Anxiety over English countryhouse opera
OperaWe’re hearing nervous rumours that Nevill Holt opera will not function next summer.
The website shows no future programme or any active personnel. There are reports that some trustees have withdrawn.
Our request for information has gone unanswered.
Other UK summer opera festivals are pushing ahead with ambitious events.
Sad if so – a waste of a really excellent theatre.
The only country house opera to receive covid support money. The writing must have been on the wall for some time.
Glyndebourne Festival was a sell out this year, with two added dates. The autumn season likewise sold out. Big change from last year’s unsold seats. At least there the future looks rosy
Glyndebourne is world famous for years. But you still need to be rich and of the right social class to fit into that. A lot of corporate entertaining goes in in these country houses for people who don’t even like opera but the place to go and be seen. No wonder loads of empty seats last year with everyone working and drinking from home!
£39 for a good seat to see Elisir D’amour this autumn. £15 to hear the Messiah. All social classes. Corporate junketing now a tiny proportion of the audience.
If you can get there! Add-ons extortionate like overnight stay and train fares. Fine if you live in the back yard of these places and opera is your hobby! Not sure I want to hear another Messiah or £40 for another L’Elisir again. Bring on the new rather than just war-horses.
Glyndebourne should set up a touring branch which could take its productions to towns and cities not currently well served by opera companies.
This would be in line with the priorities of the Arts Council which I’m sure would be delighted to assist.
I don’t understand why nobody has thought of this before.
Very droll. I assume this is a sardonic comment
They did but due to Arts Council England it had to be cancelled.
It was an highlight for us in Liverpool which we will miss.
https://www.glyndebourne.com/tour/glyndebourne-is-unable-to-tour-in-2023/
You are either ignorant of Glyndebourne pricing or do you know and, for some reason, want to mislead – putting it politely. This year, I went to all five productions and paid £55 / £62 / £70 for a seat in the Upper Circle Slips or Circle Sides. You don’t have to be rich to afford tickets at these prices (I’m certainly not). In the summer, I went to a Bruce Springsteen concert in Hyde Park and had to pay £110 for a standing place…
“But you still need to be rich and of the right social class to fit into that.”
No, you don’t. I’m surprised that people are still spreading this nonsense. For those that allegedly want to be “seen”, there are more comfortable ways of doing it than sitting through an opera you don’t like.
If you’re saying this, then you’re clearly of the “right” social class.
Entirely black (not the Meghan Markle variety) and a working class background.
Does that sound “right” to you?
Looking at Companies House details for Neville Holt confirms that most of the board members resigned in September 2023. Only one remains, together with Chief finance officer.
NGL but I was very surprised when they hired an inexperienced CEO from the RSC’s education team…
For the sake of accuracy, three directors resigned on 23 September and two new ones were appointed in November. There are currently four directors listed.
A much fuller picture can be found in their annual report:
Despite management accounts earlier in the financial year forecasting a healthier financial position, the 2022 year
end deficit was larger than Trustees had anticipated due to weaknesses in the financial reporting provided, poorer
cost control in the later part of the year and a more challenging sales environment. In addition general ticket sales for the Summer 2023 season by March 2023 were around half of previous years.
As the full picture above became clear, the Trustees reluctantly concluded in March 2023 that, in order to reduce the
financial risks faced by the organisation, the 2023 programme should be reduced. Further funds were secured to support the cashflow of the organisation. The Trustees also took professional advice and filed a serious incident report with the Charity Commission detailing the nature and circumstances of their concerns with the financial risks
facing the organisation.
At the time of signing this report, the Charity’s most significant risks are:
1. Cashflow funding – Bearing in mind the issues faced in the past and the change in audience behaviours facing all
organisations similar to this since COVID-19 there is a risk that insufficient funds are raised to support planned charitable activities resulting in a further deficit in 2023. The Charity had built up a modest reserve to support inevitable peaks and troughs in fundraising and this has proved to be invaluable in supporting activities during the year. Alongside reducing the programme of events for 2023, improving financial reporting and oversight and management of costs in 2023, at the time of signing this report additional financial support has also been secured from the Ross Foundation in the form of a short term loan repayable on the receipt of Theatre Tax Relief due to Nevill Holt Opera Limited. This generous loan facility has allowed the Charity to meet its obligations and provide an opportunity for the Board to plan for the future.
2. That restrictions or audience behaviour relating to the cost of living crisis and other external factors could prevent
the Charity from delivering its objectives and may have a significant and negative impact on the Charity’s finances.
The Trustees recognise as many of them have served at least eight-year terms, and some ten, that a governance review and succession planning are required to identify the organisation’s future success. The Trustees began succession planning in May 2023 and are working to ensure a future set of trustees and a chair will be suitably equipped to appoint new leadership and management to deliver the exciting future of the festival.
Following the deficit in 2022, cost commitments have been reset and managed against a regular review of income targets. This improved oversight, along with changes in the management team, has enabled the Trustees to make
better informed decisions and to take swifter action when managing risk, including the decision to run a simpler and more streamlined 2023 programme by cancelling one opera production where ticket sales hadn’t been supported
and to sadly significantly reduce ambitions for 10th anniversary celebratory events.
In June 2018 a new permanent theatre opened on the Nevill Holt Estate to house activities of Nevill Holt Opera Limited. The cost of the building was funded by monies from The Ross Foundation. At the time of signing this report the Trustees are discussing a lease and loan agreement with The Ross Foundation.
Thanks in no small part to the support of the Ross Foundation, the Trustees are confident that there are no material
uncertainties about the Charity’s ability to continue as a going concern at the statement of financial position date and
at the date of signing this report.
Not true. Festival, opening with The Magic Flute announced – from 1st – 24th June. Full programme to be announced in February. Nevill Holt feeling the pinch – like all other festivals – but still punching! Good fortune.