ANNUAL 2018/19 - Chance to Dance - Royal Opera House
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A N N UA L
REPORT
2 01 8 / 1 9
Chance to Dance
TRUSTEES ’ AN NUA L RE P O RT
INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS
75% of income generated from ticket sales,
fundraising and commercial activity;
£4+ generated through ticket sales, fundraising and
commercial activity for every pound of grant received
1m visits, including 35,000 2 International Opera awards
attending events in our public (4 nominations)
spaces and 14,000 taking a 1 Olivier award
backstage tour as well as visitors (5 nominations)
enjoying our new displays,
2 Critics Circle Dance Awards
restaurants and shop
(8 nominations)
189 performances and 389 staged performances
participatory events in our at the Royal Opera House;
new RIBA-award winning including 11 commissions
public spaces and 6 other new productions
LAST YEAR IN
SUMMARY 668,000 tickets sold.
10 productions were broadcast More than 30% were £35
on British TV channels, 2 were or less; over 21,000 people
streamed and 11 were broadcast attended low-priced enhanced
on BBC Radio 3 performances for schools,
families, students and
community groups
More than 1,250 schools have
taken part in ROH national
The most subscribed-to You learning programmes since
Tube channel and fastest- the programme began 3
growing Facebook channel years ago. In Thurrock, 61%
of any UK performing arts of schools accessing arts and
organisation culture through the Trailblazer
Almost 1 million attendances programme
of ROH Cinema screenings worldwide in 53 countries;
Live cinema screenings in the UK at 598 cinema screens
39,000 hours of streamed content were viewed online
by audiences across the globe
5.25m people watched World Ballet Day
39,000 across 25 venues attended 3 BP Big Screen
free outdoor ballet and opera screenings from Aberdeen
to the Isle of Wight
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INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS
INCOME 2019 EXPENDITURE
Commercial
Commercial and Front of House
other income £12.2M, 9%
Investment income £1.9M, 2%
£30.8M, 23% Fundraising
£1.7M, 1%
£4.6M, 3%
Management, administration
and governance
Box office receipts
£7.2M, 5%
£43.9M, 33%
Fundraising – Open Up Performance,
£1.0M, 1% learning and outreach
Marketing and £83.7M, 60%
Fundraising publicity
and Sponsorship £6.9M, 5%
£30.5M, 23%
ACE – NPO and Bridge
£24.8M, 19% Premises and depreciation
£22.4M, 16%
Total income £132.7M, including capital donations and funding of £1.0M Total expenditure £138.9M excluding capital expenditure
INCOME 2018 EXPENDITURE
Commercial
Commercial and Front of House
other income Investment income £10.5M, 8%
£1.8M, 1% £1.6M, 1%
£28.7M, 21% Fundraising
£4.4M, 3%
Management, administration
Box office receipts and governance
£45.5M, 33% £7.0M, 5% Performance,
learning and outreach
Fundraising – Open Up £82.9M, 63%
£5.1M, 4%
Marketing and
publicity
£6.7M, 5%
Fundraising
and Sponsorship
£32.0M, 23% ACE – NPO and Bridge
£25.2M, 18% Premises and depreciation
£18.6M, 14%
Total income £138.3M, including capital donations and funding of £5.1M Total expenditure £131.8M excluding capital expenditure
3
Figures exclude gains on investment, profit on disposal of operations and taxation.
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INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS
CHAIRMAN AND CHIEF EXECUTIVE
Berenice 4
Jacquelyn Stucker as Alessandro and Claire Booth as Berenice
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DAVID ROSS
CHAIR
Welcome to the Royal Opera House Covent
Garden Foundation (Limited by Guarantee)
2018/19 Annual Report.
The publication of our annual report for the 2018/19
Season, like that of many organisations around the country,
was upended by the unparalleled impact of the COVID-19
pandemic, which forced the Royal Opera House to close
its doors to the public in March 2020. As we re-focus our
energies and adapt all our activities to COVID-safe performing
restrictions I would like to thank all our close friends and
supporters as we prepare for the extraordinary challenges
that lie ahead, enabling us to look forward to a day when we
can regularly and at scale welcome audiences back to our
auditorium and artists back onto our stages.
I must also take the opportunity to thank Suzanne Heywood
for leading the Board so ably as Acting Chair after our
previous Chair, Ian Taylor, stepped down from the Board in
December 2019 due to ill health. Under her guidance the
organisation navigated the immediate challenges of lockdown,
and she played a vital role in helping to shape the Royal Opera
House’s response to the COVID-19 crisis and its future plans.
Ian Taylor sadly passed away in June 2020. He led the board
with great vision, remarkable commitment and extraordinary
business acumen. The achievements outlined in this report
were all delivered under his watch, and on behalf of all his
fellow trustees I would like to express our profound gratitude
and appreciation for all he has done over the course of his life
for the Royal Opera House.
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Our art forms explore with unrivalled force the emotions that
define our common humanity. When society is dealing with
such challenging times, the arts must remain front and centre
of the national conversation, shaping cultural discourse and
reaching as many people as possible across the UK.
The completion of our three-year Open Up project has
transformed our public spaces and opened the doors to a new
generation of ballet and opera lovers. We were delighted to
welcome more than one million visitors through our doors in
our first year, the largest attendance in our history.
Open Up was a triumph of philanthropy and would not have
been possible without the support of the trusts, foundations
and individuals closest to us who were asked to make an
exceptional gift in addition to their ongoing support of the
Royal Opera House. We are truly grateful to them, and all our
generous, loyal and supportive partners who care so much
for the success of this great institution, together with the vital
investment from Arts Council England and support from
the Department for Digital, Culture, Media and Sport, which
underpins all of the work we do at the Royal Opera House,
not just inside our Covent Garden home but across the whole
of the UK.
None of the achievements of this defining Season for the Royal
Opera House would have been possible without the passion,
dedication and constant striving for the highest standards by
the Royal Opera House’s staff and the resilience of every team
across the organisation. I would like to thank all those who
work with this remarkable family, not just in Covent Garden
but in Thurrock and Aberdare, as well as the great work in
schools and communities across the entire country.
David Ross
16th December 2020
TBC
Family Sundays 6
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INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS
ALEX BEARD CHIEF EXECUTIVE
At time of publication, the Royal Opera House continues
to navigate the biggest crisis in its history as a result of
the COVID-19 pandemic. There is much to achieve over
the coming months, and the road ahead for the industry
will be difficult, but we are doing all we can to prepare
for the future. We have a four-pronged plan for recovery: a
programme of restructuring and staffing cuts, reducing our
costs wherever possible; a fundraising campaign; support
from Government; and realising such value as we can from
our assets. All of this will be required to ensure we can
continue to delight audiences for decades to come with
extraordinary ballet, dance, music and opera.
In happier times, the 2018/19 Season saw us open the doors
to a transformed Royal Opera House, unveiling a state of the
art new Linbury Theatre, new entrances, foyers and terraces, a
new café, bar and restaurant and refurbished Clore Studio, as
well as an extensive programme of free and ticketed daytime
events, activities and festivals for people of all ages. Three
years in the making, and at a cost of £50.7m, Open Up not
only changed what it meant to visit the Royal Opera House,
open every day from 10am, but opened the organisation -
welcoming more people than ever before as we celebrated
and showcased our art forms.
Equally important work continued backstage as we
approached the twentieth anniversary of the 1999
redevelopment. The year under review saw us mid-way
through the renewal of our flying system, no mean feat with
an intensive repertoire in full swing, and with comprehensive
surveys on our technical estate and infrastructure completed
to inform capital investment priorities for the next decade.
On stage The Royal Ballet delighted packed houses. Amongst
a full and varied programme of much-loved classics, revivals
and new commissions, Marius Petipa’s Don Quixote, featuring
additional choreography from Carlos Acosta, is now fully
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INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS
established in the Company’s repertoire and showcased brilliantly the and artists, working with a number of other organisations to ensure best
leading dancers in the Company; Peter Wright’s inimitable Nutcracker practice is encouraged and implemented across the sector.
once again entranced audiences over the Christmas season; Kenneth
MacMillan’s extraordinary contribution to the art form was celebrated The artistic heart of the Open Up project was our new state-of-the-art
with outstanding revivals of Mayerling, and Romeo and Juliet. New work Linbury Theatre, providing a second, more intimate, world-class stage for
included the world premiere of The Unknown Soldier, marking the The Royal Ballet, The Royal Opera and a host of internationally celebrated
centenary of World War I, and Sidi Larbi Cherkaoui’s debut piece Medusa. artistic partners. In its inaugural Season, the theatre presented a wide
Our resident choreographers featured strongly with the return of Wayne range of work including world premieres ranging from Gavin Higgins’
MacGregor’s contemporary classic Infra and Christopher Wheeldon’s The Monstrous Child, based on Francesca Simon’s book, to five new works
Within the Golden Hour, performed alongside a first revival of Crystal in a partnership between The Royal Ballet and London Sinfonietta. More
Pite’s award-winning Flight Pattern. The Season concluded with a gala successful partnerships and collaborations followed: Isango Ensemble
celebration of our Prima Ballerina Assoluta, Dame Margot Fonteyn, performed the moving and deeply affecting A Man of Good Hope and SS
alongside a classic triple bill of The Firebird/A Month in the Country/ Mendi; Ballet Black presented Cathy Marston’s acclaimed The Suit, and
Symphony in C, and the remarkable talents of the Royal Ballet School in a host of global dance companies joined The Royal Ballet for a flavour
their annual Main Stage summer performance. of exciting work-in-the-making in International Draft Works. The Royal
Opera also continued its exploration of Handel with a new production
In the fiftieth year of its Royal Charter, The Royal Opera opened with of Berenice, in partnership with the London Handel Festival. Leoš Janáček
Music Director Tony Pappano leading four outstanding and widely featured again in The Diary of One Who Disappeared, a partnership with
acclaimed full cycles of Wagner’s Der Ring des Nibelungen. After Muziektheater Transparant. The Royal Opera’s inaugural Engender
conducting Stefan Herheim’s production of Tchaikovsky’s The Queen of weekend put women front and centre, both onstage and behind the
Spades he led an exceptional account of Verdi’s La forza del destino, in scenes, and the Jette Parker Young Artist Programme brought Hans
Christof Loy’s new production with Jonas Kaufmann, Anna Netrebko and Werner Henze’s final opera Phaedra to life in a new production directed
Ludovic Tezier, a cast showing the extraordinary respect in which Tony by Noa Namaat.
is held by the world’s leading singers. Antony McDonald’s new Hansel
and Gretel, the first in a series of Main Stage productions for families, A new year-round programme of events, activities and festivals for people
delighted audiences over Christmas under Sebastian Weigle’s baton in his of all ages brought our front of house spaces to life, complementing
debut with the Company. Ed Gardner also made his conducting debut in the talent and artistry on both stages. These packed events brought new
Richard Jones’ new and viscerally intense production of Katya Kabanova, audiences to the ROH and included workshops exploring backstage
continuing our cycle of Leoš Janáček operas, while Deborah Warner’s theatrecraft, guest artist performances, Family Sundays, Tea Dances,
electrifying, and now Olivier Award winning, Billy Budd signalled a workshops and recitals. New displays showcased some of the most
renewed commitment to the work of Benjamin Britten. famous moments in the history of The Royal Ballet and The Royal
Opera including the extraordinary craftsmanship of costume makers and
All productions on our stage were underpinned by the extraordinary designers. Our Insights programme went from strength to strength, with
musicianship, talent and commitment of the Orchestra of the Royal Opera more than 70 events over the course of the Season covering topics from
House and the Royal Opera Chorus, both of whom came on stage for the LGBTQ+ icons of ballet and opera, to a celebration of the centenary
an unforgettable performance of Verdi’s Requiem under Tony Pappano, of Margot Fonteyn’s birth, as well as an exploration of the relationship
marking the World War I centenary. Following the conclusion of a High between disability and dance with representatives from The Royal Ballet
Court case involving noise and hearing protection in the orchestra pit, and Candoco dance company.
we redoubled our commitment to the health and safety of all our staff
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Our national learning programmes extended their reach through three
flagship programmes: Create and Sing, Create and Dance, and Design
and Make, supporting teachers from over 1,250 schools, 81% of which
are located outside Greater London. In June, more than 1,000 pupils and
staff from 35 schools across the country came together to perform in the
UK’s largest ever staging of Carmen at the Olympic Park’s Copperbox
Arena. The performance was the culmination of a year-long project
inspired by the Royal Opera House’s Create and Sing programme in
partnership with United Learning, English Pocket Opera Company and
The Voices Foundation.
We continued our live and as-live screenings to cinemas, with almost
400,000 tickets sold in 600 cinemas around the UK and just under 500,000
tickets sold in 53 countries across the globe. The ROH continued to reach
new audiences through free BP Big Screen presentations of Carmen, The
Marriage of Figaro and Romeo and Juliet at 25 outdoor sites across the UK,
with more than 39,000 people experiencing free culture on their doorstep,
from Aberdeen to the Isle of Wight.
The reach of our social media channels continued to grow, with more
people than ever before engaging with our art forms across a range of
platforms. Our cross-channel following now numbers more than 2.5m
users. A highlight of the year was our annual #WorldBalletDay campaign
which inspired audiences across the world with insights into life behind
the scenes in the world’s leading ballet companies.
Ultimately it is our extraordinarily committed staff and artists that make
the Royal Opera House such a remarkable institution, and my deepest
thanks go to all my colleagues for their inspiration, dedication and
professionalism. Profound gratitude also to our extended family of friends,
patrons, philanthropists and audiences, without whom none of this year’s
achievements would have been possible.
Alex Beard, Chief Executive
16th December 2020
Jette Parker Young Artists Summer Performance 2019
Hongni Wu and Thando Mjandana 9
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WHO WE ARE AND WHAT WE DO
Asphodel Meadows 10
Luca Acri and Meaghan Grace HinkisTRUSTEES ’ AN NUA L RE P O RT
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Family Sunday
Who we are and what we do We are a National Portfolio Organisation, supported by the
The Royal Opera House’s aim is for many more people to enjoy British public via Arts Council England, and a registered charity,
and engage in exceptional ballet and opera. receiving donations from those who share our ambitions.
As The Royal Ballet, The Royal Opera and the Orchestra of One of the world’s busiest theatres
the Royal Opera House, we bring together the world’s most • presenting 550+ performances and events
extraordinary ballet and opera artists in live events that thrill, • 1m+ people through our doors
move and excite, that transport people to other worlds. Our • 1m+ people enjoying our work in cinemas, at free screenings
theatre is in Covent Garden but our work is experienced across and through streamed and televised productions
the UK and globally through touring partnerships, cinemas, free • 1,250+ schools so far engaging with ROH national learning
outdoor screenings, radio, TV and live-streaming. programmes
• 150+ partnerships
We constantly question and discover, re-imagining the great
masterpieces of the past, and investing in new works, exceptional
talent and innovative ideas. Our Learning and Participation
programme opens up opportunities, deepens learning and
connects people with affordable performances for families,
schools, students and community and health groups.
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Angel Blue as Violetta Valéry in La Traviata Marta Fontanals-Simmons as Hel and Dan Shelvey as Baldr in The Monstrous Child
Our priorities • Enhance and animate front of house spaces
• Expand cinema and digital participation
The overall ROH Plan was approved by the Board in late 2017 • Participate in high-impact national events
and shared with staff and with our principal funder Arts • Refresh our brand identity
Council England. It sets out four priorities and the actions and • Improve our understanding of audiences
performance indicators for each over the period 2018–2022. • Outcomes: reach outside London, diversity of audiences,
daytime engagement and spend at ROH.
Strengthen Excellence – consistently reflect today’s best people
and ideas, appealing to the broadest possible audience. Ensure Financial Resilience – improve how we use our resources
• Develop exciting programming and grow income to ensure a healthy organisation.
• Reopen the Linbury Theatre • Grow earned income
• Nurture astonishing, diverse artists • Lay foundations for future philanthropy
• Expand opportunities nationally • Make permanent cost savings
• Outcomes: audience satisfaction, diversity of artists, • Futureproof our theatre
box office income. • Optimise our use of technology
• Outcomes: balance sheet health, productivity,
Open Up – introduce many more people to the worlds of ballet fundraising income.
and opera so they feel they belong at the Royal Opera House
and want to deepen their involvement.
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Curtain call after La Forza del Destino performance with Sir Antonio Pappano and cast Sir Antonio Pappano and Aigul Akhmetshina rehearse La Forza del Destino
Be a Great Place to Work – make working here more safe,
inclusive and productive.
• Improve health, safety and well-being
• Embed ROH values and behaviours
• Improve how we plan and produce
• Support staff to learn, develop and share
• Develop a resource plan for the future
• Outcomes: staff health and well-being, diversity of staff, staff
engagement and satisfaction.
The coming pages expand on what was delivered against this
plan during 2018/19.
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ACHIEVEMENTS AND FUTURE PLANS
The overall ROH Plan was approved by the Board and shared with staff and with our principal funder Arts Council England.
Over the coming pages we will expand on what was delivered against each priority during 2018/19 and provide
an overview of our Plan for 2019/20 to 2022/23
Medusa 14
Natalia Osipova as Medusa and artists of the Royal Ballet as soldiersTRUSTEES ’ AN NUA L RE P O RT
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Cas Public in 9
2018/19 IN Develop exciting, deliverable programming premieres and work by Ivo van Hove, Aletta Collins, Adele
The Royal Opera House presents the world’s most Thomas, Wayne McGregor, Timothy Sheader, Alessandra Ferri,
SUMMARY
accomplished ballet and opera artists in productions of National Dance Company Wales, Introdans, Cas Public, Ballet
extraordinary quality and scale. Our 389 performances during Black, Yorke Dance Project, Lost Dog, London Handel Festival,
STRENGTHEN the 2018/19 Season featured outstanding artistic contributions Isango Ensemble and Muziektheater Transparant, along with
from The Royal Ballet, the Royal Opera Chorus, the Orchestra a festival of Young Talent with Junior Companies and
EXCELLENCE of the Royal Opera House, Angel Blue, Jessica Cottis, Marta The Royal Ballet School and an extended programme of
Fontanals-Simmons, John Eliot Gardiner, Gavin Higgins, new choreography.
Ermonela Jaho, Richard Jones, Anna Netrebko, Antonio
Pappano, Bryn Terfel, Deborah Warner and hundreds of other In the 1858 auditorium, The Royal Ballet’s Season was notable
artists too numerous to mention. Audience appetite remained for strong revivals, starting with well-received revivals of
strong, with 668,000 tickets sold and an increase to 96% Mayerling and La Bayadère. The Company commemorated
occupancy and 90% of available financial capacity. the centenary of the end of World War I with a new, Olivier-
nominated commission from Alistair Marriott, The Unknown
The first performances in the new Linbury Theatre took place Soldier, and invited Sidi Larbi Cherkaoui to make his Company
in January 2019. The new theatre, which has an exceptional debut with Medusa. The Royal Opera’s Season opened with
intimacy and acoustic, is enriching the programming with new Wagner’s Ring Cycle, a monumental achievement that attracted
creative voices and ideas. Its opening season included four world significant critical acclaim. The ensuing Season featured five
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Billy Budd
© Yasuko Kageyama - Opera di Roma
ambitious new productions, including Deborah Warner’s The Nutcracker was once again enjoyed by over 145,000 people,
Billy Budd (beginning the Royal Opera’s Britten Cycle), an in cinemas worldwide and at Covent Garden, including
exceptionally cast La forza del destino directed by Christof Loy, special performances for schools, families, community groups
and Richard Jones’s Katya Kabanova, which received outstanding and, for the first time, the families of our committed staff and
reviews and an Olivier Award for Best Opera Production. The contractors. Family audiences also experienced Cas Public
Royal Opera also began its series of works which Handel wrote in Hélène Blackburn’s fascinating 9, inspired by dancer
for Covent Garden with an acclaimed concert of Solomon and Cai Glover’s experience of hearing loss.
the first production of Berenice in London for nearly 300 years.
Across the Season more than 30% of tickets at our
Under the vision of our Director of Opera, Oliver Mears, Covent Garden home were priced £35 or less. Low-priced
we successfully introduced a programme to engage new, ‘First Encounter’ performances, enhanced by support for
and especially, younger audiences. The Royal Opera’s new teachers, pop-up performances and workshops, reached
production of Hansel and Gretel was enchantingly directed and an audience of 21,389.
designed by Antony McDonald, featuring fairytale woodlanders
and a murderous chocolate pot. In the Linbury, Francesca
Simon’s young adult novel The Monstrous Child was successfully
brought to life by composer Gavin Higgins.
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• 2 2 Royal Opera productions, including 1 commission • 2 Critics Circle Dance Awards, 2 International Opera Awards
and 6 other new productions: and an Olivier Award
The Monstrous Child – Gavin Higgins,
Francesca Simon, Timothy Shearer (commission) • P
erformances from 22 partner companies and 8
Hansel and Gretel – Antony MacDonald junior companies
Queen of Spades – Stefan Herheim
Katya Kabanova – Richard Jones TRIO ConcertDance Southbank Sinfonia
London Sinfonietta Cas Public
La forza del destino – Christof Loy
Aurora Orchestra Ballet Black
Berenice – Adele Thomas National Dance Company Wales Muziektheater Transparant
Billy Budd – Deborah Warner Introdans Ballet Zürich Junior Company
London Handel Festival Norwegian National Ballet 2
• 14 Royal Ballet productions, including 10 commissions: ABT Studio Company Rambert 2
Birmingham Royal Ballet The Royal Ballet School
The Unknown Soldier – Alastair Marriott, Dario Marianelli
Dutch National Ballet ROH Chance to Dance Company
New Work, New Music:
Hamburg Ballet Young Creatives
Based on ‘A’ true story – Kristen McNally, Samantha Fernando The National Ballet of Canada Rambert School
Uncanny Valley – Alexander Whitley, Mica Levi Norwegian National Ballet Dutch National Ballet Juniors
Circular Ruins – Goyo Montero, Owen Belton Royal Ballet of Flanders Welsh National Opera
Something Borrowed – Calvin Richardson, Anna Meredith Isango Ensemble Bolshoi Ballet
Two Sides Of – Juliano Nuñes, Luke Howard Lost Dog
Yorke Dance Project
Blue Moon – Aletta Collins, David Sawer
International Draft Works: • 1 89 performances and participatory events in our new,
Canto de Ossanha – Joshua Junker RIBA-award-winning public spaces
Zohar – Hannah Grennell
Medusa – Sidi Larbi Cherkaoui, Olga Wojciechowska,
Henry Purcell
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Live at Lunch: The Rite Re-envisioned A Man of Good Hope
Nurture astonishing, diverse artists its programming from approximately a third to a half by 2022,
The Royal Opera House employs more artists than any other and launched Engender which encompasses events, open calls
UK arts organisation and works with an expansive network and a network for women working in opera. The Royal Ballet is
of freelance creatives, singers and other performers. Across the especially focused on nurturing relationships with established
programme, and particularly in our mid-scale work and within and new female choreographers, and announced a 2019/20
our talent development programmes, there has been an increase Season within which 40% of the new works were to be created
in participation from ethnically diverse performers and female by women.
practitioners. However, we recognise that our organisation and our
art forms have further to go to reflect the diversity of the UK. The Jette Parker Young Artists Programme continues to provide
one of the world’s leading centres for new operatic talent,
New creative partnerships – projects with Isango Ensemble, offering two years’ training for artists with potential to forge
Candoco, Ballet Black, Rambert, Acosta Danza, and residencies an international career, plus additional support for emerging
Arts4Dementia, Synergy, Streetwise Opera, Culture Device and artists from under-represented backgrounds. Other development
Magpie Dance – are enabling us to foreground and support opportunities included a further course for female conductors
artists from under-represented communities. The Royal with the Royal Philharmonic Society, opera days with Young
Opera signed up to the Keychange initiative, working Vic Directors’ Network, the BA Opera Makers course and PhD
towards increasing the number of female creatives across Composer in Residence with Guildhall School of Music
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Chance to Dance
and Drama, the Draft Works and International Draft Works
choreographic strands, a collaboration between the ROH
Audience Labs and GUAP, a Peckham-based magazine dedicated
to emerging creative talent. We also continued our long-standing
relationship with Southbank Sinfonia, an orchestra of recent
graduate musicians.
The roll-out of the national Chance to Dance programme
commenced, enabling many more young people to gain a
first taste of ballet and access opportunities to develop raw
talent. The programme is delivered in partnership with the
Royal Ballet School and other players working in dance education,
uniquely bringing together state primary schools and private
dance schools. At the centre of the Young Talent festival was
an industry symposium, ‘Exposure, Access and Opportunity:
exploring the cultural barriers to ballet training’ , facilitated by
the inspirational expert and former dancer Theresa Ruth Howard.
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Create and Sing, Copperbox Arena
Expand first opportunities nationally Our season launch included the announcement of a major
Over the last three years, teachers from 1,394 schools have been programme as part of Doncaster Creates in 2020. In Thurrock,
trained to deliver the new ROH national learning programmes: home to our Bob and Tamar Manoukian Production Workshop,
Create and Sing, Create and Dance and Design and Make. costume centre and the ROH Bridge team, and supported
Forty-three percent of those trained last year were from schools by Thurrock Borough Council, we worked through the
outside London and, to encourage participation from a wide Trailblazer programme to embed cultural learning at the heart
range of schools, especially in areas of low cultural engagement, of Thurrock’s schools. A total of 61% of Thurrock schools
we delivered taster Continuing Professional Development took part, reaching an estimated 16,000 pupils. ROH Bridge
sessions and formalised partnerships with Music Education continues to deliver Arts Council England’s Bridge programme
Hubs from Berwick-upon-Tweed to Barnstaple. More than 1,000 in North Kent, Essex, Hertfordshire and Bedfordshire, building
pupils from 40 schools under the United Learning academies connections and infrastructure. This year partnership
umbrella came together at the Copperbox Stadium in the investments were secured with Cultural Education Partnerships
Queen Elizabeth II Olympic Park to create an extraordinary in Bedford, Southend and Colchester.
massed performance of Carmen. Our Digital Learning Platform
includes a wide range of teacher-written schemes of work and
‘how to’ videos to support delivery of ROH programmes and
wider classroom learning. At Schools Matinees, 60% of schools
attended from outside London, with an average 63% providing
free school meals (national average: 13.6%).
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Family Sundays
OPEN UP Enhance and animate front of house space Since reopening in September 2018, we have received over 1m
Following the £50.7m ‘Open Up’ project, our public spaces people through our doors, with 98% of surveyed attendees
reopened in September 2018. The RIBA award-winning saying they feel welcome. There have been 35,000 attendances of
redesign by Stanton Williams has created new spaces for the new daytime programmes, with 38% of ticket bookers new
everyone to enjoy, uniting 19th-century grandeur with 21st- to the ROH and over 14,000 people attended a backstage tour.
century elegance. We are enormously grateful to all those
whose generous philanthropy made the project possible.
We are now open every day from 10am, offering a glimpse of
the creativity at play here and an introduction to our art forms,
with daytime events, activities and festivals for all ages: from
Opera and Ballet Dots for toddlers, through to Family Sundays,
participatory workshops and free and ticketed recitals. We have
developed our retail offer to encompass specially designed
products inspired by our theatre, craft and art from some of
Britain’s most exciting designers, with a new café, restaurant and
bars offering delicious food and drink in a range of beautifully
designed spaces.
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Rehearsal for The Unknown Soldier
Expand cinema and digital participation partnership with distributor Tencent. An additional 39,000 hours of
We celebrated 10 years of ROH Live in cinemas with a festival masterclasses, workshops, discussions, rehearsals and performance
in the new Linbury Theatre, showcasing some of our most extracts were viewed online over the course of the year.
important and popular releases. A UK audience of almost
400,000 across 598 cinemas and a global audience of just The second year of the Audience Labs project saw continued
under 500,000 in 53 countries experienced 11 titles in our Live exploration in the potential of immersive and other new
Cinema Season. Three productions were relayed to 25 sites technologies in engaging new audiences in collaboration with
across the UK (five more than the previous year) as part of our culture, technology and higher education partners. Working
Big Screen programme, reaching 39,000 people. with Google, Magic Leap, Arup and GUAP, a number of projects
are now in their development stage, with a hyper-reality opera
BBC FOUR’s Christmas broadcast of Swan Lake attracted more experience opening in the Linbury at the end of 2020.
than 400,000 views. The Royal Ballet visited Romania to create
a filmed version of Romeo and Juliet with Ballet Boyz and the Participate in high-impact national events
BBC for release in 2019/20. Ten productions were televised, two Our season launch included the announcement of a major new
streamed and 11 productions were broadcast on BBC Radio 3, programme of work and ROH as a lead partner in Doncaster
with reach extended further through the BBC’s international Creates, incorporating Royal Ballet performance at Cast
broadcast partnerships. During World Ballet Day 5.25m people (postponed due to the Covid-19 pandemic), a community
watched the 24-hour live stream including 3.77m in China through project (delivered as a socially-distanced project with
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INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS
The Royal Opera House, Bow Street
community groups) and, in 2021, embedding our free national Social media reach continues to grow, rising to 446m
learning programmes in every local primary school and rolling impressions (from 284m) and 10.9m engagements (5.2m).
out Chance to Dance.
Improve our understanding of audiences
Refresh our brand identity We implemented Net Promoter Score, providing a core
We created a refreshed identity for the launch of our evaluation mechanism across all our performances and events
new public spaces in September. Striking stop-motion to inform future planning. We are in the process of surveying
photography was combined with text to create a more audiences to understand more about the new visitor experience
inviting, intriguing proposition for a broader audience. and programmes enabled by the Open Up project.
The campaign won several D&D awards and was nominated
for the Campaign BIG Awards.
Alongside the campaign, a new website was unveiled, with further
work on ticket and events pages launched in March. Supporting
the launch of new front of house programmes, catering and retail,
the site has seen a 175% increase in views of non-production
event pages, 30% increase in catering page visits, as well as 4%
improvement in conversion for users on mobile devices.
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INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS
Baton Associates event The Royal Opera House Shop
ENSURE Grow earned income Lay foundations for future philanthropy
By exceeding Box Office, fundraising and commercial targets, The ROH Endowment Fund grew from £45.2m to £48.1m,
FINANCIAL
we were able to maintain a stable level of income, balance our largely through legacy giving. Income from the fund plays an
RESILIENCE expenditure and deploy reserves to finance some of the most increasingly important role in underpinning artistic excellence,
urgent infrastructure projects. Box office performance was talent and outreach. We continued to promote legacies
3.6% over budget. through talks from the stage at General Rehearsals, one-to-one
conversations and mailings.
Fundraising delivered a 4.2% higher income against
challenging targets but in setting future budgets we remain The Baton Associates programme involves and thanks those
mindful of the uncertainty surrounding Brexit, the winding who have made a legacy commitment during their lifetime.
up of several large cultural charitable foundations, increasing This year we began an aural history project, delivered by
public scrutiny of funding sources and increased competition. volunteers, to capture the extraordinary memories of those who
Enterprises delivered a 6.2% higher income than budget. The new share a deep love of the ROH and a desire to secure its future.
shop is designed and operated to deliver higher annual revenues,
as are the new offers being introduced incrementally in the new
bar, restaurant and café areas.
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INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS
Media Suite
Make permanent cost savings technical, accommodation, MEP (mechanical, engineering and
Given declining Arts Council funding, the economic plumbing) and IT infrastructure reviews, from which we are
uncertainties of leaving the European Union, inflationary developing a comprehensive estates plan.
pressures and the need to invest in our back-of-house
infrastructure, it is crucial that we develop a sustainable We made good progress with several of our most pressing
financial and operating model for the future. A plan to deliver infrastructure projects: a methodology for replacing the Main
this was developed, agreed by the Board and shared with senior Stage flying system was developed and the next phase approved,
managers. An e-procurement system was implemented to and the media suite was upgraded to ensure high-quality
support change. capture, including 4K broadcast. Thirty-five linear metres of
boxed archives were reappraised, rehoused or catalogued.
Futureproof our theatre
To remain open and deliver our plans, our buildings must be Optimise our use of technology
safe, compliant with legislation, financially and environmentally A pro bono review of IT was undertaken by a third party
sustainable, fit for purpose and welcoming. Our estate is large consultant and a number of systems were rolled out aimed at
and complex, comprising three locations: London, Thurrock increasing efficiency: a new planning system, e-procurement
and Aberdare. Much of the equipment and infrastructure system and the PARiM workforce management system to
installed in the 1990s Covent Garden development needs to support management of technical and production resources.
be upgraded or replaced. Over the year we progressed fabric,
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INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS
Family Sunday, Family Pride
BE A GREAT Improve health, safety and wellbeing although the recommendation in the original High Court
Audits of health and safety, sound management measures and judgement that hearing protection be made mandatory was
PLACE TO
fire safety were conducted, along with training and awareness dismissed at appeal. Whilst the liability related to the appeal
WORK on manual handling, mental health, security, performance is covered under insurance, the ROH continues to work with
sound, safeguarding and fire safety. Modifications were made to sector bodies and organisations to promote best practice in
several productions in our revival repertoire in order to reduce sound management and minimise risk.
risks and several feasibility studies were carried out regarding
modifications to reduce sound exposure. A new muscular- Embed ROH values and behaviours
skeletal service was introduced and we ran a series of staff Over 400 staff were involved in articulating a set of ROH Values
activities for Mental Health Awareness Week. and Behaviours which will be rolled out across the organisation
over the coming year. We undertook a range of activities to mark
The year included the conclusion of a case brought against the International Women’s Day, Pride and Mental Health
Royal Opera House by Chris Goldscheider, a viola player in Awareness Week.
the Orchestra of the ROH who was diagnosed with a hearing
condition known as acoustic shock following a rehearsal of Die
Walkure in 2012. In a case that has significant implications for
the performing arts sector, the court found against the ROH,
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Pascale Van Os and Orchestra, Women Conductor Course
Improve how we plan and produce We continue to share our learning and skills with the wider
The year saw the development and implementation of a new sector and to convene best practice. Three events were held
artistic producing and planning software solution, offering under the ‘ROH Conversations’ umbrella – the ROH Bridge
additional functionality and efficiency in our management of Conference (live-streamed to five venues across England),
the production process. We also updated production design Engender and the ‘Exposure, Access and Opportunity’ ballet
processes and introduced new methodology for evaluating training symposium – with an extended programme of activity
future seasons against artistic, audience, financial and to commence next year, including sharing learnings from our
operational considerations. first Audience Labs projects. Staff were encouraged to share their
skills as Board members of 38 other organisations and their
Support staff to learn, develop and share learnings at a variety of conferences in the UK and overseas.
More than 1,000 people work at the ROH, with many more
involved in creating and performing in our productions on
stage as freelancers. A robust induction process is in place and
all managers are expected to attend training on management
skills and diversity and inclusion. BAME and disabled staff had
the opportunity to participate in the Accelerate management
programme, delivered in conjunction with the Southbank
Centre and the National Theatre.
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Harvey Thompson, Learning and Participation Apprentice Daisy Claisse, Royal Opera House Apprentice
Develop a resource plan for the future We celebrated the graduation of our 50th backstage apprentice,
Restructuring was undertaken in legal and business affairs, with nine new people joining the programme, and offered
technical, box office and tour guide teams. The mean gender 171 work placements, and we continue to deliver the BA in
pay gap at 5 April 2018 had reduced from 14.8% to 12.6%, Costume Making with Thurrock
against a UK average of 17.1%. The number of new BAME Community College at our
employees recruited increased slightly to 17%. Three percent Bob and Tamar Manoukian
of new employees were disabled; we increased our engagement Costume Centre in Thurrock.
with the Disability Confident scheme, offered a guaranteed Bendy Ashfield, who has run
interview to all disabled candidates meeting minimum criteria, the apprenticeship programme
with a view to increasing this. We continue working with Mind since its inception, pioneering
and the Camden Society to attract people from a wide range training and inclusion within
of backgrounds and continue to ensure that all ROH staff and the theatre industry, was awarded
directly contracted staff, including cleaning and security staff, with a Special Recognition
receive London Living Wage or National Living Wage as a Olivier Award.
minimum where appropriate.
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FINANCIAL SUMMARY
Götterdämmerung 29
Claudia Huckle, Lise Davidsen and Irmgard Vilsmaier as NornsTRUSTEES ’ AN NUA L RE P O RT
INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS
2019 2018
£m £m
INCOME
Box office receipts 43.9 33% 45.5 33%
ACE - NPO and Bridge 24.8 19% 25.2 18%
Fundraising 30.5 23% 32.0 23%
Fundraising - Open Up 1.0 1% 5.1 4%
Commercial and other income 30.8 23% 28.7 21%
Investment income 1.7 1% 1.8 1%
132.7 100% 138.3 100%
EXPENDITURE
Performance, learning and outreach 83.7 60% 82.9 63%
Premises and depreciation 22.4 16% 18.6 14%
Marketing and publicity 6.9 5% 6.7 5%
Management, administration and governance 7.2 5% 7.0 5%
Fundraising 4.6 3% 4.4 3%
Commercial 12.2 9% 10.5 8%
Front of House 1.9 2% 1.6 1%
138.9 100% 131.8 100%
TRANSFERS FROM/(TO) FUNDS
Open Up fundraising (1.0) (5.1)
Fixed Asset and Heritage Asset Funds 4.3 (1.9)
Other transfers 3.0 0.6
NET SURPLUS ON UNRESTRICTED GENERAL FUNDS 0.1 0.1
For full details, please refer to the statutory accounts available from Companies House. This summary excludes gains on investments and taxation.
Income includes capital donations and funding (2019: £1.0m, 2018: £5.1m), but expenditure does not include capital expenditure.
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GOVERNANCE
Winter Dreams 31
Vadim Muntagirov as Lieutenant Colonel Vershinin and Sarah Lamb as MashaTRUSTEES ’ AN NUA L RE P O RT
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Directors and Trustees
The directors of the charitable company (‘The Royal Opera House’ or ‘the charity’) are its Trustees for the purpose of charity law and throughout this report are collectively referred to
as the Trustees. The Trustees who held office during the period and since period end were as follows:
Ian Taylor (Chair - retired 10th December 2019) Dame Vivien Duffield
Lady Heywood (Acting Chair - appointed 10th December 2019, retired 1st September Susan Hoyle obe
2020) (Deputy Chair - retired 10th December 2019, appointed 1st September 2020) Sir Nicholas Hytner
(Senior Independent Director – retired 10th December 2019) Sir John Kingman (Acting Senior Independent Director - appointed 10th December 2019)
David Ross (Chair - appointed 1st September 2020) Julian Metherell
Zeinab Badawi (appointed 8th October 2019) Munira Mirza (retired 10th December 2019)
Lord John Browne (appointed 1st September 2020) Paul Morrell obe
Tim Bunting Indhu Rubasingham (appointed 1st September 2020)
Kirsty Cooper Laura Wade-Gery
Dr Genevieve Davies Roger Wright cbe
Sir Lloyd Dorfman cbe Danny Wyler
Chief Executive
Alex Beard cbe
Audit and Risk Committee Development Committee Sir Simon Robertson (retired 5th Learning and Participation
Julian Metherell (Chairman) Danny Wyler (Chairman – appointed 10th November 2019) Committee
Kirstine Cooper December 2019) Kristina Rogge (retired 28th November 2019)Susan Hoyle obe (Chairman - appointed
Lady Heywood Ian Taylor (Chairman – retired 10th Dame Gail Ronson 10th December 2019)
Sir Nicholas Hytner December 2019) David Ross (appointed 1st September 2020) Munira Mirza (Chairman – retired 10th
Sir John Kingman Ian Andrews (retired 31st August 2020) John Singer (retired 13th December 2019) December 2019)
Paul Morrell obe Roger Barron (retired 26th November 2019) The Earl of Snowdon Alex Beard cbe
Ian Taylor (retired 10th December 2019) Tim Bunting (appointed 5th November 2019) Natasha Tsukanova (retired 30th Helen Bruckdorfer
Laura Wade-Gery The Countess of Chichester November 2019) Hilary Carty
Danny Wyler Nicola Davidson Andrew Walton Dame Vivien Duffield
Dr Genevieve Davies (retired 19th Lady Young of Graffham Jane Ellison (retired 19th November 2020)
Finance and Operations Committee November 2019) David Hall
Lady Heywood (Chairman) Dame Vivien Duffield (appointed 3rd Donation and Income Acceptance Anne McElvoy (retired 19th November 2020)
Sir Lloyd Dorfman cbe December 2020) Committee (formerly Ethics Dame Theresa Sackler (retired 19th
Sir Nicholas Hytner Lady Heywood (appointed 22nd January Committee) November 2020)
Sir John Kingman 2020, retired 1st September 2020) David Ross (Chairman – appointed 1st Jonathan Sands
Julian Metherell Simon Holden (retired 20th November 2019) September 2020) Ian Taylor (retired 10th December 2019)
Paul Morrell obe Martin Houston (retired 20th November 2019) Lady Heywood (Chairman – appointed 10th Bridget Whyte
Ian Taylor (retired 10th December 2019) Robert Kalff December 2019, retired 1st September 2020)
Laura Wade-Gery Sophie Lecoq (retired 26th November 2019) Ian Taylor (Chairman – retired 10th
Danny Wyler Thomas Lynch (died in post November 2019) December 2019)
Julian Metherell (retired 6th December 2019) Kirsty Cooper
Paul Raphael (appointed 22nd June 2020) Danny Wyler
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Nominations and Remuneration Committee Executive Management Team
(formerly People and Organisation Alex Beard, Chief Executive
Committee) Jillian Barker, Director of Learning and Participation
David Ross (Chairman – appointed 1st Heather Baxter, Administrative Director,
September 2020) The Royal Ballet
Lady Heywood (Chairman – appointed 10th Bob Brandsen, Production Director
December 2019, retired 1st September 2020) (until 31 August 2020)
Ian Taylor (Chairman – retired 10th December 2019) Melanie Crompton, Orchestra
Dame Vivien Duffield Administrative Director
Julian Metherell Jane Crowther, Director of Human Resources
Danny Wyler (until 13 December 2019)
Susan Hoyle obe Mark Dakin, Technical Director
Helen Dunne, Acting Orchestra Administrative
Company Secretary Director (started 1 September 2018 until 1
Leah Hurst (appointed 8th October 2019) November 2019)
Ivan Daffern (appointed 1 October 2018, retired 8th Lindsey Glen, Head of Policy and Strategy
October 2019) (until 10 December 2020)
Fiona Le Roy (retired 30 September 2018) Dale Haddon, Director of Human Resources
(from 17 June 2020)
Peter Katona, Director of Casting
Koen Kessels, Music Director, The Royal Ballet
Mindy Kilby, Director of Finance
Joe McFadden, Chief Technology Officer
(until 31 July 2019)
Terry McGrath, Director of Audiences & Media
(from 11 November 2019)
Oliver Mears, Director of Opera
Kevin O’Hare, Director, The Royal Ballet
Antonio Pappano, Music Director
Richard Piercy, Director of IT
(from 2 September 2019 until 16 March 2020)
Hazel Province, Director of Planning
(until 18 January 2019)
Amanda Saunders, Director of Development
and Enterprises
Cormac Simms, Administrative Director,
The Royal Opera
Lucy Sinclair, Director of Audiences and Media
(until 18 July 2019)
Laura Stevenson, Renewal Programme Director
(from 1 September 2019)
Heather Walker, Director of Operations
Sarah Younger, Open Up Project Director
(until 31 December 2018)
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Governance and Management Ricki Gail Conway
Dr Genevieve Davies
The direction and control of the Royal Sir Mick and Lady Barbara Davis
Opera House is determined by the Board of Sir Lloyd Dorfman cbe
Trustees, which meets at least six times a year. Dame Vivien Duffield
The role of the Board is to direct the Royal Aline Foriel-Destezet
Hamish and Sophie Forsyth
Opera House strategy and to ensure that Kenneth and Susan Green
the Royal Opera House is on the approved Lady Hamlyn
strategic course (including artistic strategy) Jane Hamlyn
and that it is properly and effectively Dr Catherine Høgel
managed. The Trustees are also responsible Charles Holloway
Aud Jebsen
for the appointment of the Chief Executive, Frances Kirsh
as well as the most senior management Doug and Ceri King
positions. The Chief Executive, with the Alfiya and Timur Kuanyshev
assistance of the Executive Management Lord and Lady Laidlaw
Team, manages the day-to-day operation of Rena and Sandro Lavery
Margarita Louis-Dreyfus and Phillipp Hildebrand
the Royal Opera House.
The Marguiles Family
We would also to thank the following for Bertrand and Elisabeth Meunier
support, advice and encouragement throughout Marit Mohn
the year: OANDA Europe Limited – David Hodge
Ambassadors Mrs Susan A Olde obe
The Countess of Chichester Stefan Sten Olsson
Dame Gail Ronson dbe Jette and Alan Parker
Natalie Parker
The Board of the Royal Opera House Mrs Clarissa Pierburg
Endowment Fund Melinda and Donald Quintin
Dame Vivien Duffield Chair, Tim Bunting, Hamish Julia and Hans Rausing
Forsyth, Sir Simon Robertson, Sir Simon Robey, Yvonne and Bjarne Rieber
Baroness Shackleton of Belgravia, Peter Troughton cbe Sir Simon and Lady Robertson
Rolex – Arnaud Boetsch
Board of Honorary Directors The Gerald and Gail Ronson Family Foundation
Ian Taylor Chair (retired 10th December 2019) Ruinart – Mr Bertrand Steip
Lady Heywood Chair (appointed 10th December Dame Theresa Sackler
2019, retired 1st September 2020) Mrs Lily Safra
David Ross (appointed 1st September 2020) Lord and Lady Sainsbury of Preston Candover
The Countess of Chichester Honorary Vice Chair Kim Samuel
Dame Gail Ronson cbe Honorary Vice Chair John Studzinski cbe
Gregory and Regina Annenberg Weingarten Tina Taylor
Lady Ashcroft Lindsay and Sarah Tomlinson
Mikhail Bakhtiarov
Celia Blakey Van Cleef & Arpels – Geoffroy Medinger
BP International – Peter Mather Dr and Mrs Michael West
Tim and Sarah Bunting Danny and Lillian Wyler
Meet the Young Artists Lunchtime Recital Susan and John Burns Anonymous (4)
Jacquelyn Stucker
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ACKNOWLEDGEMENTS
Carmen 35TRUSTEES ’ AN NUA L RE P O RT
INTRODUCTION STRATEGIC REPORT FINANCIAL SUMMARY GOVERNANCE ACKNOWLEDGEMENTS
The Marriage of Figaro
Royal Opera House gratefully acknowledges the generosity of all those who have provided support this period, including:
INDIVIDUALS Cynthia Brown and Andy Tomkins Dr Genevieve Davies Sherry and Michael Guthrie
Lady Rosemary Buchanan Terry and Jean de Gunzburg Angela Hamilton
Spindrift Al Swaidi Anthony and Elizabeth Bunker Misook Doolittle Linda and Philip Harley
Jorge Alcover The Bunting Family Sir Lloyd and Lady Dorfman Sir Michael and Lady Heller
Lady Alexander of Weedon John and Susan Burns Peter Dutton Katrin and Christoph Henkel
Ian and Helen Andrews Sue Butcher Mr and Mrs Jeffrey Eldredge Malcolm Herring
Lady Ashcroft Mrs Carolyn Calcutt Peter and Fiona Espenhahn Marina Hobson obe and The Hobson Charity
Mr and Mrs Edward Atkin cbe David Campain Ailsa and Jonathan Feroze Simon and Tracey Holden
Ben Babcock and Debbie De Girolamo Sir Roger and Lady Carr Matthew and Sally Ferrey Charles Holloway
Richard and Delia Baker Ann Casement Graham S Fletcher Martin and Jane Houston
Mikhail Bakhtiarov The Earl and Countess of Chichester Louise Fluker Alan Howard and Caroline Byron
David Ballance and Amanda Evans Sonia Churchill Mrs Aline Foriel-Destezet Sarah Ingham
Mercedes T. Bass Jasper Conran obe Hamish and Sophie Forsyth Frederick Iseman
Mr and Mrs Baha Bassatne Ricki Gail and Robert Conway Francesca Fremantle Lady Joan Jarvis cbe
Geoff and Judith Batchelar Kirsty Cooper Virginia Gabbertas Aud Jebsen
Michael Blank and Jakob Schroeder Miss Ann Copsey Gonzalo and Maria Garcia Mr and Mrs Christopher W.T. Johnston
Mr & Mrs Michel Bolloré Deborah Cowles Beth and Gary Glynn Mrs Philip Kan
Ingemo and Karl Otto Bonnier Hadyn and Joanna Cunningham Mary Ellen Johnson and Richard Karl Goeltz Anna and Moshe Kantor
Sally and Simon Borrows Peggy Czyzak Dannenbaum Joan Granlund David and Clare Kershaw
Lorna and Christopher Bown Christian and Béatrice Schlumberger Nigel Grimshaw Dame Zarine Kharas dbe
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