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The REVIEW

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Heart of DarknessAlan Oke

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This Annual Review is the first not to appear in printedform. The fresh format is indicative of the way in which wecontinue to evolve and embrace the best of the new.

2011/12 has been hugely exciting creatively, with new work,names and revivals to the fore. This momentum has beenmatched by our ongoing activities in reaching out tocommunities and audiences in more direct and ever moremeaningful ways. It has truly been an outstanding year,delivering value in every sense of the word.

Looking through the following pages it should becomerapidly apparent just how great the range and quality of ourwork is. A brief roll call of productions such as Il trittico,Heart of Darkness, Falstaff, Sum, and Les Troyens gives adazzling indication of the breadth that we have presented onour stages. The list goes on: The Metamorphosis, Magical Night,Sweet Violets, Carbon Life, The Prince of the Pagodas,Metamorphosis: Titian 2012.

Our commitment to offering variety and to taking courageous,creative decisions with our programming ensures that ouraudiences have the opportunity to discover new flavours anddevelop new tastes. An evening at the Royal Opera Houseshould be as much an exploration as a reacquaintance with thefamiliar. The fact that our audience levels stand at a consistent92%, in such economically difficult times, demonstrates thatwe continue to offer work that people feel they simply have tosee. That makes all of us here, very proud.

We have, as always, played a significant role beyond our wallsboth domestically and in seizing international opportunities to fly the flag for UK culture whenever we can. Our rewardingrelationship with the community of Thurrock continues toblossom with local people participating in groups such as theThurrock Community Chorus, and schools in the areabenefitting from visits to places such as our Bob and Tamar Manoukian Production Workshop.

Tony Hall

TONY HALL, Chief Executive 2001/2013

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The spectacular feats of the 2012 Olympics were matchedby the cultural programme of the London 2012 Festival,which the Royal Opera House made an enormouscontribution to with numerous performances and events.

Our access and education activities go from strength tostrength, ranging from offerings such as Monday Moves forblind and partially sighted people to Chance to Dance fortalented children, where our focus has been particularly onthose from underprivileged backgrounds.

This year, ROH2’s existence as a distinct entity came to atriumphant conclusion, as its work and ethos wereabsorbed into the fabric of The Royal Opera and The RoyalBallet. I would like to pay tribute to Deborah Bull as theengine behind ROH2, as well as to her successor AlisonDuthie. ROH2’s exposure of new work and talent toencourage fresh ways of perceiving ballet, dance, music andopera, and generate excitement among diverse audiences,has contributed to broadening perceptions of what theRoyal Opera House has to offer. The fact that this is all nowpart of ‘the mainstream’ of what we do, is a testament to thecontribution that the initiative has made over the years.

The global economic climate shows little sign of betterweather ahead. For the 13th year in succession we havereturned a small financial surplus. This is a monumentalachievement and the bedrock for sustaining our ability tocreate the best productions, with the best talent, for

audiences from all over the world. Financial responsibility is the hallmark of any truly creatively ambitious arts’organization.

This Annual Review is the last that I will be a part of. Mytenure as Chief Executive of the Royal Opera House has beenan incredible journey, defined by significant changes andcreative landmarks. I am eternally grateful both to myExecutive Management Team and the people throughout theorganization that it has been my privilege to work alongsidefor the past decade. I leave the Royal Opera House with thesame sense of wonder that I arrived with. The incrediblepassion, dedication, brilliance and resilience of the peoplehere, at every level, has to be experienced to be believed. I havebeen fortunate enough to have experienced it and it has been,quite simply, an honour. I know that this place will continueto be the best opera house in the world, rooted in a genuinecommitment to excellence, and an essential part of ournation’s cultural landscape. As ever, I am hugely grateful toArts Council England for its continuing support in helping tomake this happen. I look forward to returning regularly as acustomer to enjoy the marvels on stage at the Royal OperaHouse – an unequalled pleasure which never dulls and one Iwould wholeheartedly recommend. To all here: thank you, foreverything and I wish you every success for the future.

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By definition opera and ballet are collective endeavours.A huge chain of people and institutions make everyproduction and, indeed, every day at the Royal OperaHouse possible. Each link is vital to what audiences see on stage and to how people of all ages from allbackgrounds are engaged. This is why, every year, I amgrateful to have the opportunity within the AnnualReview to acknowledge and applaud the support wereceive from Friends of Covent Garden, Patrons,individual philanthropists, trusts and foundations,corporate partners and, of course, Arts Council England.They help us not simply to entertain and stimulate,but to widen horizons and change lives.

Although it is beyond the period covered by this AnnualReview, it seems an appropriate point to bid fond farewell

to our former Chief Executive, Tony Hall, who is nowDirector General of the BBC. On his watch so manysignificant strides forward were made artistically,financially, and technologically. Tony presided overunprecedented years of stability that provided a solidfooting so that the world class quality of productions, andthe calibre of artists that the Royal Opera House presentsto its audiences, never faltered. He was integral to meetingthe difficult challenges of governmental cuts to the arts,helping not only to ensure that the work of the RoyalOpera House was not compromised, but also offering itssupport and guidance to other arts’ organizations. The lastdecade has seen extraordinary change in the field ofbroadcast and digital technologies and Tony’s sure pilotingembraced the potential of key innovations to increaseaccess to opera and ballet.

SIMON ROBEY, Chairman

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He would, however, be the first to acknowledge theenormous contribution of those around him who enabledhim to realize his vision for a 21st century opera house. It iseasy to think of organizations in terms of eras: the periodsin which they have been led by a particular individualwhose vision has defined a point in the collective journey.An era, however, suggests an end and that is the wrong wayto view Tony Hall’s period of leadership because his legacyhas created an enduring foundation for his successor tobuild on. The best that can be said of any Chief Executiveis that they leave the organization that they have ledstronger than they found it. That is certainly true of TonyHall’s time at the Royal Opera House. On behalf of theBoard of Trustees I would like to offer our profound thanksto Tony for his vision, resolution and passion, and for hisyears of unwavering service.

In March 2013 I was delighted to announce that our newChief Executive will be Alex Beard, who was previouslyDeputy Director of the Tate family of galleries. Alex has apassion for the work we do at the Royal Opera House andbrings a wealth of managerial experience, insights andperspectives from his highly successful partnership with NickSerota at Tate. He takes up his role as Chief Executive at thestart of the 2013/14 Season and I have complete confidencethat he will forge successful partnerships with our artisticleaders and our executive team: together they will lead theRoyal Opera House to still greater heights. It promises to be anew and exciting chapter in the story of this great institution.

Alex BeardCHIEF EXECUTIVE

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THE CHIEF EXECUTIVE, CHAIRMAN AND TRUSTEES OF THE ROYAL OPERA HOUSE WOULDLIKE TO EXTEND THEIR PARTICULAR THANKS TO THE FOLLOWING WHOSE CONTRIBUTIONSHAVE MADE SUCH AN EXTRAORDINARY DIFFERENCE TO THE 2011/12 SEASON.

Alta AdvisersThe Annenberg FoundationLady Ashcroft Bank of America Merrill LynchThe John Beckwith Charitable TrustBPCelia BlakeyThe Blavatnik Family FoundationPeter BorenderCoutts & Co The Peter Cruddas FoundationDeloitteSarah and Lloyd Dorfman

Mrs Aline Foriel-DestezetFreddyThe Helen Hamlyn TrustMarina Hobson MBE andThe Hobson CharityInvestecAud Jebsen Costas and Evi KaplanisAlfiya and Timur KuanyshevThe Linbury TrustThomas and Deirdre LynchBob and Tamar Manoukian The Monument Trust

Oak FoundationJürgen and Clarissa PierburgYvonne and Bjarne RieberSir Simon and Lady RobertsonThe Robey FamilyRolexLord and Lady Laidlaw of RothiemayRoland and Sophie RuddThe Taylor Family FoundationLindsay and Sarah TomlinsonThe Tsukanov Family Foundation

And one anonymous donor

Exceptional PHILANTHROPY

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EXCELLENCEWE SET THE HIGHEST STANDARDS OF ARTISTIC QUALITY.

WE CONTINUE TO CONSOLIDATE OUR POSITION AS ONE OF THE WORLD’S MOST IMPORTANT, INFLUENTIAL AND

GROUNDBREAKING CENTRES FOR OPERA AND BALLET.

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RigolettoEkaterina Siurina and

Christine Rice

ATTITUDE IS EVERYTHING


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Metamorphosis: Titian 2012Sarah Lamb

“A dazzlingaffair…intoxicating and exceptional.”Mark Monahan,The Telegraph

“A scrupulous,passionate cast.”Judith Mackrell,

The Guardian

“Sunlit, adorable,dazzling, infinitelytrue, and her graceof spirit touches us all.”Clement Crisp,The Financial Times

“A masterclass in taut, nuanceddrama.”Fiona Maddocks,The Observer

“Makes this music sparkle and dance, neverletting its highspirits becometiresomely flat-footed.”RupertChristiansen,The Telegraph

“A wonderful show.Musically-respon-sive staging, withits witty gags andmagical stage pic-tures, is matched atevery turn by thenuanced, quicksil-ver conducting.”John Allison,The Telegraph

“So theatricallyexhilarating andmusically com-pelling that,whether or notyou follow thefootnotes, you arelikely to be sweptoff your feet.”Andrew Clark,The Financial Times

“Expressionistflair… It rewardsexpectation.”Sarah Crompton,The Telegraph

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The Royal Ballet’s Alice’s Adventures in WonderlandThe Royal Ballet’s PolyphoniaMarianela Nuñez’s La Fille mal gardéeThe Royal Opera’s Il tritticoAntonio Pappano’s reading of Die Meistersinger von NürnbergThe Royal Opera’s FalstaffThe Royal Opera’s RusalkaROH2’s The Metamorphosis

Alice’s Adventures in WonderlandSarah Lamb

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PolyphoniaNehemiah Kish and

Leanne Benjamin

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GALLERY



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La Fille mal gardéeMarianela Nuñez and Carlos Acosta

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Gianni Schicchi - Il tritticoRebecca Evans, Alan Oke,

Francesco Demuro,Robert Poulton, Elena Zilio,

Gwynne Howell,Marie McLaughlin and

Jeremy White

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GALLERY



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Die Meistersinger von NürnbergWolfgang Koch and John Tomlinson

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FalstaffAmbrogio Maestri

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RusalkaCamilla Nyland

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The MetamorphosisEdward Watson

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OLIVIER AWARDSSOLT Special Award – Dame Monica Mason Outstanding Achievement in Dance – EdwardWatson for his performance in The Metamorphosis

NOMINATIONSBest New Dance Production – The MetamorphosisOutstanding Achievement in Dance – the designteam for their work on Alice’s Adventures inWonderlandBest New Opera Production – ClemencyOutstanding Achievement in Opera – Mark-AnthonyTurnage for his composition of Anna Nicole(Royal Opera House) and Twice Through the Heart(Sadler’s Wells)Outstanding Achievement in Opera – Richard Jonesfor his direction of Il trittico, Anna Nicole (RoyalOpera House) and The Tales of Hoffman (ENO)

RPS MUSIC AWARDSNominations:Opera – Il tritticoSinger – Eva Maria Westbroek

CRITICS’ CIRCLENATIONAL DANCE AWARDSBest Male Dancer – Steven McRaeOutstanding Male Performance (classical) – Gary Avis

NOMINATIONSBest Male Dancer – Sergei PoluninBest Male Dancer – Edward WatsonBest Female Dancer – Lauren CuthbertsonBest Female Dancer – Marianela NuñezBest Female Dancer – Tamara Rojo

SOUTH BANK SKY ARTSDance – The Metamorphosis

NOMINATIONSOpera – Heart of Darkness(developed through OperaGenesis)

GRAMOPHONE AWARDSDVD Performance – Royal OperaHouse/EMI Don Carlo

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OPERAMusic Director Antonio Pappano has played a very active role in ensuring the highest musical standards

across revivals and new productions, whilst Director of Casting Peter Mario Katona’s knowledge,experience and insight helps to bring the world’s leading artists and most exciting new talent to our stage.

Notable performances included Anja Kampe in Der fliegende Holländer, Emma Bell in Die Meistersingervon Nürnberg, Malin Byström in Così fan tutte, Rachel Willis-Sørensen in Le nozze di Figaro, Erwin Schrottand Alex Esposito in Don Giovanni, Camilla Nylund making her Royal Opera debut in Rusalka, DimitriPlatanias in Rigoletto, Ambrogio Maestri and Marie-Nicole Lemieux in Falstaff, as well as Anna Caterina

Antonacci, Eva Maria Westbroek and Bryan Hymel (replacing Jonas Kaufmann) in Les Troyens.

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Les Troyens

IL TRITTICOIl trittico provided an incredibly strong start to the Season,both musically and dramatically. Richard Jones’s fresh interpretations of Il tabarro and Suor Angelica were placedalongside his hilarious Gianni Schicchi, with outstandingconducting from Antonio Pappano. Each opera wasdesigned by a different leading designer: Ultz, MiriamBuether and John Macfarlane. A superb range of interna-tional singers featured, including Lucio Gallo, Eva-MariaWestbroek, Anna Larsson, Ermonela Jaho, Ekaterina Siurina.Richard Jones was nominated for an Olivier Award forOutstanding Achievement in Opera and both the produc-tion and Eva-Maria Westbroek were nominated for RPSMusic Awards. In addition to the six full performances,Gianni Schicchi was paired with the ballet Rubies for a dedicated Family Performance. The full production wasreleased in cinemas, on DVD and broadcast on BBC4.

RUSALKAOur first staging of the opera provoked buzz and debate.Jossi Wieler and Sergio Morabito’s unconventional interpre-tation, direct from the Salzburg Festival, brought out newlayers and aspects. Social media and press activity helped to engage with the debate. The musical quality of the performances was undisputed, with conductor YannickNézet-Séguin’s ROH debut proving a resounding success.

CLEMENCYThe world premiere of James MacMillan’s new one-act operawas co-commissioned by the Royal Opera House, ScottishOpera, Britten Sinfonia and Boston Lyric Opera. It was part of the Opera Development programme and was the first soloopera commissioned by ROH2. Directed by Katie Mitchell itoffered a contemporary twist on the biblical story of Abrahamand Sarah. It starred Janis Kelly as Sarah and former JetteParker Young Artist Grant Doyle as Abraham, accompanied by the Britten Sinfonia.

FALSTAFFRobert Carsen offered a stylish 1950s updating of Verdi’s wittylate opera that was greatly enjoyed by audiences. DanieleGatti’s conducting energized the Orchestra of the Royal OperaHouse supporting a strong cast led by Ambrogio Maestri. Theproduction was included in the World Shakespeare Festival.

LES TROYENSA rare production of Berlioz’s epic opera Les Troyens,directed by David McVicar, proved a musically exceptional andvisually stunning highlight of the Season. It was included inthe London 2012 Festival and was relayed live via online arts’channel, The Space.


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We performed 13 revived productions this Season. Theseincluded a mixed bill of acts from three favourite Verdi roles

featuring Plácido Domingo, a concert performance of Rossini’s Il viaggio a Reims reuniting past and current members of the

Jette Parker Young Artists Programme, and an evening thatassembled past winners of Domingo’s Operalia competition.

A long run of La traviata proved a success drawing 29% of itsaudience from people new to the Royal Opera House.

La traviata Ailyn Perez

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BALLETMonica Mason’s final Season as Director of

The Royal Ballet offered ambitious and innovativenew work, alongside carefully revived masterpieces

associated with the Company. A total of 15productions and mixed bills.

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LimenMelissa Hamilton and

Edward Watson

CARBON LIFE

Choreographed by WayneMcGregor with live musicled by Mark Ronson andcostumes from acclaimedfashion designer GarethPugh, Carbon Life was anexhilarating new ballet that attracted widespreadinterest and new, youngeraudiences.

METAMORPHOSIS: TITIAN 2012

This unique and ambitiouscollaboration with the NationalGallery brought together sevenchoreographers closely associatedwith the Company: WayneMcGregor, Christopher Wheeldon,Kim Brandstrup, Alastair Marriott,William Tuckett, Liam Scarlett andJonathan Watkins. It featured threeleading contemporary artists –Conrad Shawcross, Chris Ofili andMark Wallinger – joined by threecomposers: Mark-Anthony Turnage,Nico Muhly and Jonathan Dove.This collective created three newworks in response to three of Titian’sgreat paintings on display in thegallery. The production was part ofthe London 2012 Festival and wasrelayed to BP Summer Big Screensacross the country.

THE METAMORPHOSIS

Arthur Pita’s remarkableinterpretation of Kafka’sdisturbing novella at the Linbury was vivid, dramatic and visually arresting. It featuredthe extraordinary talent of RoyalBallet Principal Edward Watsonwhilst also drawing in performersfrom beyond the company,including Laura Day anexceptionally promising studentfrom the Royal Ballet School.Frank Moon’s original andunusual score mixed live andrecorded sound, to create adisturbing soundscape with anEastern European inflection.Staged at the outset of ROH2’sfinal year, the production won theOlivier Award for Best New DanceProduction and was nominatedfor a South Bank Sky Arts award.Edward Watson received anOlivier Award OutstandingAchievement in Dance for hisperformance.

THE PRINCE OF THE PAGODAS

Kenneth MacMillan’s ballet, last seen in 1996, was restored to therepertory. The musical cuts now permitted by the Britten Estate and the slight reduction and re-ordering of the choreography,tightened the narrative thrust of the ballet to give it the new lease of life it richly deserved.


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ROH2, which has now been fully integrated into the work of The Royal Ballet and Royal Opera, delivered a vibrant and innovative programme.

Mike Figgis’s Deloitte Ignite – Just Tell the Truth saw the renowned filmdirector curate an intriguing, thought-provoking range of music anddance performances, talks, installations, films and interactive artworks.Participants included Paul Auster, John Berger, Neil Labute, QuentinTarantino, Marina Abramovich, Alber, Hans Ulrich Obst, JeannetteWinterson, Richard Wentworth and Matthew Herbert, who boughthis extraordinary One Pig Show to the Linbury.

Tarik O’Regan’s debut opera Heart of Darkness was originallycommissioned and developed through ROH2’s OperaGenesisprogramme, and was co-produced for the Linbury with Opera East,directed by former Jette Parker Young Artist Oliver Gooch.

Magical Night proved both an engaging, entertaining introduction todance for family audiences and a treat for music lovers, bringing alittle known and only recently re-discovered Kurt Weill score

(Zaubernacht) to life. Colourfully choreographed by Associate ArtistAletta Collins, it offered a post-modern urban vision of animated toys,magic and escapism.

Shobana Jeyasingh Dance Company staged a double bill of theacclaimed Configurations with a score by Michael Nyman, alongside anew work by Jeyasingh, Classic Cut, co-commissioned by ROH2,which explored the links between Bharatatyam and classicaltechniques, with a newly commissioned score.

Graham Fitkin and Neil Hannon composed two very contrastingOperaShots. Fitkin worked with choreographer Jasmine Vardimon to explore the meaning of home, while Hannon, in his first foray into opera, drew on Tolstoy’s accounts of Sevastopol.

In SUM, the final project to be enabled by an ACE Sustain grant,composer Max Richter and director Wayne McGregor created anexceptionally immersive, mind-stretching presentation of DavidEagleman’s cult book.

ROH2


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NURTUREWE MAKE A DIFFERENCE BY ENABLING PROGRESS.

WE OFFER SUSTAINED SUPPORT TO ALLIED ORGANIZATIONSAND CREATE OPPORTUNITIES TO HELP REALIZE THE

POTENTIAL OF PEOPLE AND PERFORMERS INVOLVED IN OPERA, BALLET AND MUSIC.

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36Jorge Crecis


There were 14 artists on our world renowned Jette Parker YoungArtists Programme this year: singers, répétiteurs, directors andconductors, each with the potential to join our previous graduates whohave gone on to work with the world’s best companies, invigoratingour art forms.

We commissioned, co-commissioned and/or incubated new operas by:Ben Frost, David Bruce, Errolyn Wallen, Thomas Adés, Max Richter,Ann Dudley, Terry Jones, Graham Fitkin, Scott Walker, Neil Hannon,Alex Peterson and Thomas Felhmann, and Julian Grant.

We have enabled new ballet/dance by Wayne McGregor, ChristopherWheeldon, Will Tuckett, Jonathan Watkins, Liam Scarlett, KimBrandstrup, Arthur Pita, Sarah Dowling, Freddie Opoku-Addaie,Laïla Diallo, Ilona Jantti and Alexander Whitley.

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In April 2012, a triple bill of new ballets showcased the strength ofThe Royal Ballet’s investment in new work. The first world premiereof the evening was Liam Scarlett’s Sweet Violets whose exceptionaltalent as a choreographer was identified while still a student at TheRoyal Ballet School. He has been carefully nurtured by MonicaMason, Wayne McGregor and others in the Company; as well asbenefiting from additional support including a place on aDanceLines course led by Kim Brandstrup, mentoring and exposurethrough the Arrows and Dialogues schemes, pieces in the First Draftsand New Work showcases and a co-commission with Ballet Black.Following critical acclaim for Scarlett’s first main stage piece AsphodelMeadows, Sweet Violets was his first foray into narrative work. In aseries of scenes set to chamber music by Rachmaninov, the workrevolved around Walter Sickert’s fascination with Jack the Ripper andoffered beautiful choreography and an innovative approach tonarrative ballet. The evening began with Associate ChoreographerChristopher Wheeldon’s 2003 ballet Polyphonia, set to solo pianopieces by György Ligeti. Sleek and elegant, its revival was greatly

appreciated by critics and audiences. The final work in theprogramme, Wayne McGregor’s Carbon Life was an exhilarating,polished work featuring the athleticism and artistry of a wide range ofRoyal Ballet dancers. The piece included a new score by the popularDJ/producer Mark Ronson performed live on stage by Ronson,Boy George, Alison Mosshart of The Kills, Hero Fisher and Jonathan Pierce of The Drums.

Freddie Opoku-Addaie and Laïla Diallo and Sarah Dowling havecompleted their successful time as Associate Choreographers at theRoyal Opera House having gained experience and exposure for theirtalents. We have appointed Mayuri Boonham and Alexander Whitelyas new Choreographic Affiliates and Robert Binet as ChoreographicApprentice to The Royal Ballet.

We presented Exposure and New Works showcases for finished piecesand work-in-progress by up and coming practitioners, and, behind thescenes, offered mentoring and other support for participating artists.

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We continue to partner Southbank Sinfonia, offering recent musiccollege graduates within this enterprising orchestra opportunities toshadow, undertake practice auditions and perform with the Orchestraof the Royal Opera House. The aim is to enhance their understandingof the skills involved in opera and ballet performance. Similaropportunities have been extended to members of the Hallé YouthOrchestra through the Stage Players project.

We provided two days of coaching in orchestral musicianship for 47young musicians from Thurrock and the East London boroughs ofHavering, and Barking and Dagenham.

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One Big Stage was a celebration of young people’s creativity, inour main auditorium, involving 300 young people. It showcasedthe talents of young dancers from the National Dance Centresfor Advanced Training at The Lowry, DanceEast and The Place,musicians from the Hallé Youth Orchestra and singers from theRoyal Opera House Youth Opera Company. Sets and costumeswere designed and made through community workshops andprojects with South Essex College in Grays and Thurrockschools. It also featured a new work by choreographer MorgannRunacre-Temple, inspired by Metamorphosis: Titian 2012performed by the final year Chance to Dance Companymembers and a performance by Youth Music Voices.

Its central production, Hot House, was a new work by composer Julian Grant and librettist Stephen Plaice, artistically directed by Gareth Malone, with stage direction by Thomas Guthrie andchoreography by Sarah Dowling.

There were over 300 entries to the Fanfare Competition, fromyoung people from all over the country. Ten young composers’30-second fanfares were selected to announce the start ofperformances throughout next Season. Working directly withMusic Director Antonio Pappano and the Orchestra of the RoyalOpera House, the winners took part in orchestration workshops,before supervising the recording of their finished pieces.

YOUTH

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Illuminating new career pathways and guiding people down them ispart of our commitment to supporting the skills’ base required tostage world class opera and ballet. We hosted ten formalapprenticeships in different aspects of production theatre andcommunity arts and provided 110 work experience placements withan estimated 40 additional placements before the end of the Season.

Our recruitment process paid particular attention to attractingyoung people from socially diverse backgrounds and was closelylinked to our programme in Thurrock.

We also delivered specialist, two week Production and StageManagement Training and mentoring for 15 production staff fromthe National Centre for Performing Arts in Beijing and other majortheatres in China. To enable us to share our skills and experiencewith other National Portfolio Organizations we also launched ROHConnections in conjunction with ACE.

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PARTICIPATIONWE WORK TO INVOLVE AND INSPIRE OUR AUDIENCES

AND THE COMMUNITIES THAT WE ARE ENGAGED WITH. WE ENSURE THAT OUR DOORS ARE OPEN TO ALL.

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Deloitte Ignite


TEACHERTraining and development programmes were provided forteachers in dance, singing and the voice, creativity in thecurriculum and creating original operas. We reached1,340 teachers each of whom will relay their learning tothe students in their care. Dance Dynamic training wasexpanded into Thurrock.

THURROCKCustomised tours and digital resources have beendeveloped to welcome school groups to the Bob andTamar Manoukian Production Workshop in Thurrock.This season 345 young people have taken part in toursand accompanying workshops.

THURROCK CHOIRThe Thurrock Community Chorus has grown to over 90 strong. In June 2012, they played a leading role in theinaugural Thurrock Choral Festival at Tilbury CruiseTerminal, which brought together singing groups fromacross the borough to perform together and introducepeople to choral singing through a series of workshops.

SLEEPOVER100 children and their parents attended the first operasleepover.

MONDAY MOVESWork with blind and partially sighted adults, children andtheir families, has continued through our Monday Movesdance class and our Outlook and Open Spaces initiativesin partnership with the RNIB.

CHANCE TO DANCEChance to Dance offers classes for talented children inLambeth and Southwark. The programme focuses onreaching young people facing disadvantage, especiallythose from black and minority ethnic backgrounds(comprising over half the participants), and engagingentire families in supporting their child’s talent. KristenMcNally choreographed a new piece for the Chance toDance students’ Linbury performance.

YOUTH OPERA COMPANYYouth Opera Company is aimed at 9-12 year-olds fromdisadvantaged backgrounds whose talent might notordinarily be supported. The 40-strong group appeared in nine performances of La bohème.

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We offered work-related learning in support ofcourses pertinent to the creative industries,

including a winter Learning Fair at High HouseProduction Park, an open day attended by 200

students from National Skills Academy FounderColleges and a curriculum-related design challenge

for Further Education students (the latter twoprojects delivered in partnership with the NSA).

The government-led Creative Partnershipsprogramme reached its conclusion; since 2008 theRoyal Opera House had been delivering Creative

Partnerships in Thurrock and Thames Gateway,working with around 120 schools every year. In

April we formally began our role as Arts CouncilEngland’s Bridge Delivery partner for Bedford

Borough, Central Bedfordshire, Luton,Hertfordshire, Essex, Thurrock, Southend,Dartford, Gravesham, Swale and Medway.


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La bohèmeJoseph Calleja and

Carmen Giannattasio

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REACHWE EXTEND OUR WORK AND ACTIVITIES

TO TOUCH PEOPLE IN MYRIAD WAYS. WE INVITE, INSPIRE AND INVOLVE.

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Song Of The EarthTamara Rojo


1,839NEW AUDIENCE

MEMBERSAttracted via a

promotion in TheSun with targeted

marketing aimed atfamilies for the PaulHamlyn Christmas

Treat: The Nutcracker.

3,446FAMILY

MEMBERSAttended AnnenbergFamily Performances

of Rubies/GianniSchicchi and

Alice’s Adventures in Wonderland.

9,410PUPILS AND

THEIR TEACHERSEnjoyed Taylor Family

Schools Matinees of Jewels, La traviata,

La sonnambula,The Nutcracker,

Romeo and Juliet andLa bohème, with travel

bursaries offered toenable schools fromfurther afield to visit.

Welcome Performances provide a range of initiatives that target people who might not otherwise cometo the Royal Opera House, helping to provide access through heavily subsidised tickets.

100ELDERLY PEOPLE

Attended performancesand workshop events aspart of a pilot projectworking through thecharity Contact the

Elderly.

2,865STUDENTS

Bought tickets to La traviata, Romeo and Juliet,

Don Giovanni and thePolyphonia mixed

programme through a newStudent AmphitheatrePerformance scheme

offering tickets from just £3up to £20, generously madepossible by Evi and Costas

Kaplanis and the RobeyFamily. The £10 Student

Standby scheme hasenabled 2,045 students topurchase seats this Season.

ACCESS ALL AREAS

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Deloitte Ignite encouraged adiverse audience of 8,700

people to experience a varietyof cutting edge visiting artists

alongside performances byartists from The Royal Opera

and Royal Ballet. As in previousyears, the majority of eventswere offered free of charge

during the day.

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Deloitte Ignite 2011Thomas Whitehead

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CINEMA/RELAYS

10 Royal Opera House productions screened in:

700+ cinemas 30 countries

Building our international opportunities,we have almost doubled the screens

and countries from last year.

The decision to move to an entirely ROH Season and our investment in

marketing has paid off, with attendance of a single title reaching 16,000

towards the end of the Season, havingaveraged 5,000 at the beginning.

Total attendance: 240,000Live screening of La Fille mal gardée:

Fifth highest grossing film in the UK onits evening and the tenth that week.

BP Summer Big Screens enjoyed,free of charge, by 18,907

La bohème 8,613Falstaff 5,885

Metamorphosis: Titian 2012 4,409

SOUND AND VISION

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BBC

We continue to work closely with the BBCto maximize our national reach and havebeen promoting this partnership via our

website and other media.

4.5million people watched Maestro at the Opera (a television series

in which four celebrities learnt to conductwith The Royal Opera) two thirds of

whom were not normally classical music viewers.

3 live and 12 pre-recorded productions broadcast on BBC Radio 3.

2 productions broadcast on BBC2.

2 productions broadcast on BBC4 (with Il trittico split into three separate

transmissions).

Les Troyens was relayed on the jointBBC/ACE digital platform The Space and

on subscription channel Mezzo. Olderrecordings from the joint ROH/BBC

back catalogue are being made availablevia Sky Arts 2.

ONLINE

Royal Ballet LIVE, in March, delivered aunique, online live streaming day via

YouTube, in conjunction with TheGuardian, incorporating rehearsals,

interviews, films and trailers as well as anInsight event with Wayne McGregor andMark Ronson. It attracted 194,000 liveviews. Social media was used to create adialogue with viewers. Royal Ballet LIVE

trended on Twitter and related tweets wereviewed by 400,000 people worldwide.

Our new website was successfullylaunched featuring increased news-basedcontent and discussion and an enhanced

purchasing system for our audiences.Engagement via social media continues to

blossom with the Royal Opera House having over 72,500 Facebook ‘likes’ and

over 48,400 Twitter followers.

DISC8 new titles were released on DVD/CD

and 227,000 units were sold.

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Over 1,500 people attended Die Meistersinger von Nürnberg at

Birmingham Symphony Hall which began the venue’s 21st

Anniversary celebrations.

Les Troyens was performed as part of the BBC Proms.

Beloved Friend was performed as part of the International

Abu Dhabi Music and Arts Festival.

1,000 people attended a sale of costumes at the

Bob and Tamar Manoukian Production Workshop.

BEYOND OUR WALLS

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Les TroyensAnna Caterina Antonacci

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Playing our role within the visitor economy and in keeping with its position as one of the country’s most prestigious andiconic cultural organizations, the Royal Opera House played a central part in the London 2012 Festival (chaired by Tony Hall)

that accompanied the 2012 London Olympics. Highlights included:

A unique free exhibition The Olympic Journey: The Story of

the Games that welcomed anestimated 68,000 visitors, inpartnership with BP and the

Olympic Museum

Les Troyens was performed asThe Royal Opera’s contributionto London 2012 Festival with a

live relay performance put up ononline arts’ channel The Space

Plácido Domingo broughttogether former winners of his Operalia World OperaCompetition, including

Joyce DiDonato, RolandoVillazòn and Nina Stemme,

for a special performance

Verdi’s Falstaff and Otello werepart of the World ShakespeareFestival, one of the strands in

the London 2012 Festival

Metamorphosis: Titian 2012 wasThe Royal Ballet’s contributionto the London 2012 Festival and

broadcast across 20 BP Summer Big Screens

ROH2 created a new opera,The Owl and the Pussycat, that

travelled 26 miles by barge intothe Olympic Park during thegames as part of the Mayor of

London’s ‘Secrets’ series

The Paul Hamlyn Hall hostedStreetwise Opera’s With One Voice,which presented choral singing,opera and theatre performances,poetry and film from over 300

people with experience of homelessness – the first time that aplatform has been given to home-

less people during an Olympic andParalympic Games

A new, prominent public artwork, Yinka Shonibare’s

Globe Head Ballerina, was installedon the side of our main building

featuring a life-sized, spinning balle-rina encased within a giant ‘globe’,

inspired by a photograph of MargotFonteyn. The piece will stay in place

for five years and is part of theLondon 2012 Festival

The ROH hosted theInternational Olympic

Committee Gala, which incorporated an outstandingprogramme of performances

that highlighted London’s roleas a world-leading centre for

opera, music, ballet and dance

THE SPIRIT OF 2012

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AUDIENCE92% capacity

692,608 attendances of 428 performances

EDUCATION/FAMILY27,238 people took part in

Education projects21,207 people attended Welcome

Performances

POUNDS REDUCEDAlmost half of main stage tickets

priced under £50

CINEMA SCREENROH productions performed live in 8 countries and screened in cinemas

in 30 countriesLa Fille mal gardée live was the fifth

highest grossing film in the UK on its night

TV SCREEN4.5million people watched

Maestro at the Opera – two thirds new to classical music programming

ONLINE, FACEBOOK ANDTWITTER

Online sales increased to 60% of all bookings

Website received 4.9million visits from over 2.4m different browsers

Royal Ballet LIVE: 1million views within the

first five months online72,500 Facebook likes

48,400 Twitter followers

APPRENTICES AND MENTORING8 apprenticeships

165 work experience placements200 attendances of the

Open Up careers’ day3 appointments to ROH Connections

OLYMPIC RINGS9 events in 2012 Festival and/or related

Olympic celebrations 68,000 attendances of The Olympic

Journey: The Story of the Games

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FINANCEWE INVEST IN AND SUPPORT OUR WORK

THROUGH PRUDENT FINANCIAL MANAGEMENT. WE ENDEAVOUR TO MAKE EVERY POUND WORK HARDER. WE ARE VERY GRATEFUL FOR THE CONTINUED SUPPORT

OF ARTS COUNCIL ENGLAND.

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Sevastopol, OperaShotsRichard Burkhard


The Royal Opera House continues to present an ambitious programme of workwhilst balancing its books in its unrestricted activities in each full financial year.

Along with most other regularly funded organizations, the Royal Opera House’smain Arts Council revenue grant was cut by 0.5% (£0.1million) followed by afurther cut of 6.9% (£2.1million) in the year to March 2012. Despite thissignificant cut, an overall balanced financial result on the unrestricted generalfunds has been achieved for the 13th successive year.

This has been delivered by careful financial stewardship: managing the reductionin the Arts Council grant with increased cost saving, procurement and tenderingactivity, together with a reduction in the cost of new productions and revivals. Ina tough environment for our commercial activities, our Enterprises division hada record year, and fund-raising outperformed budget.

Box office achieved 92% capacity and attracted 692,608 attendances over 428 performances. This is a significant achievement but we believe that our new pricing policy will help us to attain even higher targets for box officeperformance levels.

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Over £3 raised for every £1 of grant received

13th successive balanced full accounting year

13th successive year of positive cashbalance throughout the year

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INCOMEBox office receiptsACEDonations, legacies and sponsorshipCommercial trading and other incomeInvestment income

EXPENDITUREPerformance, education and outreachPremises and depreciationMarketing and publicityManagement, administration and governanceDonations, legacies and sponsorship costsCommercial activityHouse management cost

TRANSFERSFixed Asset and Heritage Asset FundsOther Designated FundsOther Restricted Funds

NET SURPLUS ON UNRESTRICTED GENERAL FUNDS

2012£million

39.226.422.620.21.4109.8

69.115.55.64.73.612.41.1112.0

4.1(0.4)(0.1)

1.4

36%24%21%18%1%100%

62%14%5%4%3%11%1%100%

2011£million

37.727.920.722.90.3109.5

69.115.05.44.53.015.21.9114.1

7.5(2.8)0.0

0.1

34%25%19%21%0%100%

61%13%5%4%3%13%2%100%

THE SUMMARY STATEMENT OF INCOME AND EXPENDITURE SET OUT BELOW IS A COMBINATION OF THEUNRESTRICTED GENERAL FUNDS, DESIGNATED FUNDS AND RESTRICTED FUNDS. IT EXCLUDES INCOME ANDEXPENDITURE FROM BOTH THE UNRESTRICTED PENSION SCHEME LIABILITY AND THE ENDOWMENT FUND.


PHILANTHROPISTS AND SPONSORS 2011/2012

OUR PROFOUND THANKS GO TO ALL THOSE INDIVIDUALS, FAMILIES AND ORGANIZATIONS THAT HAVECHOSEN TO SUPPORT US THROUGHOUT THE YEAR. THEY MAKE IT ALL POSSIBLE.

IndividualNicholas AllanIan and Helen AndrewsAmbassador Gianna AngelopoulosLady Ashcroft Tony and Chris AshfordMr and Mrs Edward Atkin CBEGraham and Joanna BarkerMr and Mrs Baha BassatneGeoff and Judith BatchelarTimothy and Christina BennThe Honourable David BernsteinCelia Blakey Dame Margaret BoothPeter BorenderLorna and Christopher BownLucille and Richard BrianceCynthia Brown and Andy TomkinsAnthony BunkerJohn and Susan BurnsSue ButcherJill and Michael CarpenterContessa Yoko CeschinaThe Earl and Countess of Chichester Dr Martin ClarkeLady ClarkeSir David and Lady Clementi Geoffrey CollensDeborah CowlesVirginia Crum-JonesRichard and Jennie CunisMrs Karl DannenbaumLiz and Simon DingemansMs Shawn M Donnelley and Dr Christopher M KellySarah and Lloyd DorfmanMrs David DugdaleKimbell DuncanPeter and Fiona EspenhahnFares and Tania FaresJonathan and Beverley FeuerJosephine Fitzalan HowardMr Graham FletcherLouise FlukerTim and Rosie ForbesMr Philippe Foriel-Destezet Hamish and Sophie ForsythAnnie Frankel

Francesca FremantleGonzalo and Maria GarciaRichard J GnoddeTerry and Jean de GunzburgStephen and Peg HaleD W HancockLinda and Philip HarleyMr and Mrs Steven HeinzKatrin and Christoph HenkelDr J HeronMalcolm HerringMarina Hobson MBE and The Hobson CharitySimon and Tracey HoldenMartin and Jane HoustonLady JarvisAud Jebsen Mr and Mrs Christopher W.T. Johnston Mrs Philip KanCostas and Evi KaplanisChristine and Peter KennettGeorge KingstonFrances KirshMr and Mrs Aboudi Kosta Alfiya and Timur KuanyshevMr Pierre Lagrange and Mr Roubi l’RoubiLord and Lady Laidlaw of RothiemayPeter LloydSir Frank Lowe Chris and Jane LucasThomas and Deirdre LynchMr Michael MallinsonThe Margulies FamilyIngeborg MarguliesKathryn and Peter McCormick OBEKiki McDonoughBernard and Genevieve MensahNicholas and Lindsay MerrimanThe Metherell familyDr L Mikheev and N MikheevSir Hamid and Lady MoollanMargaret MountfordSara Naudi and Dr Mark Layton Mrs Susan A Olde OBEMr Stefan Sten OlssonKeith and Hilary Orrell-JonesSir Antonio and Lady PappanoFraser Partridge

Marian PellMr and Mrs Tony PidgleyJürgen and Clarissa PierburgDavid and Diana PillingLady Pitman Carolyn and Michael PortilloJudith PortraitStefano and Julie Quadrio CurzioJanine RenschMr and Mrs Marc RichJenny Richardson Yvonne and Bjarne RieberSir Simon and Lady RobertsonThe Robey FamilyKristina Rogge Ms Viviana RoncoThe Dowager Viscountess RothermereJanine Roxborough Bunce Roland and Sophie RuddMrs Lily SafraRichard and Ginny Salter Bryan and Sirkka SandersonNick and Barbara ScholesAnne and Mark SebbaKevin and Olga SeniorMr and Mrs Mark Shanker Victoria SharpSusan and John SingerVirginia and David SlaymakerMrs Lorraine SpencerWilliam and Sherry SpurginDonald and Rachael StearnsStuart and Jill SteeleDr and Mrs Timothy Stone CBEDame Sue Street DCBMr John StudzinskiRobert and Patricia SwannellSir David TangLord and Lady Taylor of HolbeachAlan Titchmarsh MBE, VMH, DLLindsay and Sarah TomlinsonEric TomsettProfessor Michael TrimbleThe Tsukanov Family FoundationMr and Mrs Graham TurnerJane Van AmmelRobert and Kathleen WallaceMr Bruno Wang

Adrienne WaterfieldDerek and Sheila WatsonSimon and Glenda WeilDr and Mrs Michael West Danny and Lillan Wyler 25 Anonymous

Trusts and FoundationsThe Anson Charitable TrustAudrey and Ronnie’s Fund The BAND Trust The John Beckwith Charitable TrustThe Liz and Terry Bramall Foundation TrustCHK Charities LtdThe Clore Duffield FoundationThe John S. Cohen FoundationThe Peter Cruddas FoundationDunard FundThe Dunhill Medical TrustEsmee Fairbairn Foundation Freed of LondonThe Robert Gavron Charitable TrustThe Gordon FoundationThe Shauna Gosling TrustThe Helen Hamlyn TrustThe JP Jacobs Charitable TrustThe Leche TrustThe Linbury TrustPhilip Loubser FoundationThe John Lyon’s CharityMariaMarina Foundation The Monument TrustPeter Moores FoundationOak FoundationThe David and Elaine Potter FoundationPRS for Music FoundationThe Joseph and Lena Randall Charitable TrustSir John Ritblat Family Foundation Gail and Gerald Ronson through The Gerald Ronson FoundationThe Archie Sherman Charitable Trust The Bernard Sunley Charitable Foundation The Taylor Family FoundationThe Constance Travis Charitable Trust The Tufton Charitable TrustThe Kurt Weill Foundation for MusicThe Wolfson Foundation1 Anonymous

CorporateAccentureAlta AdvisersAmerican Express Services Europe LtdAudiBank of America Merrill LynchThe Boston Consulting GroupBP The Canary Wharf GroupCoutts & Co Criterion IcesDeloitteEnQuest PLCEsureEurovestech plcFair LinksFF&P Asset Management LtdFreddyGoldman SachsHildonInvestecKPMGLazard RLM FinsburyRuinartRolexSotheby’sTwinings XstrataYakult UK LtdZurich Insurance plc5 Anonymous

Season PatronsAnglo American plcThe Bank of Tokyo-Mitsubishi UFJ, LtdCanaccord Genuity LtdCanary Wharf Group plcThe Clore Duffield FoundationLord and Lady GavronSeifi Ghasemi, Rockwood Holdings, Inc GlaxoSmithKlineMr David HancockKPMGAlfiya and Timur KuanyshevMarks & Spencer Group PlcMaybourne Hotel GroupJamie McAlpine

Zvi and Ofra Meitar Family FundMorgan StanleyMrs Susan A Olde OBEThe Hon Olga Polizzi CBE and The HonPortia ForteRLM FinsburyRolex SAMrs Lily SafraSt James’s Co LtdThe Telegraph Media GroupSir Brian Williamson CBEXstrata plcLord and Lady Young Of Graffham1 Anonymous

First Night PatronsJanice and David BlackburnDr Genevieve and Mr Peter Davies Mrs Aline Foriel-DestezetHuntswoodDame Theresa SacklerSmiths Group plc

American Friends of Covent GardenSupportersThe Annenberg FoundationMrs Mercedes T BassThe Blavatnik Family FoundationMrs Aline Foriel- DestezetCharles and Kaaren HaleAndrea and Jim KiernanBob and Tamar Manoukian Hélène and Jean PetersKarl and Holly PetersonSpindrift Al SwaidiMr and Mrs Paul TosettiMrs Charles Wrightsman1 Anonymous

Philanthropy and Bequests to the RoyalOpera House Endowment FundMargherita Maria BruniThe Estate of the late John FranklinPaul Hamlyn FoundationThe Estate of Nona White3 Anonymous

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BOARD OF TRUSTEESSimon Robey (Chairman)Baroness BlackstoneThe Countess of ChichesterSir David ClementiPeter Cruddas (from March 2012)Lady Heywood (from March 2012) Sir Nicholas HytnerNicholas PrettejohnHeather Rabbatts CBESir Simon Robertson (retired July 2012)Dame Gail Ronson DBERoland RuddAnthony SalzDame Sue Street DCBIan Taylor (from March 2012)Laura Wade-Gery (from March 2012)Robert Wallace

EXECUTIVE MANAGEMENT TEAMTony Hall CBE – Chief ExecutiveMonica Mason DBE – Director,The Royal BalletSir Antonio Pappano – Music Director, The Royal OperaCaroline Bailey – Director of MarketingElizabeth Bridges – Director of PersonnelDeborah Bull CBE – Creative Director (to March 2012)John Fulljames – Associate Director of Opera Rob Greig – Chief Technology Officer (from June 2012)Kasper Holten – Director of Opera Peter Katona – Director of Opera CastingJeanetta Laurence – Associate Director, The Royal BalletChristopher Millard – Director of Press and CommunicationsSally Mitchell – Orchestra Administrative DirectorKevin O’Hare – Administrative Director, The Royal BalletSally O’Neill – Director of FinanceHazel Province – Director of PlanningPaul Reeve – Director of Learning and EngagementAlastair Roberts – Managing Director, Royal Opera House Enterprises Amanda Saunders – Director of DevelopmentCormac Simms – Administrative Director, The Royal Opera

DEVELOPMENT COMMITTEESimon Robey (Chairman)The Countess of ChichesterJulian MetherellSir Simon RobertsonDame Gail Ronson DBEDanny WylerLady Young of Graffham

ENGAGEMENT, EDUCATION AND ACCESS COMMITTEEBaroness Tessa Blackstone (Chairman)David HallJohn HoldenAnne McElvoyMatthew PeacockAbigail PogsonSimon RobeyAnthony Salz

ENTERPRISES COMMITTEEHeather Rabbatts CBE (Chairman)Peter AlwardSir David LeesSimon RobeyDavid RossLaura Wade-Gery

FINANCE ANDAUDIT COMMITTEENicholas Prettejohn (Chairman)Sir David ClementiLady HeywoodSir Nicholas HytnerHeather Rabbatts CBESimon RobeyDame Sue Street DBE

FUNDRAISING ADVISORY CIRCLEJulian Metherell (Chairman)Vahid AlaghbandSue ButcherJosephine Fitzalan HowardHamish ForsythViscount LinleyVictoria MatherSalim MoollanLorna ParkerJudith PortraitSimon RobeyKristina RoggeRoland RuddBernard TaylorFrank Van den BoschSir Brian Williamson

NOMINATIONS COMMITTEESimon Robey (Chairman)Sir David ClementiNicholas PrettejohnDame Sue Street DCB

RENUMERATION COMMITTEESimon Robey (Chairman)Sir David ClementiNicholas PrettejohnDame Sue Street DCB

GOVERNANCE AND MANAGEMENTThe direction and control of the Royal Opera House isdetermined by the Board ofTrustees which meets at leastsix times per year. The role of the Board is to direct the Royal Opera House strategy to ensure that it is on the rightcourse and that it is properlyand effectively managed. TheTrustees are also responsible for the appointment of theChief Executive, as well as the most senior management positions. The Chief Executive,with the assistance of theExecutive Management Team,manages the day-to-day opera-tion of the Royal Opera House.

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Royal Opera HouseCovent GardenLondon WC2E 9DDTelephone +44 (0)20 7240 1200www.roh.org.uk

Managing Editor, Dan Foulkes for MilknosugarRegistered Charity no. 211775

PHOTOGRAPHYSim Canetty-Clarke Front pageCatherine Ashmore Contents, 16, 22, 42Johan Persson 8, 9, 11, 35Bill Cooper 12, 14, 20, 34, 39 Tristram Kenton 13, 18, 23 Clive Barda 15, 17 Hugo Glendinning 26 Atherton-Chiellino 32, 37

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