library
Britten SinfoniaCapital Shopping Centres
Cath and Phil TylerCathy Marston Dance Project
Central School of Ballet(Springboard)
Creativity Culture andEducation
Chi2Chinatown Arts Space
Chisato MinamimuraChitah
Chris CoxChris Goode
CimarronCity of London Sinfonia
Claire CunninghamCollectif and then…
Compañia LaDaimohk (Springboard)
Dance SouthwestDance Umbrella Dance Xchange
DanceEastDante or Die
Dartington InternationalSummer School
David Hughes DanceDavid Rothenberg
Dhafer YoussefDJ Phat and Suki MokDragon Tongue Squad
DreamthinkspeakDynamo’s Rhythm Aces
East of EnglandDevelopment AgencyEast London Dance
Eddie LaddEdinburgh International
Festival El Toro Theatre
English National BalletEtran Finatawa
Essex County CouncilExeter University
Farida and The Iraqi MaqâmEnsemble
FatimaFaulty Optic
Fernando’s KitchenFiona Talkington Little
DragonFocal Point Gallery
Future CreativeGemma Palomar
Genius SweatshopGisele Edwards and Simon
BlendisGoddard | Nixon Project
Gravity & Levity
Gryphon Trio Halle EnsemblesHeather Hoyle
Helen Chadwick GroupHelena Hunter
Helga Stromberger and Vilascon Krilas
Hertfordshire CountyCouncil
Hetain PatelHigh House Community
GroupHofesh Shechter
Hoipolloi and TiebreakHorsemeat Disco
IlluminagoIlona Jäntti
Impact DanceIrven Lewis Dance Theatre
Jack and the Band of ThievesJames Cotterill
James FaganJamie Woon
Jan BangJason CarterJean Abreu
Jessica Curry and DanPinchbeck
Joana AmendoeiraJohn-Martin White
JointworksJon YoungJonny Woo
jonzi d productionsJosephine Dyer
Katy CarrKazuko Hohki
KeiradanceKerfuffle
KW4K (Springboard)Kwesi Johnson
Laïla DialloLambeth CouncilLevon Minassian
Lo Còr De La PlanaLondon Film School
London International MimeFestival
London Jazz FestivalLondon Sevdah
London SinfoniettaThe Lowry
Luke DanielsMaki Mannami
Maria Ryan Wild RootsCollective
Marie-Gabrielle RotieMárta Sebestyén-Bolya-
Dongo TrioMatilda LeyserMatt Hennem
Matthew Hawkins DanceCompany
Matthias SperlingMavin Khoo Dance
Mem MorrisonMETAL
Midnite Youth TheatreCompany (Springboard)
Millicent Hodson & KennethArcher
MitsouraModified Toy Orchestra
MomentumMusic Theatre Wales
Nancy KerrNatalie Williams
National Ballet of CanadaNational Ballet of TurkeyNational Dance Network
National Skills Academy forCreative and Cultural Skills
National Youth DanceCompany (Springboard)
Natural Theatre CompanyNiall Ashdown and Between
The NotesNick LuscombeNicole Conibere
Nina RajaraniNITRO
Northern School ofContemporary Dance
(Springboard)Northern Youth Dance
Company (Springboard)ocean for sale
Ockham’s RazorOpen Heart Productions
Opera Northopera-te
Other/Other/OtherPalya Bea Quintet
Pete FirmanPina
Portico Quartet
Premiere Space 05Purfleet Community ForumQueen of Puddings Music
TheatreRachael Mossom
Rachel ErdosRajyashree Ramamurthi
Rambert School of Ballet andContemporary Dance
(Springboard)Random Dance
Random InternationalRango
Ray LeeRizwan-Muazzam Qawwali
RNIBRob Horsman
Robert HarbronRobert Hylton
Rose Bruford CollegeRoswitha Gerlitz and Harvey
BroughRotterdam Dance Academy
Royal Academy of MusicRoyal Ballet School
Sap DanceSatoshi Takeishi
Seeta PatelShobana Jeyasingh Dance
Company Shrewsbury School
(Springboard)Sidsel Endresen
Silent DiscoSiobhan Davies Dance
CompanySmallpetitklein
Sofia Buchuck and AndeanBand
SoothsayersSoulseekers Allowance
Southbank SinfoniaSouthend Borough CouncilSouthend Educational Trust
South Essex CollegeSouthwark Council
Spiltmilk DanceSpiro
St Clement Danes Church ofEngland Primary School
St. Paul’s Cathedral ChoirStac
Stammer ProductionsStan’s Café
Sväng New HarmonicaQuartet
Sweetshop RevolutionTanja Råman
Taraf de HaïdouksTartan ChameleonThameside TheatreThe Clod Ensemble
The Coal Porters The Ensemble GroupThe Errollyn Wallen
CompanyThe Opera Group The Orpheus Trust
(Springboard)The Shout
The Sugar Beast CircusThe Unthanks
The Zig QuartetTheatre AbsoluteTheatre Cryptic
Theatre Francais de laMusique of Compiègne
Theatre IsThurrock CouncilThurrock Learning
PartnershipThurrock Music Services
Thurrock Thames GatewayDevelopment Corporation
TilanneTim Van Eyken
TimberlinaTime OutTom Hull
Toronto Dance Theatre ToyHearts
Trio GitanoUnicorn Theatre for Children
Union Dance Urban Magik
Ursula MartinezVayu Naidu Company
Vena RamphalVera Tussing and Albert
QuesadaVox Clamantis
Walker Dance Park MusicWired Aerial Theatre
Yasmin LevyYouth Dance England
Youth Sports TrustYouth Music
Zinc
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PARTNERSHIP
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numerous waysto strengthenour art forms.
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Continuing our policy of embracing andcollaborating with other companies to share ourfacilities and support and to bring their creativeenergy inside the Royal Opera House, Ballet Blackfollowed its highly successful 2009 Linbury StudioTheatre performances with a return in spring 2010.This featured new commissions from ChristopherHampson, Robert Hylton, Raymond Chai andHenri Oguike. Working with companies such asBallet Black allows the Royal Opera House toexplore different artistic perspectives and towelcome increasingly diverse audiences. This iswhy we value our creative partnerships so highly.
God’s Garden was an ROH2 co-commission withDance East of a new, full-length work fromchoreographer Arthur Pita. Dance East is thepartner organization for our On the Roadprogramme in the East region and this productionis just one of several collaborative projects. God’sGarden, based on the parable of the Prodigal Son, isa family drama set on the island of Madeira wherePita was born, laced with comic undertones,danced in a dreamlike context. Live fado music wasjust one highlight of this multi-layered work ofdance theatre which featured a dynamic cast of sixdancers. God’s Garden opened in Dance East’shome, the new Jerwood DanceHouse in Ipswich,and then moved to the Linbury Studio Theatrewhere it was warmly received. Michael Henry Dalston Songs
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The Royal Opera House’s role as the nationalcentre for opera and ballet means that we are thefirst port of call for all enquiries about materialrelating to our art forms. Significant additions toour database include details of all PlácidoDomingo’s performances at the Royal OperaHouse, as both singer and conductor, and completedetails of all of the ballets choreographed byKenneth MacMillan performed here by ourresident Companies. During the 2009/10 Season,ROH Collections online responded to more than athousand enquiries ranging from requests forphotographs to detailed academic research. Ourarchive is clearly of real value to countlessindividuals and organizations and we are proud tohave made a contribution to so many varied projects.
As part of a developing relationship, Royal OperaHouse Education and The Royal Ballet Schoolworked in partnership with Youth Dance Englandto support the nationwide Young Creativesprogramme. In January, 35 young choreographers,aged 14–19, attended a sharing event at the RoyalOpera House from which the final 12 YoungCreatives were selected. These winners were giventhe opportunity to work with a professionalmentor, take part in a Residential programme andperform their work at the Linbury Studio Theatrein April. Associate Artists Freddie Opoku-Addaieand Sarah Dowling and Royal Ballet Soloist
Kristen McNally were involved in the selection ofchoreographers, mentoring and contributing tothe Residential week.
We endeavour to nurture our art forms with ourcollective skill, knowledge and experience so thatthey may flourish. Mentoring young talentinternally and in partnership with externalorganizations is central to this ambition. TheBenesh Institute provides education programmes,validated by the Royal Academy of Dance, in theBenesh system of Movement Notation. Thisframework is used by dance companies, worldwide,to record, preserve and restage choreographicworks. The Royal Ballet pioneered the use ofBenesh Notation and currently has a staff of threefull-time notators who record and teach theCompany’s repertory in-house and also re-stageRoyal Ballet productions for companies aroundthe world. A mentoring scheme has beendeveloped between the two organizations thatprovides a placement for a Benesh student notatorto work alongside the Company’s notators at theRoyal Opera House. During the 2009/10 SeasonGrant Coyle, The Royal Ballet’s Principal DanceNotator and Répétiteur, mentored a final-yearBenesh Notation student as part of herprofessional qualification. Unique placements suchas this, offer invaluable ‘learning by doing’ in whatis a highly specialized and invaluable job while at
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the same time providing a mentor with theopportunity to reflect on their own practice.Mutuallybeneficial partnerships are the bedrock upon whichthe Royal Opera House is built.
Opera Shots is an exciting initiative that promises tostrengthen contemporary opera. This major newinitiative from ROH2 is one aspect of a range of operadevelopment work across the Royal Opera House,from full-scale commissions to developmentworkshops, courses and observer programmes. EachSeason three to four composers, established in fieldsbeyond traditional opera with a broad appeal foraudiences, will be commissioned to create 30-minuteoperas that will be staged over a two-week period.Thenew work is all composer-led and the artists areencouraged to push the boundaries of the art form.The launch took place in June 2010 with three worldpremieres and featured commissions from Nitin
Sawhney, Orlando Gough and Jocelyn Pook. Theircreative collaborators included Caryl Churchill andNinja Culture. The subject matter ranged fromentanglement theory to football chants, and wasengaging and stimulating for both new and existingopera audiences. Orlando Gough’s A Ring a Lamp aThing was an unaccompanied music drama for asingle female voice using Ableton Live loopingtechnology which looped and mixed the singer’svoice during the live performance. Nitin Sawhney’sEntanglement, inspired by Schrödinger’s Cathypothesis, centred on a young female at the momentof reading a pregnancy test. It used singers fromdiverse backgrounds and a mixture of traditional andIndian instruments. Ingerland, by Jocelyn Pook,explored the parallel passions of football and opera,and grew from the composer’s fascination with thechants floating from Arsenal, her local football club.
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Bennet Gartside and Tamara Rojo in rehearsal
milestone
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SInvolving young people with the Royal Opera House and helping themto realize their potential is a crucially important aspect of our work.The Fanfare Competition was launched in October 2009 to encouragechildren to compose music. It gave school students aged 11–14 theopportunity to compose an original, 30-second fanfare to replace theRoyal Opera House’s front-of-house bell,which summons audiences totheir seats. The first task was to connect with potential entrants and soa strong web campaign was conducted featuring films on ROHEducation uploaded to YouTube, extensive resources for teachers, and apartnership with schools’music sharing site NUMU. As a consequencewe were delighted to receive hundreds of entries from a hugely diverserange of schools. A judging panel that included Antonio Pappano,Barry Wordsworth (Music Director of The Royal Ballet), composersJoby Talbot and Orlando Gough and members of the Orchestra of theRoyal Opera House,chose ten winning entries.These young composersspent a day working with the Orchestra and composer DuncanChapman to arrange their fanfares for a 45-piece orchestra.Some weekslater they returned to sit alongside Antonio Pappano to rehearse andrecord their compositions. These entirely original fanfares can now beheard at every Royal Opera House performance. Due to the immensesuccess of Fanfare we have run the competition again.
Fanfare winners:1. Michael Ranasinghe, Stoke Newington School
2. Lucy-Rose Graham, Oakham School 3. Song Eun Choi, The Purcell School, Herts
4. Josh Hagley, The Purcell School, Herts 5. Adam Deans, Burgoyne Middle School, Beds 6. Ainanshe Ali, Burgoyne Middle School, Beds
7. Group entry: India James and Lucy Farestvedt, BurgoyneMiddle School, Beds
8. Group entry: Rebecca Seaton, Connor Smither, Billy Fisher, AlexLeach, Lewis Hobbs, Louis Juster, Glenthorne High School, Surrey
9. Jack Somerset Scott, Trinity School, Croydon 10. Max Brown, St Edwards School, Cheltenham
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FINANCE
Our figures tell apositive story, formingthe basis of our ability
to offer a uniqueexperience.
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Maintaining the global profile of the Royal Opera House isvital in myriad ways. It enables us to be a presence in the livesof audiences and artists across the world and to underline thestrength of the arts in the United Kingdom generating interestand attracting visitors. There is no more effective way toachieve all of this than by touring and 2010 marked an historicdouble for the Royal Opera House. The tours to Japan of TheRoyal Ballet in June and The Royal Opera in Septembermarked the first time that both companies have visited thecountry in the same year. The Royal Ballet offered threesignature works from its repertory: Frederick Ashton’s comicballet La Fille mal gardée, and Kenneth MacMillan’smasterpieces Romeo and Juliet and Mayerling. Performanceswere staged in Tokyo at the Bunka Kaikan and at the HyogoPerforming Arts Centre, Nishinomiya, Osaka. In an emotionalhomecoming Japanese-born, Principal Guest Artist MiyakoYoshida gave her farewell performance with The Royal Balletas Juliet, having joined in 1995. The Royal Opera, led byAntonio Pappano, toured with a 200-strong Company thatincluded the full Chorus and the Orchestra of the RoyalOpera House to offer a total experience to enthusiasticJapanese audiences. It presented Massenet’s Manon, with AnnaNetrebko in the title role and Sir Richard Eyre’s lavishly stagedproduction of Verdi’s La traviata as well as a concertperformance of Handel’s Messiah. Both tours were wildlysuccessful and should cement relationships with Japaneseaudiences and kindle fresh interest in the work of the RoyalOpera House.
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In a global economic downturn our success instewarding our finances and consistently attractingcapacity audiences, is a considerable achievement.
For the 11th full accounting year since the RoyalOpera House re-opened in 1999, we have achieved abreak even financial result. A small surplus on theunrestricted general fund of £29,000 was achieved for the 52 week period ended 29 August 2010.Furthermore we continued to hold positive cashbalances throughout the year.
Total income on the unrestricted fund for the yearreached £106.7million, an increase of £10million overthe previous full accounting year.
In the main auditorium 150 Royal Opera, 135 Royal Ballet and 26 visiting company performancesattracted total audiences of some 658,000. The RoyalOpera staged 23 productions including five newcommissions. The Royal Ballet staged six full lengthproductions and six mixed programmes includingthree new one-act commissions.
The strength of our work, combined with vigorouspricing and subsidy initiatives, has helped to maintainour audiences during the current recessionary climate.Box office income was strong throughout the year andaverage main stage audiences were 94.5% of capacity.
The Royal Opera House now generates nearly £3 forevery £1 received in public subsidy. We received ArtsCouncil England funding of £28million representing26% of our total income.
£2+raised for every £1 received
in public subsidy
11thsuccessive balanced full
accounting year
11thsuccessive year of positive cashbalance retained throughout
the year
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UNRESTRICTED GENERAL FUND INCOME
£60m
£50m
£40m
£30m
£20m
£10m
£0m
UNRESTRICTED GENERAL FUND COSTS
2010 £106.7MILLION2010 £106.7MILLION
A Performance, education and outreach B Premises and depreciationC Marketing and publicityD Management and administrationE FundraisingF CommercialG House managementH Capital and project fund
£64.9million£10.6million£6.0million£4.7million£2.3million£12.7million£1.7million£3.8million
A ACEB Box OfficeC Donations, legacies and similar incomeD Commercial trading, touring and other incomeE SponsorshipF Other income
£28.0million£35.5million£20.3million£20.6million£2.1million£0.2million
2009 £96.4MILLION2009 £96.4MILLION
A Performance, education and outreach B Premises and depreciationC Marketing and publicityD Management and administrationE FundraisingF CommercialG House managementH Capital and project fund
£64.9million£10.4million£5.9million£5.0million£2.1million£5.0million£1.8million£1.3million
A ACEB Box OfficeC Donations, legacies and similar incomeD Commercial trading, touring and other incomeE SponsorshipF Other income
£27.3million£35.5million£17.0million£13.9million£1.9million£0.8million
£60m
£50m
£40m
£30m
£20m
£10m
£0m
£60m
£50m
£40m
£30m
£20m
£10m
£0m
£60m
£50m
£40m
£30m
£20m
£10m
£0m
CHAPTER 8 FINANCE
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A B C D E F G H
A B C D E F G H
A B C D E F
Write An Opera Mara Galeazzi and Gary Avis The Tsarina’s Slippers
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PHILANTHROPISTS AND SPONSORS 2009/10
INDIVIDUALS
Lady Alexander of WeedonNicholas Allan
Jane Van AmmelLady Ashcroft
Edward and Celia Atkin Geoff and Judith Batchelar
Dame Margaret BoothFrank and Kyra van den BoschLorna and Christopher Bown
Gillian BuckleJanine Roxborough Bunce
John and Susan BurnsSue Butcher
Jill and Michael CarpenterThe Earl and Countess of Chichester
Ricki Gail and Robert ConwaySiri and Rob Cope
Mr and Mrs Nicholas Coulson Deborah Cowles
Virginia Crum-JonesRichard and Jennie CunisSarah and Lloyd Dorfman
Kimbell and Yelena DuncanPeter and Barbara Elliston
Peter and Fiona EspenhahnEstate of Dr Anthony PikePatrice and Frederica Feron
Mr Graham FletcherFrancesca FremantleSir Donald Gordon
Stephen and Peg HaleD W Hancock
Linda and Philip HarleyMichael Hartnall
Mr and Mrs Steven Heinz Malcolm Herring
Mina Gerowin Herrmann and Jeffrey Herrmann
Marina Hobson MBE andThe Hobson Charity
Alan and Sabine HowardGlenn Hurstfield and David de Jager
Sarah InghamOlga and Renaud Isman
Lady Jarvis Aud Jebsen
Mr and Mrs Christopher W.T. JohnstonMrs Philip Kan
David and Marion KhaliliGeorge Kingston
Frances KirshMr and Mrs Aboudi Kosta
Lord and Lady Laidlaw of RothiemayPeter Lloyd
Sir Frank LoweThomas and Deirdre Lynch
Michael MallinsonIngeborg Margulies
The Margulies FamilyThe Metherell familyMr Jeremy Middleton
Catherine and David MossMargaret Mountford
Trifon and Thespina NatsisMrs Sara Naudi
Mr Stefan OlssonRosemary O’Mahony
Keith and Hilary Orrell-JonesFraser Partridge
Marian PellDavid and Diana Pilling
Judith PortraitMr John RankJanine Rensch
Yvonne and Bjarne RieberSir Simon and Lady Robertson
The Robey FamilyKristina Rogge
Stephen and Helen RoseBryan and Sirkka SandersonCarolina and Martin Schwab
Gerry SmurfitStuart and Jill Steele
Dr and Mrs Timothy Stone CBESusie Thomson
Lindsay and Sarah TomlinsonProfessor Michael Trimble
Mr and Mrs Graham TurnerRobert and Kathleen Wallace
Bonnie Ward
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Our ongoing commitment to Thurrock, established by thecreation of the High House Production Park, allows us toengage closely with the community and local audiences todeliver real and lasting benefits. We want to capitalize on theopportunity that our permanent presence in the area presentsto encourage and enable people of all ages and backgroundsto become directly involved with the process of creativity thatfeeds our art forms. Nowhere is this better represented than inthe creation of The Purfleet Opera Ludd and Isis. The opera’sgenesis came from the community itself with many of itsmotifs rooted in local history and significant events such as aGerman Zeppelin being shot down in 1916 by the Purfleetgarrison. It tells the tale of a confrontation between Queen Isisand King Ludd, rulers of the Thames, over the creation of theProduction Park. The audience is subsequently taken on ajourney through local history and characters to resolve thesituation. Every aspect of the production from plot, stagingand music, to set and costume design, was conceived anddeveloped – in collaboration with composer Richard Taylor,librettist Stephen Plaice, designer Rhys Jarman and directorTom Guthrie – by local people through a series of workshopsheld in schools, colleges and within the community. Purfleet’shistory provided rich material as did the personal experiencesof numerous individuals and families. The result was a piece ofhigh-quality work about the area made by the people ofThurrock, for the people of Thurrock, with ROH expertise onhand to enable their ambitions to be realized. Lucy Harris, alocal resident, commented after the performance: ‘Last nightwas great! It really felt like Thurrock could actually change. Iwas so impressed with the use of the space and how it workedwith the opera. All the supporting staff guiding us around thePark smiled and were lovely. Well done to everyone at theROH; as Thurrock residents we are glad to have you here.’
LOCAL PRODUCE
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Mrs Alfiya KuanyshevaLiberty International plc
Lloyds TSB Group plcMarks & Spencer Group Plc
Zvi and Ofra Meitar Family FundSusan A Olde OBE and
Graeme C ThomsonPrudential plc
RolexRothschild
Mrs Lily SafraSt James’s Co Ltd
Telegraph Media GroupTesco plc
Sir Brian Williamson CBEXstrata
Lord and Lady Young of Graffham
FIRST NIGHT PATRONS
Blackburn Associates LtdDr Genevieve and Mr Peter Davies
Frank and Sylviane DestribatsHuntswood
Lord and Lady Kalms MBECatherine and Pierre LagrangeDr and Mrs Mortimer Sackler
Smiths Group plc
AMERICAN FUND FOR THEROYAL OPERA HOUSE
SUPPORTERS
The Annenberg FoundationMr and Mrs Jeffrey Eldredge Terry and Jean de GunzburgMrs Aline Foriel- Destezet
Hélène and Jean PetersAnonymous (2)
AMERICAN FRIENDS OF COVENTGARDEN SUPPORTERS
Jayne Wrightsman
BOB AND TAMAR MANOUKIANPRODUCTION WORKSHOP
THURROCK
Arts Council England, EastEast of England Development Agency
The Foyle FoundationBob and Tamar Manoukian
Medicor FoundationThe Rayne Foundation
Redcase LimitedThurrock Borough CouncilThurrock Thames GatewayDevelopment Corporation
PHILANTHROPY AND BEQUESTSTO THE ROYAL OPERA HOUSE
ENDOWMENT FUND
The Estate of the late John FranklinJean Sainsbury Royal Opera House Fund
Paul Hamlyn Foundation
INDIVIDUALS continued
Adrienne WaterfieldDr and Mrs Michael West
Peter WigginsDr Yvonne Winkler
David and Liz WoottonDanny and Lillan Wyler
TRUSTS AND FOUNDATIONS
The American Fund for the Royal Opera House
The Anson Charitable TrustThe Archie Sherman Charitable Trust
Audrey and Ronnie’s FundThe Band Trust
The Bernard Sunley Charitable FoundationThe Boltini Trust
The Constance Travis Charitable Trust The David and Elaine Potter Foundation
Ernest Cook TrustThe Estate of the late John Franklin
Estate of Dr John HayesThe Fidelity (UK) Foundation
Fondation 1796Foundation for Sport and the Arts
Garfield Weston FoundationThe Gerald Ronson Foundation
The Gordon FoundationThe Headley Trust
The Helen Hamlyn TrustThe John Beckwith Charitable TrustSir John Ritblat Family Foundation
The Joseph and Lena Randall Charitable Trust
The JP Jacobs Charitable TrustThe Laura Ashley Foundation
The Michael Harry Sacher Charitable TrustThe Monument Trust
National Lottery through the HeritageLottery Fund
Oak FoundationThe Peter Cruddas Foundation
PF Charitable TrustThe Quercus Trust
The Samuel Sebba TrustThe Shauna Gosling Trust
The StratREAL Foundation
The Taylor Family FoundationThe Walcot Foundation
Zvi and Ofra Meitar Family Fund
CORPORATE
AccentureAudi
Bank of America Merrill LynchBP
The Canary Wharf GroupCharterhouse
The Communications StoreCoutts & Co
DeloitteFinsbury Group
FREDDYHildon
J Sainsbury PLCLazard
Pernod RicardPom Wonderful UK Ltd
RolexSotheby’s
Tokio Marine RoggeXstrata
Anonymous (22)
SEASON PATRONS
Anglo American plcThe Bank of Tokyo-Mitsubishi UFJ, Ltd
Bovis Lend LeaseCanaccord Adams Ltd
Canary Wharf Group plcCiti
The Clore Duffield FoundationDavid Cooper and Co
Mrs Aline Foriel-DestezetLady Forte
Finsbury GroupLord and Lady Gavron
Seifi GhasemiGlaxoSmithKline
DW HancockChristopher Holder
Alan and Sabine HowardMr Timur Kuanyshev and
ROYAL OPERA HOUSE ANNUAL REVIEW 2009/10 PHILANTHROPISTS AND SPONSORS
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REFERENCE
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REFERENCE
FINANCE£2+ raised for every £1 received in public subsidy
11th successive balanced full accounting year11th successive positive cash balance retained throughout the year
£106.7million total income£60+million for frontline performance, education and outreach
£35.5million box office revenue
PERFORMANCE94.5% occupancy throughout the year
311 performances on the main stage211 performances on other stages
658,000 total audience
PRICINGTickets Held at 2008/09 prices
50% of tickets at £50 or less39% of tickets at £30 or less
REACH64 regional On the Road events, performances and exhibitions
150,000 worldwide cinema audience for ROH screenings2,518,001 multimedia views and listens
ACCESS79,242 people participated in Education events
55,191 new customers for the main stage
SPlácido Domingo Simon Boccanegra
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ROYAL OPERA HOUSE ANNUAL REVIEW 2009/10
Inside back cover
Fran HergesselRob Moore Sim Canetty-Clarke Bill Cooper Tristram Kenton Johan Persson Catherine AshmoreClive Barda Richard Hubert SmithIlona Jäntti Paul Starr Bertil Nillson Philip Conrad Kate Mount
(Cover)39, 17, 8220, 23, 25, 27, 38, 43, 44/45, 76, 79, 107224, 26, 28/29, 46/47, 53, 81, 91, 98, 11530, 37, 66/67, 11233, 40/41, 48/49, 885060/6164/656992/93106
Photography
Laura Morera in rehearsal
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