English National Opera

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differences with Berry. Henriette Götz, the company's executive director, who had a series of public disagreements with Berry, resigned soon after. In February 2015, the Arts Council of England announced the unprecedented step of removing ENO from the national portfolio of 670 arts organisations that receive regular funding, and instead offered "special funding arrangements" because of continuing concerns over ENO's business plan and management. The council recognised that the company was "capable of extraordinary artistic work", but "we have serious concerns about their governance and business model and we expect them to improve or they could face removal of funding." In March 2015 Cressida Pollock, a management consultant, was named the interim CEO of ENO. In July 2015, Berry resigned as artistic director of ENO.

1304: 432: 443:), the official government body charged with dispensing the modest public subsidy recently introduced, considered its options on the future of opera in Britain. CEMA concluded that a new Covent Garden company should be established, as a year-round, permanent ensemble, singing in English, instead of the shorter international seasons of pre-war years. This was a potential path to merge the two companies, as the modus operandi of the new Covent Garden company was now similar to that of Sadler's Wells. However, 510: 793: 586: 447:, who was appointed to run Covent Garden, though keen to secure de Valois' ballet company for Covent Garden, did not want the Sadler's Wells opera company. He considered Sadler's Wells to be a worthy organisation, but also "dowdy" and "stodgy". Even with a policy of singing in English, he believed that he could assemble a better company. The management of Sadler's Wells was unwilling to lose its company's name and tradition. It was agreed that the two companies should remain separate. 45: 240: 175: 1599: 33: 2104:. ENO Baylis, founded in 1985, is the education department of the ENO; it aims to introduce new audiences to opera and "to deepen and enrich the experience of current audiences in an adventurous, creative and engaging manner." The programme offers training for students and young professionals, and also workshops, commissions, talks and debates, which is now called ENO Engage. 1581:

petition to have its funding reinstated and to retain its London base at The London Coliseum. In January 2023, ACE and ENO released a joint statement that funding had been reinstated through to 2024, with an aim to "sustain a programme of work at the ENO’s home the London Coliseum, and at the same time help the ENO start planning for a new base outside London by 2026."

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small touring ensemble of 20 performers. Between 1942 and the war's end in 1945, the company toured continuously, visiting 87 venues. Joan Cross led and managed the company, and also sang leading soprano roles in its productions when needed. The size of the company was increased to 50, and then to 80. By 1945, its members included singers from a new generation such as

1249:, Martin Hoyle wrote of Payne's "exquisite tunnel vision" and expressed "the concern of those of us who value the true people's opera". Payne remained adamant that opera lovers who came to the ENO for a "nice, pleasant evening ... had come to the wrong place." The differences between Smith and Payne became irreconcilable, and Payne was forced to resign in July 2002. 1555:

contract reductions, but industrial action was averted on 18 March 2016 after a newly negotiated proposal, at a different level of reduced salary, was reached. In general protest at his view of the situation at ENO, Wigglesworth announced his resignation on 22 March 2016 from the ENO music directorship, effective at the end of the 2015–2016 season.

2032:(1981), starring Valerie Masterson. Newer recordings, made specifically for the Chandos series, whilst having no official connection with the ENO, featured many past and present members of the company. Conductors include Sir Charles Mackerras, Sir Mark Elder and Paul Daniel. Those in which the chorus and orchestra of the ENO appear are 932:, Barry Millington has described the 'Powerhouse' style as "arresting images of dislocated reality, an inexhaustible repertory of stage contrivances, a determination to explore the social and psychological issues latent in the works, and above all an abundant sense of theatricality." As examples, Millington mentioned 1903:(2008). In many of ENO's lighter shows, the size of the Coliseum has been a problem, both in putting across pieces written for much more intimate theatres and in selling enough tickets. In 2015 a new business plan for the ENO included making money from a West End musical partnership with the impresarios 1611:

Russian operas has been presented. The company has for decades laid stress on opera as drama, and has avoided operas where vocal display takes precedence over musical and dramatic content. In addition to the operatic staples, ENO has a history of presenting new works, and latterly of commissioning them.

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Marks was obliged to spend much time and effort in securing the funding for an essential restoration of the Coliseum, a condition on which the ENO had acquired the freehold of the theatre in 1992. At the same time the Arts Council was contemplating a cut in the number of opera performances in London,

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for a summer season. Ten years later, the lease of the Coliseum became available. Stephen Arlen, who had succeeded Tucker as managing director, was the primary advocate for moving the company. After intense negotiations and fund-raising, a ten-year lease was signed in 1968. One of the company's last

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toured constantly, but the Covent Garden company visited only those few cities with theatres big enough to accommodate it. In the mid-1950s, renewed calls appeared for a reorganisation of Britain's opera companies. There were proposals for a new home for Sadler's Wells on the South Bank of the Thames

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At first, Baylis presented both drama and opera at each of her theatres. The companies were known as the "Vic-Wells". However, for both aesthetic and financial reasons, by 1934, the Old Vic had become the home of the spoken drama, while Sadler's Wells housed both the opera and a ballet company, the

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Reviewers' comments included: "the progress of Phyllida Lloyd's ongoing Ring Cycle for English National Opera has become almost painful to observe", "Miss Lloyd belongs to the school of opera directors who seem unable to cope with the epic grandeur of Wagner's concept", and "contains every cliche of

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Nicholas Payne's employment of directors who are often seemingly more concerned to indulge their egos in reinterpreting the operas they have been invited to direct than in fulfilling the wishes of the librettist and the composer has been the main reason for falling attendance at the London Coliseum.

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The Islington theatre was by now clearly too small to allow the company to achieve any further growth. A study conducted for the Arts Council reported that in the late 1960s the two Sadler's Wells companies comprised 278 salaried performers and 62 guest singers. The company had experience of playing

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Emma Cons died in 1912, leaving her estate, including the Old Vic, to Baylis, who dreamed of transforming the theatre into a "people's opera house". In the same year, Baylis obtained a licence to allow the Old Vic to stage full performances of operas. In the 1914–1915 season, Baylis staged 16 operas

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theatre in north London, a larger house, better suited to opera than the Old Vic. The opera company grew there into a permanent ensemble in the 1930s. During the Second World War, the theatre was closed and the company toured British towns and cities. After the war, the company returned to its home,

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The aim must be to create a new audience that does not see opera as a middle class trophy art form: an audience that Payne was beginning to attract to the Coliseum. ... We deplore the loss of this courageous and visionary man. Doubtless Nicholas Payne will soon rise again on the British arts scene

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was staged in 2005, matters were thought to have improved: "Paul Daniel's command of the score is more authoritative than could have been predicted from his uneven accounts of the previous operas." The production attracted generally bad notices. The four operas were given individual runs, but were

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Daniel inherited from Marks a company thriving artistically and financially. The 1997–1998 season played to 75 per cent capacity and made a surplus of £150,000. Daniel led the campaign against yet another proposal to merge Covent Garden and ENO, which was rapidly abandoned. In 1998 Nicholas Payne,

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was scandalising the bourgeoisie with his opera stagings. The last two seasons at the ENO have been difficult, or at any rate sentiment has turned against the outgoing regime over the last nine months. Audience figures are well down. ... The presiding genius of the Elder years has, of course, been

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succeeded Harewood as managing director. The 1980s leadership team of Elder, Pountney and Jonas became known as the "Powerhouse", initiated a new era of "director's opera". The three of them favoured productions described, contrastingly, by Elder as "groundbreaking, risky, probing and theatrically

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Once again, there was serious talk of merging Covent Garden and Sadler's Wells. The Sadler's Wells board countered by proposing a closer working arrangement with Carl Rosa. When it became clear that this would require the Sadler's Wells company to tour for 30 weeks every year, effectively removing

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at the Old Vic, in overall charge of both theatres, with de Valois running the ballet, and Carey and two colleagues running the opera. In the Second World War, the government requisitioned Sadler's Wells as a refuge for those made homeless by air-raids. Guthrie decided to keep the opera going as a

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The company has aimed to present the standard operatic repertoire, sung in English, and has staged all the major operas of Mozart, Wagner and Puccini, and a wide range of Verdi's operas. Under Mackerras and his successors the Czech repertoire has featured strongly, and a broad range of French and

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as its next chief executive, effective 3 April 2018. In April 2019, ENO announced the resignation of Kramer as its artistic director, effective at the end of July 2019. In October 2019, ENO announced the appointment of Annilese Miskimmon as its next artistic director, effective September 2020. In

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as artistic director. These elevations from within the organisation were controversial, because they were neither advertised nor cleared at the top level of the Arts Council. Smith received severe press criticism for his action, and in December 2005 he announced his resignation. In the same week,

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opposed such a change. Eventually the British government decided the matter, and the title "English National Opera" was approved. The company's board adopted the new name in November 1974. In 1977, in response to demand for more opera productions in English provincial cities, a second company was

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Harewood considered it an elementary rule that "you must not carry the name of one theatre if you are playing in another one." Covent Garden, protective of its status, objected to the suggestion that the Sadler's Wells company should be called "The British National Opera" or "The National Opera",

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resigned. The proposals were modified, and the three withdrew their resignations. In 1960, the Carl Rosa Company was dissolved. Sadler's Wells took over some of its members and many of its touring dates, setting up "two interchangeable companies of equal standing", one of which played at Sadler's

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as the Old Vic's musical director. Baylis and Corri, despite many disagreements, shared a passionate belief in popularising opera, hitherto generally the preserve of the rich and fashionable. They worked on a tiny budget, with an amateur chorus and a professional orchestra of only 18 players, for

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theatre in a working-class area of London, began presenting regular fortnightly performances of opera excerpts. Although the theatre licensing laws of the day prevented full costumed performances, Cons presented condensed versions of well-known operas, always sung in English. Among the performers

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removed ENO from its National Portfolio, effectively cutting its income by £12.5 million a year. ENO initially responded with a statement that it was looking forward to 'creating a new base out of London, potentially in Manchester' in line with suggestions by the Arts Council. ENO later shared a

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Martin Smith, a millionaire with a finance background, was appointed chairman of the ENO board in 2001. He proved to be an expert fund-raiser, and personally donated £1M to the cost of refurbishing the Coliseum. He and Payne came into conflict over the effect on revenue of the "director's opera"

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became ENO's next music director. In 1997, Marks resigned. No official reason was announced, but one report stated that he and the ENO board had disagreed about his plans to move the company from the Coliseum to a purpose-built new home. Daniel took over the management of the company until a new

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A long-standing concern of Arlen and then Harewood was the need to change the company's name to reflect the fact that it was no longer based at Sadler's Wells theatre. Byam Shaw commented "The one major setback the Sadler's Wells Opera Company suffered from its transplant was that unheeding taxi

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as "Euro-bollocks that never has to be comprehensible to anybody but the people sitting out there conceiving." Directors who did not, in Harewood's phrase, "want to splash paint in the face of the public" were sidelined. A 1980s audience survey showed that the two things that ENO audiences most

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as chairman of the ENO. Shortly into his tenure, he expressed his disapproval of proposals by the ENO management for economising measures such as a reduction in the contract of the ENO chorus. On 27 February 2016 the ENO chorus had voted to take industrial action in protest at newly proposed

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commented that the incoming music director had a reputation for "steely, even abrasive determination" and that he would need it. From late 2014 the company went through a further organisational crisis. The chairman, Martyn Rose, resigned after two years in the post, following irreconcilable

1915:

Recordings of individual scenes and numbers were made by Sadler's Wells singers from the company's earliest days. In 1972 an LP set was issued bringing together many of these recordings, prefaced with a tribute to Lilian Baylis recorded in 1936. Among the singers in the set are Joan Cross,

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In December 2018, ENO started offering free balcony tickets for Under 18s on Saturdays in an attempt to engage more young people with the opera. This scheme was expanded to Under 21s in 2021 to cover performances throughout the week, with free seats in all parts of the audiotorium.

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reported in 1933: "Experience in the previous season had shown that opera was more popular than drama at the Rosebery Avenue theatre and that the position was to some extent reversed at the Old Vic, where an audience faithful to Shakespeare had been built up over a period of many

1846:; the critical consensus was disappointment that Leigh had chosen one of the supposedly weaker operas in the Savoy canon, but the show provided a box-office hit. The cinema live broadcast of the production broke all previous box-office records for UK opera cinema-event releases. 1402:. Harewood and Pountney had been immovably opposed to surtitles, as both believed that opera in English was pointless if it could not be understood. Harewood thought, moreover, that surtitles could undermine the case for a publicly funded opera-in-English company. The editor of 1467:

parable set in a 1950s boys' school, which divided critical opinion). In the 2012–13 season ENO introduced "Opera Undressed" evenings, aimed at attracting new audiences who had thought opera "Too pricey, too pompous, too posh". Operas advertised under this banner were

1256:, whose appointment was controversial because he had no experience of running an opera company. He attracted newspaper headlines with unusual operatic events, described by admirers as "unexpected coups" and by detractors as "stunts"; a performance of the third act of 5634: 5619: 5604: 4921: 4897: 4873: 4846: 4637: 4614: 4566: 4474: 4249: 4225: 4198: 4148: 4124: 4076: 4052: 3882: 3845: 3821: 3797: 3782: 4826: 1094:. Pountney's post of director of productions was not filled. Marks, inheriting a large financial deficit from his predecessors, worked to restore the company's finances, concentrating on restoring ticket sales to sustainable levels. A new production by Miller of 4362: 1389:

In 2005, after an internal debate that had been going on since 1991, the ENO announced that surtitles would be introduced at the Coliseum. Surveys had shown that only a quarter of audience members could hear the words clearly. With a few exceptions, including

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would not relearn their roles in English. This made it easier for Tucker to point up the difference between the two London opera companies. While Covent Garden engaged international stars, Sadler's Wells focused on young British and Commonwealth performers.

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The Old Vic began by offering opera of some sort to people who hardly knew what the word meant ... under a wise, fostering guidance it has gradually worked upwards ...Any kind of amalgamation which made it the poor relation of the 'Grand' season would be

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In October 2023, Martyn Brabbins resigned as music director of ENO, with immediate effect, in protest at proposed music personnel reductions to the company's music staff. In December 2023, ENO announced the planned establishment of a "main base" in

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as its next music director, with immediate effect, with an initial contract through October 2020. In September 2017, the ENO announced that Pollock is to stand down as its chief executive in June 2018. In March 2018, ENO announced the appointment of

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asked whether the Old Vic and Sadler's Wells companies would stick to their old bases, "or shall they boldly embrace the ideal of a National Theatre and a National Opera in English?" Carey left in 1947, replaced in January 1948 by a triumvirate of

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The company continued to leave Rosebery Avenue for summer tours to British cities and towns. The Arts Council (successor to CEMA) was sensitive to the charge that since 1945, far fewer opera performances had been given in the provinces. The small

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Poor average box-office sales led to a financial crisis, exacerbated by backstage industrial relations problems. After 1983, the company ceased touring to other British venues. Assessing the achievements of the 'Powerhouse' years,

3655: 4514: 1412:, campaigned against surtitles on the grounds that "singers would give up trying to articulate clearly and audiences would cease focusing on the stage". Despite these objections, surtitles were introduced from October 2005. 345:. The increasing success of the new ballet company helped to subsidise the high cost of opera productions, enabling a further increase in the size of the orchestra, to 48 players. Among the singers in the opera company were 1242:

described it as "a new nadir in vulgar abuse of a masterpiece," and other reviewers agreed with him. Payne insisted, "I think it's one of the best things we've done. ... It's exceeded my expectations." In the arts pages of

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On 29 April 2016, the ENO appointed Daniel Kramer as its new artistic director, effective 1 August 2016, Kramer's first appointment as director of an opera company. On 21 October 2016, the ENO announced the appointment of

480:. The departure of the ballet company to Covent Garden two months later deprived Sadler's Wells of an important source of income, as the ballet had been profitable and had since its inception subsidised the opera company. 726:. Though this production was not well received, the company rapidly established itself with a succession of highly praised productions of other works. Arlen died in January 1972, and was succeeded as managing director by 266:

of Sadler's Wells. Work started on the site in 1926. By Christmas 1930, a completely new 1,640-seat theatre was ready for occupation. The first production there, a fortnight's run from 6 January 1931, was Shakespeare's

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commented that the Vic-Wells opera performances did not reach the standards of the Vic-Wells Shakespeare productions. Baylis strove to improve operatic standards, while at the same time fending off attempts by

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In the CD era, ENO was featured as part of a series of operatic recordings, sung in English, released by Chandos Records. Some were reissues of Sadler's Wells Opera or ENO recordings originally issued by EMI:

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to absorb the opera company into a joint enterprise with Covent Garden, where he was in command. At first, the apparent financial security of the offer appeared attractive, but friends and advisers such as

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by 2029. In May 2024, the company announced the appointment of Jenny Mollica as its next chief executive officer (CEO), with immediate effect. Mollica had served as interim CEO of ENO since August 2023.

3999: 3980: 319: 5652: 476:, which the company was concurrently staging. However, the rift within the company was irreparable. Cross, Britten and Pears severed their ties with Sadler's Wells in December 1945 and founded the 4712: 556:

summed up the 1950–51 London opera season as "Excitement at Sadler's Wells: Lack of Distinction at Covent Garden" and judged Sadler's Wells to have moved "into the front rank of opera houses".

5678: 1163:(1999). Co-productions, enabling opera houses to share the costs of joint enterprises, became important in this decade. In 1993 ENO and Welsh National Opera collaborated on productions of 5082: 5058: 5007: 5702: 524:

By 1950 Sadler's Wells was receiving a public subsidy of £40,000 a year, whilst Covent Garden received £145,000. Tucker had to give up the option of staging the premiere of Britten's

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Caetani's appointment as the next ENO music director was cancelled. Berry was at first criticised in the press for his choice of singers for ENO productions, but the appointment of

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at the expense of ENO, rather than Covent Garden. By increasing ticket sales in successive years, Marks demonstrated that the Arts Council's proposition was unrealistic. After what

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ENO is not second best to Covent Garden. It is different, more theatrical, less vocal. ... The ENO now follows a policy like Covent Garden's in the early years after the war, when

5723: 5747: 2689:

had expressed surprise at the clarity of diction of the ENO company in the Metropolitan Opera House, more than half as big again as the Coliseum (3,800 seats compared to 2,358).

6208: 1512: 149:. The ENO's current artistic director is Annilese Miskimmon. In addition to the core operatic repertoire, the company has presented a wide range of works, from early operas by 4959: 283:

The new theatre was more expensive to run than the Old Vic, as a larger orchestra and more singers were needed, and box office receipts were at first inadequate. In 1932, the

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opened in 2006; the press pointed out that the company's diction had declined to the point that the recently introduced surtitles were essential. In 2015 the film director

102:

but it continued to expand and improve. By the 1960s, a larger theatre was needed. In 1968, the company moved to the London Coliseum and adopted its present name in 1974.

86:, for the benefit of local people. Baylis subsequently built up both the opera and the theatre companies, and later added a ballet company; these evolved into the ENO, the 5535: 5143: 4688: 4936: 2649:... operagoers want to hear great singing and orchestral playing presented in the context of a work's ethos rather than in some form only comprehended by the director. 1620: 5031: 4735: 1433:

Attendance figures recovered, with younger audiences attracted by ENO's marketing schemes. The company's finances improved, with £5M in reserve funds in April 2009.

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The aim must be to create a new audience that does not see opera as a middle class trophy art form: an audience that Payne was beginning to attract to the Coliseum.

6644: 4103: 1211:

Operagoers want to hear great singing and orchestral playing presented in the context of a work's ethos rather than in some form only comprehended by the director.

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was appointed musical director in succession to Gibson in 1961. The repertoire continued to mix familiar and unfamiliar operas. Novelties in Davis's time included

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Although now based at Covent Garden, de Valois' company continued to be called the Sadler's Wells Ballet until it received the title "The Royal Ballet" in 1957.

1939:(1949), but made no more recordings until the stereo LP era. In the 1950s and 1960s, the company recorded a series of abridged sets of operas and operettas for 4444: 4664: 983:

David Pountney. Not because his productions were all marvellous. Perhaps only a few were. But because, like Elder, he enabled so many other talents to thrive.

5105: 949: 5948: 5649: 6649: 5505: 3473: 1281:. After concert performances over the previous three seasons, the four operas of the cycle were staged at the Coliseum in 2004 and 2005 in productions by 208:

whom Corri rescored the instrumental parts of the operas. By the early years of the 20th century, the Old Vic was able to present semi-staged versions of

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By the 1920s, Baylis concluded that the Old Vic no longer sufficed to house both her theatre and her opera companies. She noticed the empty and derelict

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wrote, "It's been some time since I saw so much garbage on a stage. ... Bieito works so hard at trying to shock us that he succeeds only in boring us."

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In September 2015, Pollock was elevated to formal full-time status as CEO for an additional three years, along with the formalised full appointment of

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During the 2000s the company repeated the experiment, previously tried in 1932, of staging oratorios and other choral works as operatic performances.

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44 principals on annual contracts, 62 guest singers, two choruses of 48, two opera-ballet dancing ensembles of 12, and two orchestras of 57 players.

439:

Both Sadler's Wells and the Royal Opera House had presented no opera or ballet since 1939. The Council for the Encouragement of Music and the Arts (

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The production was directed by Jonathan Miller, despite his declared "contempt for Gilbert and Sullivan ... boring, self-satisfied English drivel."

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wrote in 1946 that Carey had begun to make a difference, but that Sadler's Wells needed "a big heave to get out of mediocrity". In the same year,

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On 29 November 2005, Doran resigned as artistic director. To replace him, Smith divided the duties between Loretta Tomasi as chief executive and

231:, who worked closely with Baylis on her Shakespearean productions, recalled, "Opera, on Thursday and Saturday nights, played to bulging houses." 5079: 337:

joined the company as resident conductor alongside Corri. With the increased number of productions, guest conductors were recruited, including

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director of opera at Covent Garden, was appointed as ENO's general director. Productions in the 1990s included the company's first stagings of

1114:

described as "a sustained period of criticism and sniping at the ENO by music critics", Edwards resigned as music director at the end of 1995.

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monopoly ended. The production was well received (it was successfully revived for many seasons until 1978) and was followed by a production of

5395: 1303: 199:. These operatic evenings quickly became more popular than the dramas that Cons had been staging separately. In 1898, she recruited her niece 6185: 6073: 5699: 460:, with herself and Pears in the leading roles. Many complaints resulted about supposed favouritism and the "cacophony" of Britten's score. 4756: 1141: 530:, for lack of resources. Keen to improve the dramatic aspects of opera production, Tucker engaged eminent theatrical directors including 892:

in northern England, and was known as ENO North. Under Harewood's guidance, it flourished, and in 1981 it became an independent company,

803:

The company's musical director from 1970 to 1977 was Charles Mackerras. Harewood praised his exceptional versatility, with a range "from

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as "decorative opera, as superficial as its clothes", but it was popular with audiences and was regularly revived between 1982 and 2006.

867:

succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979,

2460:, excellent: a pity Moshinsky came to feel out of place at the Coliseum. Of Pountney's own stagings the best for me were his exuberant 1816:

in a black-and-white setting moved to a 1920s English seaside hotel. It has been regularly revived over 25 years. A 1992 production of

1104:, described by the critic Hugh Canning as "the kind of old-fashioned theatre magic which the hair-shirted Powerhouse regime despised". 5162: 450:

Divisions within the company threatened its continued existence. Cross announced her intention to re-open Sadler's Wells theatre with

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Productions in the 2011 season continued the company's traditions of engaging directors with no operatic experience (a well-reviewed

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The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's

704:

magazine as "legendary". The company left Sadler's Wells with a revival of the work with which it had re-opened the theatre in 1945,

220:). In the years after the First World War, Baylis's Shakespeare productions, which featured some of the leading actors from London's 6151: 6132: 6113: 6054: 6035: 5978: 5229: 5140: 2438:

Sutcliffe added, "once Pountney was really settled in, the list of special events season by season was huge. I thought all three of

6498: 5447: 4417: 1153: 694: 224:, attracted national attention, as her shoe-string opera productions did not. The opera, however, remained her first priority. The 6006: 5480: 5421: 4980: 483:

Clive Carey, who had been in Australia during the war, was brought back to replace Joan Cross and rebuild the company. The critic

6634: 1749:) featured in Old Vic and Sadler's Wells seasons. After the Second World War, the company began to programme operetta, including 406:

In November 1937, Baylis died of a heart attack. Her three companies continued under the direction of her appointed successors:

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In January 2014, the ENO announced Gardner's departure as music director at the end of the 2014–15 season, to be succeeded by

303:

convinced Bayliss that it was not in the interests of her regular audience. This view received strong support from the press;

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has since reissued the cycle on CD, and also produced the first official release of a live 1968 recording of the company's

635:

and more Janáček. Sadler's Wells's traditional policy of giving all operas in English continued, with only two exceptions:

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The 'Powerhouse' era ended in 1992, when all three of the triumvirate left at the same time. The new general director was

1033: 748: 668: 489: 444: 440: 259: 4100: 1125: 1061:, was greeted with a mixture of enthusiasm and booing. In 1990 ENO was the first major foreign opera company to tour the 2591:

called the production "yawn-inducingly tedious ... crass and irrelevant to ENO's function ... navel-gazing rubbish". In

2131: 2101: 1773: 1460: 965: 744: 578: 596:

By the late 1950s, Covent Garden was gradually abandoning its policy of productions in the vernacular; such singers as

5743: 5102: 2215: 2125: 1416: 1159: 1023:. In 1984 ENO toured the United States; the travelling company, led by Elder, consisted of 360 people; they performed 959:(1990) exemplified an approach to production in which grotesque caricature jostles with forceful emotional engagement. 611: 495: 5203: 3693:"Elders and Betters. Tom Sutcliffe Says Farewell to the Departing ENO Administration, and Surveys Their Achievements" 542:

worked on Sadler's Wells productions in the 1950s. New repertoire was explored, such as the first British staging of

4809: 4441: 1398:, ENO singers of the 21st century were considered to have poorer diction than earlier singers such as Masterson and 2190: 1634: 1421: 805: 342: 122: 3703: 6486: 6330: 6307: 5945: 5280: 2897: 1761: 1694: 1673: 943: 390: 5502: 5121: 4661: 4250:"ENO music director to quit after 'distressing' shakeup: Daniel to bow out following salvage mission at company" 2425:

Sometimes given as "Power House" or "Power house": see the title of the 1992 book by Jonas, Elder and Pountney,

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in charge of administration. From October 1948, Tucker was given sole control. Mudie became ill, and the young

464:

opened in June 1945, to both public and critical acclaim; its box-office takings matched or exceeded those for

4780: 2002:

were recorded in German under Mackerras (1972) and in English under Goodall (1973). EMI recorded the complete

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Shore expressed his strong disapproval of surtitles for vernacular performances, and in a 2010 production of

1569:

October 2022, ENO announced that Stuart Murphy would leave the company as Chief Executive in September 2023.

2554: 2269: 1862: 1828: 739: 561: 354: 5559: 255:, on the other side of London from the Old Vic. She sought to run it in tandem with her existing theatre. 6283: 1767: 1682: 1499:. At the time, the ENO had accumulated an £800,000 deficit, exacerbated by reductions in public subsidy; 1443: 914: 626: 87: 6552: 913:

director of productions. In 1985 Harewood retired, becoming chairman of ENO's board the following year.

548: 6474: 6235: 5779: 4939: 4420: 4321: 4297: 4019: 3644: 2640:

and where he does we will follow. But ENO and its audiences will be the poorer for his forced departure.

2333: 2054: 1929: 1887: 1739: 1317: 769: 700: 366: 228: 6177: 4590: 4273: 4174: 1779: 1727:

From the beginning, the company interspersed serious opera with lighter works. In the early years the "

1295: 543: 513: 6510: 6312: 6300: 5844: 2674:

he insisted that the surtitles should be switched off during his delivery of Dulcamara's patter song.

2309: 2119: 1881: 1650: 1577: 1399: 1267: 884: 650: 631: 334: 1430:

commented that Gardner was "widely credited with breathing fresh life into English National Opera".

6295: 5448:"'This could be really interesting': Manchester and English National Opera may yet suit each other" 2327: 2275: 1667: 1338: 1293:. The first instalments of the cycle were criticised as poorly sung and conducted, but by the time 649:, sung in Italian, for reasons not clear to the press. In January 1962, the company gave its first 621: 606: 566: 484: 477: 431: 217: 64: 44: 6564: 6438: 6342: 6271: 6259: 2685: 2633: 2533: 1967: 1899: 1678: 1586: 1527: 640: 531: 526: 296: 150: 17: 1808:

in 1969, the last much revived in the UK, the U.S. and on the continent, a second production of

1270:. In December 2003, Daniel announced his departure from ENO at the end of his contract in 2005. 5326: 3349:

at the Coliseum – an Occasion to Delight the Shade of Lehar", "The Times", 1 August 1958, p. 11

6605: 6569: 6557: 6147: 6128: 6109: 6088: 6069: 6050: 6031: 5993: 5974: 5455: 2869: 2537: 2386:

By the 1960s, the seating capacity of the theatre had shrunk from its original 1,640 to 1,497.

2345: 2281: 2196: 2153: 1875: 1733: 1496: 1477: 1362: 970: 826: 796: 785: 517: 503: 399: 394: 378: 374: 370: 328: 248: 114: 98: 1935:

After the Second World War, the Sadler's Wells company made a 78 r.p.m. set of excerpts from

6528: 6462: 6390: 5750:

The Yeomen of the Guard review – tonal uncertainties but G&S update has plenty to enjoy"

2608:

The gap between what Payne offered and what the public wanted was illustrated by letters in

2584: 2448: 2443: 2439: 2076: 1893: 1870: 1699: 1638: 1551: 1543: 1350: 1322: 1308: 1230:

productions that Payne insisted on commissioning. The most extreme case was a production of

947:(1987), its dream pantomime peopled by fantasy figures from the children's imagination ... 811: 764: 756: 472: 457: 420: 221: 110: 91: 871:

succeeded Groves in the post, and described Groves "immensely encouraging and supportive".

759:. In Harewood's view, among the highlights of the first ten years at the Coliseum were the 6610: 6598: 6586: 6545: 6521: 6491: 6479: 6467: 6443: 6419: 6383: 6359: 6347: 6335: 6288: 6264: 6240: 6228: 5952: 5706: 5682: 5656: 5641: 5626: 5611: 5566: 5542: 5509: 5169: 5147: 5128: 5109: 5086: 5062: 5035: 5011: 4987: 4963: 4943: 4928: 4904: 4880: 4853: 4813: 4787: 4763: 4739: 4716: 4692: 4668: 4644: 4621: 4597: 4573: 4518: 4481: 4448: 4424: 4328: 4304: 4280: 4256: 4232: 4205: 4181: 4160: 4155: 4131: 4107: 4083: 4059: 4026: 3943:

Milnes, Rodney and Carol Midgley. "ENO chief quits after failing to get new opera house",

3889: 3852: 3828: 3804: 3789: 3707: 3659: 3477: 3225: 3218: 2901: 2541: 2202: 2097: 2007: 1856: 1785: 1690: 1560: 1485: 1333: 1328: 1245: 1110: 1071: 1020: 937: 919: 854: 774: 688: 683: 616: 362: 285: 196: 158: 138: 134: 126: 68: 60: 37: 2532:

were fabulous. ... Designers who were given their heads and delighted everybody included

6015: 2629: 2625: 2596: 2321: 2159: 2147: 2143: 1834: 1755: 1686: 1391: 1383: 1373: 1282: 1258: 1235: 1177: 1058: 910: 880: 864: 834: 779: 539: 416: 407: 358: 291: 263: 239: 209: 146: 142: 130: 1598: 792: 6628: 6247: 6102: 5661: 4591:"The final act: English National Opera chief quits and blames 'persistent hostility'" 3431: 3058: 2588: 2462:

Valkyrie, Doctor Faust, Lady Macbeth of Mtsensk, Hansel and Gretel, Falstaff, Macbeth

2287: 2221: 2113: 1925: 1904: 1847: 1626: 1565: 1537: 1448: 1409: 1253: 1100: 845: 817: 660: 574: 535: 499: 338: 269: 225: 204: 200: 187: 79: 6455: 3063: 2351: 2178: 2034: 1949: 1932:. The conductors include Lawrance Collingwood, Reginald Goodall and Michael Mudie. 1921: 1818: 1642: 1603: 1532: 1426: 1395: 1271: 1165: 1147: 1091: 1062: 723: 718: 664: 597: 509: 452: 382: 350: 6450: 5305: 585: 466: 1003:(1988). 1980s productions that remained in the repertory for many years included 6366: 2493: 2481: 2293: 2184: 2137: 2028: 1940: 1917: 1823: 1793: 1646: 1522: 1378: 1290: 1115: 979: 893: 822: 752: 602: 589: 569:, which fell through because the government was unwilling to fund the building. 412: 386: 300: 106: 6540: 5650:"Do you see me laughing? Mike Leigh’s Pirates of Penzance at the ENO reviewed" 2621: 2613: 2249: 2172: 1839: 1654: 1464: 1263: 1217: 1197: 868: 673: 645: 346: 118: 32: 5997: 5459: 1943:, each occupying two LP sides. All were sung in English. The opera sets were 1507:

Critical and box-office successes in the company's 2014–2015 season included

74:

The company's origins were in the late 19th century, when the philanthropist

6516: 6426: 6223: 6172: 5396:"ENO's music director resigns over proposed cuts to musical staff positions" 5163:"Annilese Miskimmon appointed as English National Opera's Artistic Director" 2413: 2315: 2303: 1813: 1368: 1354:(2009). ENO responded to the increased interest in Handel's operas, staging 1171: 1011: 305: 252: 183: 174: 75: 6581: 1135: 987:

Productions during the 1980s included the company's first presentations of

708:. Its last performance at the Rosebery Avenue theatre was on 15 June 1968. 318: 5620:"Mike Leigh's operatic debut is jolly good - but will it pull the crowds?" 5348:"Joint statement from Arts Council England and the English National Opera" 5141:"Daniel Kramer to step down as English National Opera's Artistic Director" 1826:

was a critical and box office disaster, ran briefly, and was not revived.

6092: 5183:"ENO announces departure of Stuart Murphy, CEO, in September 2023 | News" 4806: 2339: 1745: 995: 859: 655: 154: 2006:

cycle during public performances at the Coliseum between 1973 and 1977.

941:(1983), with its Edwardian nursery setting and Freudian undertones, and 129:. Noted directors who have staged productions at the ENO have included 6354: 5481:"Jenny Mollica announced as Chief Executive of ENO and London Coliseum" 5422:"ENO and Greater Manchester announce plans for new home in city region" 3692: 1344: 955: 839: 552:, at Mackerras's urging. Standards and company morale were improving. 191: 83: 67:. It is one of the two principal opera companies in London, along with 5103:"Cressida Pollock, ENO's Chief Executive, will step down in June 2018" 5005:"English National Opera strike threat withdrawn after pay deal agreed" 2886: 2864: 698:, conducted by Goodall in 1968, which 40 years later was described by 6593: 6402: 3798:"Could this be another triumph that I see before me? – ENO in Moscow" 2570:

From 1993 to 1995, ticket sales rose from 49 per cent to 63 per cent.

2263: 2070: 2064: 1625:

ENO has commissioned more than a dozen operas by composers including

1356: 1098:

was a critical and financial success, as was a staging of Massenet's

681:

in a large West End theatre, such as its 1958 sell-out production of

275: 258:

Baylis made a public appeal for funds in 1925. With the help of the

5536:

Sir Jonathan Miller says Gilbert and Sullivan is 'Ukip set to music'

5080:"English National Opera appoints Daniel Kramer as artistic director" 4686:"Young faces on the podium are adding verve to Britain's orchestras" 3297:, 1 January 1962, p. 14, and "Savoy Opera Prospect in the New Era", 2100:, Sadler's Wells Theatre Design Course was founded; it later became 1045:. This was the first British company to be invited to appear at the 353:. In the 1930s, the company presented standard repertoire operas by 5777:

Blyth, Alan. "Historical Stars of The Old Vic and Sadler's Wells",

5230:"English National Opera expands free ticketing scheme to under-21s" 2486:

Ariadne on Naxos, Madame Butterfly, Eugene Onegin, Rape of Lucretia

923:

disliked were poor diction and the extremes of "director's opera".

243:

The old Sadler's Wells, demolished to make way for Baylis's theatre

4898:" Cash-strapped ENO opts to cut productions rather than orchestra" 1597: 1455:

Germany) and of drastic reinterpretations (a version of Britten's

1302: 1005: 889: 791: 584: 508: 498:

as musical director, Michael Mudie as his assistant conductor and

430: 317: 238: 173: 43: 31: 5373:"A statement from the ENO regarding Martyn Brabbins' resignation" 5056:"English National Opera names Martyn Brabbins as music director" 1525:

in the title role. New productions announced for 2015–2016 were

1452: 6181: 4957:"ENO's woes: opera company begins new year in offstage turmoil" 4175:"Opera chief to bring down curtain on shock tactic productions" 815:." Among the operas he conducted for the company were Handel's 6104:

The Quiet Showman: Sir David Webster and the Royal Opera House

5700:"Mike Leigh's 'Pirates of Penzance' breaks box office records" 5560:"Versatile bass whose opera career spanned more than 40 years" 1087: 59:) is a British opera company based in London, resident at the 4497:

Gilbert, p. 224, and Canning, Hugh. "Model conduct – Opera",

1274:

was announced as the next music director, from January 2006.

875:

drivers kept on taking their patrons up to Rosebery Avenue".

5676:"'Pirates of Penzance' Gives Lift to English National Opera" 5204:"English National Opera launches free tickets for Under 18s" 6085:

A Report on Opera and Ballet in the United Kingdom, 1966–69

5255:"ENO to relocate as arts funding diverted away from London" 3914:

Lister, David. "ENO music director quits after criticism",

3573:

Blyth, Alan. "Victory for Sadler's Wells Opera over name",

3053:

See, for example, "Sadler's Wells Opera – 'Peter Grimes'",

1372:(2008). In 2003 the company staged its first production of 1277:

In 2004, ENO embarked on its second production of Wagner's

573:

its presence on the London opera scene, Tucker, his deputy

105:

Among the conductors associated with the company have been

4394:

Fingleton, David. "A strangely sordid sort of Siegfried",

4077:"Shocking? No, just crude, nonsensical and boring – Opera" 1424:

as music director from 2007 received considerable praise.

5924:

Chandos catalogue, pp. 25, 95, 110, 128, 148, 190 and 191

3389:

Ashman, Mike. "Wagner – Die Meistersinger von Nürnberg",

6066:

Opera for Everybody: The Story of English National Opera

5902:

Ashman, Mike. "Wagner, Die Meistersinger von Nürnberg",

5375:(Press release). English National Opera. 15 October 2023 4874:" English National Opera told to put its house in order" 4662:"The arts column: The man who is eroding ENO's identity" 2404:

Mackerras also conducted the company in performances of

2122:(chief conductor, 1931–1941, musical director 1941–1946) 1792:

The company has produced most of Gilbert and Sullivan's

203:

to help run the theatre. At the same time she appointed

82:, presented theatrical and operatic performances at the 5805:

Blyth, Alan. "Puccini – Madama Butterfly – excerpts",

1053:

received a standing ovation and Miller's production of

743:

cycle, conducted by Goodall, with a new translation by

6167: 3927:

Alberge, Dalya. "Daniel to be the ENO's music chief",

1832:

was produced in 2005. A highly coloured production of

833:

with pioneering use of 18th century performing style;

5122:"English National Opera appoints new Chief Executive" 4981:"Choristers at English National Opera vote to strike" 853:. The company took the production of the last to the 280:

Eighteen operas were staged during the first season.

6209:

Laurence Olivier Award for Best New Opera Production

5635:"Leigh debut is fresh and witty, but it's no Mikado" 5483:(Press release). English National Opera. 21 May 2024 4827:

Can the new gladiator at the Coliseum save the ENO?"

909:

In 1982, at Elder's instigation, Harewood appointed

6322: 6215: 5050: 5048: 4816:, English National Opera, accessed 23 January 2012. 3280:, 16 October 1965, p. 15, and Cole, Hugo. "Orfeo", 2599:

wrote, "It was all so boring ... truly dispiriting.

2480:(though white Edwardian clothes became hackneyed). 1697:. British stage premieres include operas by Verdi ( 1541:; and the first London performance for 30 years of 48:

Detail of the interior of the London Coliseum, 2011

6125:Power house: the English National Opera experience 6101: 5880:, August 1972, p. 86, and Warrack, John. Review, 4053:"Opera: Full of sound and fury signifying nothing" 2427:Power house: the English National Opera experience 1661:in 1945. Subsequent world premieres have included 1386:as "a supremely eloquent, genuinely tragic Dido". 692:productions at the Islington theatre was Wagner's 435:Covent Garden – rival and potential senior partner 6123:Jonas, Peter; Mark Elder; David Pountney (1992). 5327:"ENO want to work with DCMS and ACE | News | ENO" 4841: 4839: 3178:Hope-Wallace, Philip. "The London Opera Season", 1869:From the 1980s the company has experimented with 737:was followed in the 1970s by the company's first 393:, and an unusual attempt at staging an oratorio, 5281:"ENO and Donmar cut in latest ACE funding round" 2540:, David Fielding, Richard Hudson, Nigel Lowery, 2252:, and was therefore not licensed to stage opera. 1621:English National Opera commissions and premieres 747:and designs by Ralph Koltai. The cast included 6146:. Hatfield: University of Hertfordshire Press. 6028:A Song of Love and Death – The Meaning of Opera 4946:, English National Opera, accessed 19 July 2015 4922:" ENO head vows to protect full-time musicians" 4512:"Operetta: 'Patience,' by British Group at Met" 1238:in 2001, despised by critics and public alike; 1209: 1189: 976: 582:Wells theatre while the other was on the road. 5971:The Making of Peter Grimes: Essays and Studies 5955:, English National Opera, accessed 3 June 2011 3367:Higgins, John. "At home in St Martin's Lane", 3228:, Carl Rosa Opera, 2009, accessed 19 July 2015 2952:The Production of Opera – Vic-Wells Methods", 1957:(1966). The abridged operetta recordings were 1657:. The company's best known world premiere was 6193: 4868: 4866: 4802: 4800: 4556:, 11 September 2005, "Culture" section, p. 26 4501:, 11 September 2005, "Culture" section, p. 26 4199:"Discord over the ENO's 'wacky' new director" 3651:, Oxford Music Online, accessed 12 June 2011 2468:. In later revivals I came to appreciate his 2096:In 1966, under the company's head of design, 381:, some novelties, among which were operas by 8: 5618:, 11 May 2015, p. 14; Christiansen, Rupert. 5029:"ENO music director Mark Wigglesworth quits" 4381:. "ENO's everyday story of Rhineland folk", 3995: 3993: 3976: 3974: 3687: 3685: 3107:, 20 January 1957, p. 9, and Gilbert, p. 108 2939:"Operatic Policies – The Case for Duality", 2816: 2814: 273:. The first opera, given on 20 January, was 5112:, English National Opera, 21 September 2017 4709:"Under-30s rush for cheap seats at the ENO" 4149:"In search of gleams of adult intelligence" 4125:"Sex and drugs raise passions at the opera" 1086:, formerly head of music programmes at the 663:in the title role, on the day on which the 125:. The current music director of the ENO is 6200: 6186: 6178: 6168:Official website of English National Opera 4847:"ENO director stands down after criticism" 3405:"Sadler's Wells policy to be maintained", 3323:"Fresh Thinking in G. & S. Operetta", 3236: 3234: 6087:. London: Arts Council of Great Britain. 6014:. London: Chandos Records. Archived from 5863:Chislett, W. A. "Sullivan – The Mikado", 4220: 4218: 4014: 4012: 3293:"Gilbert and Sullivan Out of Copyright", 2636:, directors sympathetic to Payne, wrote: 71:. ENO's productions are sung in English. 5941: 5939: 5590: 5588: 5172:, English National Opera, 8 October 2019 4552:Canning, Hugh. "Model conduct – Opera", 3964: 3962: 3939: 3937: 2860: 2858: 2856: 2854: 2852: 2850: 2848: 2416:in London in 1973 and 1976 respectively. 2248:The Old Vic was officially classed as a 1602:ENO has presented and premiered several 5859: 5857: 5648:, 11 May 2015; and Coghlan, Alexandra. 5633:, 11 May 2015, p. 27; Church, Michael. 5150:, English National Opera, 17 April 2019 4757:"The Damnation of Faust, ENO, Coliseum" 3737: 3735: 3603: 3601: 3418:Widdicombe, Gillian. "Call me George", 2734: 2241: 2026:(1985), both starring Janet Baker, and 1326:was given in 2000, followed by Verdi's 929:Grove Dictionary of Music and Musicians 687:that had transferred to the 2,351-seat 6645:Cultural organisations based in London 5446:Higgins, Charlotte (5 December 2023). 5158: 5156: 5131:, English National Opera, 8 March 2018 4733:"Monsters and horror for thriving ENO" 3733: 3731: 3729: 3727: 3725: 3723: 3721: 3719: 3717: 3715: 3401: 3399: 3363: 3361: 3359: 3357: 3355: 3174: 3172: 3170: 3022: 3020: 2496:proved for me a constant winner, from 1065:, performing the Miller production of 6083:Goodman, Lord; Lord Harewood (1969). 5915:Chandos catalogue, pp. 51, 79 and 191 3533:"Vienna's homage to Johann Strauss", 3447:"Groves for English National Opera", 3160:Brown, Ivor. "Where the Money Goes", 7: 4274:"ENO changes tune on music director" 4173:Summerskill, Ben and Tom Sutcliffe. 4020:"The Guardian Profile: Martin Smith" 3868:Canning, Hugh. "The popular touch", 3822:"Opera 's open minder – Peter Jonas" 2150:(1966–1969), joint musical directors 2080:, as well as the live recordings of 950:Lady Macbeth of the Mtsensk District 40:, home of The English National Opera 5503:"Nico Muhly: Strings and stabbings" 5420:Mukisa, Shirley (5 December 2023). 4615:"ENO chief sacked before he starts" 3772:, 15 February 2006, "Times2", p. 17 3434:. "Siegfried: a crowning triumph", 1515:for best new opera production, and 506:was appointed to deputise for him. 6650:Musical groups established in 1931 3502:Gilbert, pp. 302, 303, 309 and 437 3471:"Sir Charles Mackerras – Obituary" 1300:never played as a complete cycle. 262:and many others, she acquired the 216:and 16 plays (13 of which were by 25: 5394:Imogen Tilden (15 October 2023). 4684:Hill, Amelia and Vanessa Thorpe. 3783:"Some light relief from the West" 2557:described Miller's production of 2227:Annilese Miskimmon (2020–present) 1535:; the company's first staging of 1090:, and the new music director was 18:Sadler's Wells Opera Company 5605:"The Pirates of Penzance review" 3741:Gilbert, Appendix 2, pp. 590–604 3125:"Drama in Practice and Theory", 2887:"The Old Vic and Sadler's Wells" 2759:"Obituary – Mr. Charles Corri", 2710:: 10, 19, 25 and 29 March 1975; 1991:(1965). A complete recording of 1119:general director was appointed. 918:effective", and by the director 327:latter co-founded by Baylis and 97:Baylis acquired and rebuilt the 5831:Hope-Wallace, Philip. Review, 5027:Brown, Mark and Imogen Tilden. 3240:Goodman and Harewood, pp. 11–12 2714:: 18, 20 and 23 December 1975; 1924:, Owen Brannigan, Peter Pears, 639:, which was sung in Latin, and 6655:1931 establishments in England 6499:The Mastersingers of Nuremberg 5818:Blyth, Alan. "Il Trovatore", 5306:"A new chapter for ENO | News" 4638:"Opera: Billy rides the storm" 4567:"ENO boss exits on a low note" 3219:"American and British History" 2873:, September 1937, pp. 781–786 1057:, depicting the characters as 857:in 1975, along with Britten's 667:came out of copyright and the 78:, later assisted by her niece 1: 6030:. London: Chatto and Windus. 5973:. Woodbridge: Boydell Press. 5876:Greenfield, Edward. Review, 3276:"Beauty and Truth in Orfeo", 3127:The Times Literary Supplement 2865:"The Story of Sadler's Wells" 2838:"The Lady of Waterloo Road", 2232:Notes, references and sources 1860:(2021). The company produced 1842:directed a new production of 1812:in 1986 starred the comedian 1204:, 18 July 2002 888:established. It was based at 490:The Times Literary Supplement 27:Opera company based in London 6100:Haltrecht, Montague (1975). 3138:"Sadler's Wells Directors", 3103:Bland, Alexander. "Ballet", 2718:: 2, 8 and 21 August 1973; 2466:The Adventures of Mr Broucek 2270:The Daughter of the Regiment 2102:Motley Theatre Design Course 1998:Excerpts from the company's 1075:, and Hytner's much-revived 251:theatre in Rosebery Avenue, 6367:The Trojans: Parts I and II 6142:Schafer, Elizabeth (2006). 6068:. London: Faber and Faber. 5847:. "Operetta at the Wells", 4781:"A Midsummer Night's Dream" 4226:"Gladiator at the Coliseum" 3846:"Dark horses, bright hopes" 3768:Fisher, Neil. "Rigoletto", 3380:Goodman and Harewood, p. 12 2050:Dialogues of the Carmelites 1252:The successor to Payne was 1160:Dialogues of the Carmelites 1069:, Pountney's production of 849:with Baker; and Sullivan's 592:, musical director, 1961–65 577:, and his musical director 426: 195:were noted singers such as 190:philanthropist who ran the 6671: 6144:Lilian Baylis: A Biography 5792:Robertson, Alec. "Opera", 4833:, 23 January 2014, pp. 8–9 4346:"Twilight of the Gods/ENO" 3947:, 20 September 1997, p. 10 3511:"A Fresh Look at Mozart", 3005:Gilbert, pp. 86, 89 and 95 2893:, April 1932, pp. 141–146 2722:: 6, 13 and 27 August 1977 2520:. I grew to love Miller's 2492:were all very convincing. 1715:, 1972) and Philip Glass ( 1618: 1289:, in a new translation by 799:, musical director 1970–77 5893:Chandos catalogue, p. 197 4715:28 September 2008 at the 4418:"Messiah at the Coliseum" 4367:The Independent on Sunday 4350:The Independent on Sunday 3699:, June 1993, pp. 324–327 3057:, 8 June 1945, p. 6, and 1977:Orpheus in the Underworld 1762:Orpheus in the Underworld 1615:Commissions and premieres 1457:A Midsummer Night's Dream 1142:A Midsummer Night's Dream 677:in May of the same year. 391:Charles Villiers Stanford 6005:Chandos Records (2009). 5724:"The week in classical: 5054:Ellis-Petersen, Hannah. 4887:, 13 February 2015, p. 3 4398:, 14 November 2004, p. 4 4385:, 14 November 2004, p. 8 4298:"Sound girl in the Ring" 3931:, 23 February 1996, p. 6 3872:, 16 October 1994, p. 10 3625:Gilbert, pp. 367 and 440 3537:, 13 January 1975, p. 10 3451:, 5 November 1975, p. 11 3182:, 13 November 1950, p. 3 3129:, 12 January 1946, p. 21 1009:directed by Hytner, and 733:The success of the 1968 6635:British opera companies 6379:Lady Macbeth of Mtsensk 6064:Gilbert, Susie (2009). 5783:, November 1972, p. 126 5728:; 12 Ensemble – review" 5594:Gilbert pp. 555 and 567 4000:"Letters to the Editor" 3981:"Letters to the Editor" 3918:, 7 November 1995, p. 3 3701:(subscription required) 3653:(subscription required) 3314:, 9 October 1978, p. 11 3224:8 February 2012 at the 3180:The Manchester Guardian 3164:, 15 January 1950, p. 6 3140:The Manchester Guardian 3094:Gilbert, pp. 54 and 108 2895:(subscription required) 2875:(subscription required) 2022:(recorded in 1982) and 1863:The Yeomen of the Guard 1844:The Pirates of Penzance 1829:The Pirates of Penzance 1796:. After the successful 1719:, 1985, among others). 829:; five Janáček operas; 612:Murder in the Cathedral 562:Carl Rosa Opera Company 554:The Manchester Guardian 6534:English National Opera 6504:English National Opera 6487:Les vêpres siciliennes 6432:English National Opera 6408:English National Opera 6396:English National Opera 6372:English National Opera 6277:English National Opera 6253:English National Opera 6026:Conrad, Peter (1987). 6008:Chandos catalogue 2009 5835:, December 1966, p. 88 5426:English National Opera 5208:English National Opera 4911:, 23 April 2015, p. 11 4812:7 October 2012 at the 4755:Christiansen, Rupert. 4660:Christiansen, Rupert. 4322:"To Valhalla and back" 3883:"ENO buys theatre home 3515:, 10 April 1965, p. 12 3409:, 29 April 1968, p. 13 3301:, 5 January 1962, p. 4 3142:, 6 January 1948, p. 3 2996:Gilbert, pp. 79 and 83 2651: 2642: 2553:The opera commentator 2524:... Nicholas Hytner's 2041:The Makropoulos Affair 1995:was released in 1962. 1607: 1444:The Damnation of Faust 1313: 1213: 1193: 1154:Doctor Ox's Experiment 985: 961: 831:The Marriage of Figaro 800: 627:Richard Rodney Bennett 593: 521: 436: 323: 316: 244: 179: 88:Royal National Theatre 53:English National Opera 49: 41: 6475:Einstein on the Beach 6415:Pelléas and Mélisande 6236:La damnation de Faust 6127:. London: Lime Tree. 5992:. London: Ian Allan. 5867:, October 1962, p. 57 5851:, January 1981, p. 87 5822:, January 1977, p. 66 5705:20 March 2021 at the 5681:20 March 2021 at the 5655:20 March 2021 at the 5640:20 March 2021 at the 5625:20 March 2021 at the 5610:20 March 2021 at the 5541:20 March 2021 at the 5508:20 March 2021 at the 5168:20 March 2021 at the 5146:20 March 2021 at the 5127:20 March 2021 at the 5108:20 March 2021 at the 5085:20 March 2021 at the 5034:22 March 2016 at the 5010:20 March 2021 at the 4986:20 March 2021 at the 4962:24 March 2016 at the 4942:20 March 2021 at the 4935:, 23 April 2015; and 4927:20 March 2021 at the 4903:20 March 2021 at the 4879:20 March 2021 at the 4852:20 March 2021 at the 4786:10 March 2016 at the 4762:20 March 2021 at the 4738:20 March 2021 at the 4691:20 March 2021 at the 4667:20 March 2021 at the 4643:20 March 2021 at the 4620:20 March 2021 at the 4596:20 March 2021 at the 4572:20 March 2021 at the 4517:20 March 2021 at the 4480:20 March 2021 at the 4447:20 March 2021 at the 4423:20 March 2021 at the 4396:The Express on Sunday 4327:20 March 2021 at the 4303:20 March 2021 at the 4279:20 March 2021 at the 4255:20 March 2021 at the 4231:20 March 2021 at the 4204:20 March 2021 at the 4180:20 March 2021 at the 4154:20 March 2021 at the 4130:20 March 2021 at the 4106:20 March 2021 at the 4082:20 March 2021 at the 4058:20 March 2021 at the 4025:20 March 2021 at the 4006:, 19 July 2002, p. 21 3987:, 18 July 2002, p. 23 3888:20 March 2021 at the 3851:20 March 2021 at the 3827:20 March 2021 at the 3803:20 March 2021 at the 3788:20 March 2021 at the 3706:20 March 2021 at the 3658:20 March 2021 at the 3577:, 4 January 1974 p. 8 3476:20 March 2021 at the 3422:, 23 July 1978, p. 19 3076:Banks, pp. xvi–xviii. 2978:, 18 April 1931, p. 8 2956:, 22 April 1933, p. 8 2943:, 11 June 1932, p. 10 2900:20 March 2021 at the 2842:, 30 March 1974, p. 9 2661:21st-century living". 2646: 2637: 2612:on consecutive days: 2334:The Lily of Killarney 2055:The Barber of Seville 2014:, in a 2008 release. 1740:The Lily of Killarney 1723:Operetta and musicals 1707:, 1951), Stravinsky ( 1677:(1999), and works by 1601: 1488:) and Philip Glass's 1306: 1126:Beatrice and Benedict 1067:The Turn of the Screw 1034:The Turn of the Screw 990:Pelléas and Mélisande 934: 806:The House of the Dead 795: 588: 512: 434: 321: 311: 242: 177: 47: 35: 6511:Cavalleria rusticana 6313:Welsh National Opera 6301:Welsh National Opera 6047:The Henry Wood Proms 5988:Blyth, Alan (1972). 5969:Banks, Paul (2000). 5951:20 July 2011 at the 5906:, August 2008, p. 84 5809:, March 1972, p. 118 5796:, January 1949, p. 9 5565:2 April 2019 at the 5352:Arts Council England 4860:, 11 July 2015, p. 9 4731:Higgins, Charlotte. 4589:Higgins, Charlotte. 4475:"The Elixir of Love" 4383:The Sunday Telegraph 4272:Higgins, Charlotte. 4248:Higgins, Charlotte. 4018:Higgins, Charlotte. 3796:, 11 June 1990, and 3670:Gilbert, pp. 371–372 3634:Gilbert, pp. 386–369 3586:Gilbert, pp. 310–312 3555:Gilbert, pp. 306–318 3546:Cox, pp. 224 and 244 3393:, August 2008, p. 24 3371:, 20 July 1978. p. 9 3327:, 31 May 1962, p. 16 3209:Gilbert, pp. 142–143 3067:, 10 June 1945, p. 2 3014:Haltrecht, pp. 55–56 2781:Schafer, pp. 104–105 2763:, 13 June 1941, p. 7 2720:Twilight of the Gods 2474:Cunning Little Vixen 2310:Cavalleria rusticana 2120:Lawrance Collingwood 2000:Twilight of the Gods 1907:and Michael Linnit. 1711:, 1960), Prokofiev ( 1663:The Mines of Sulphur 1651:Asian Dub Foundation 1578:Arts Council England 1490:The Perfect American 1400:Derek Hammond-Stroud 1342:(2005) and Handel's 1296:Twilight of the Gods 1268:Glastonbury Festival 885:Welsh National Opera 651:Gilbert and Sullivan 632:The Mines of Sulphur 427:Sadler's Wells Opera 419:, and the conductor 335:Lawrance Collingwood 153:to new commissions, 6444:Royal Opera, London 6420:Royal Opera, London 6384:Royal Opera, London 6360:Royal Opera, London 6348:Royal Opera, London 6336:Royal Opera, London 6296:La clemenza di Tito 6289:Royal Opera, London 6265:Royal Opera, London 6241:Royal Opera, London 6229:Royal Opera, London 6108:. London: Collins. 6045:Cox, David (1980). 5744:Billington, Michael 5631:The Daily Telegraph 5558:O'Connor, Patrick. 5547:The Daily Telegraph 4858:The Daily Telegraph 4825:Morrison, Richard. 4768:The Daily Telegraph 4722:, 19 September 2008 4673:The Daily Telegraph 4651:, 11 December 2005. 4580:, 30 November 2005. 4473:Seckerson, Edward. 4455:, 28 September 2004 4416:Morrison, Richard. 4224:Morrison, Richard. 4210:The Daily Telegraph 4051:Seckerson, Edward. 3844:Morrison, Richard. 3643:Millington, Barry. 3284:, 7 July 1965, p. 7 2891:Music & Letters 2276:Lucia di Lammermoor 1668:The Mask of Orpheus 1339:A Child of Our Time 1246:The Financial Times 1049:in New York, where 567:Royal Festival Hall 485:Philip Hope-Wallace 478:English Opera Group 365:, lighter works by 6439:Tristan und Isolde 6343:Boulevard Solitude 6272:Tristan und Isolde 6021:on 22 August 2011. 5946:"About ENO Baylis" 5884:, July 1973, p. 78 5758:, November 4, 2022 5687:The New York Times 5603:Clements, Andrew. 5573:, 10 December 2008 5210:. 18 December 2018 5061:2 May 2018 at the 4994:, 26 February 2016 4779:Clements, Andrew. 4699:, 13 December 2009 4627:, 29 December 2005 4604:, 22 December 2005 4523:The New York Times 4488:, 17 February 2010 4431:, 28 November 2009 4369:, 14 November 2004 4311:, 30 November 2003 4287:, 29 December 2005 4033:, 16 December 2005 3859:, 18 December 1991 3649:Grove Music Online 3438:, 10 February 1973 3310:"Entertainments", 2987:Gilbert, pp. 63–66 2974:"Sadler's Wells", 2686:The New York Times 2672:The Elixir of Love 2644:Alan Blyth wrote: 2634:Francesca Zambello 2534:Stefanos Lazaridis 2210:Artistic directors 2160:Sir Charles Groves 1968:The Land of Smiles 1703:, 1948), Janáček ( 1679:Malcolm Williamson 1608: 1587:Greater Manchester 1576:In November 2022, 1528:Tristan and Isolde 1484:(performed at the 1314: 1285:, with designs by 1047:Metropolitan Opera 865:Sir Charles Groves 801: 594: 532:Michel Saint-Denis 522: 437: 324: 292:Sir Thomas Beecham 245: 180: 50: 42: 6620: 6619: 6570:Royal Opera House 6558:Royal Opera House 6463:Castor and Pollux 6331:The Greek Passion 6308:Hansel and Gretel 6075:978-0-571-22493-7 5734:, 6 November 2021 5722:Maddocks, Fiona. 5698:Rosser, Michael. 5261:. 4 November 2022 5069:, 21 October 2016 4807:"Opera Undressed" 4320:Holden, Anthony. 4263:, 5 December 2003 4239:, 14 January 2005 4212:, 8 February 2003 4197:Reynolds, Nigel. 4099:"Maddocks. Fiona 3835:, 20 October 1991 3697:The Musical Times 3645:"Pountney, David" 3595:Jonas, title page 3249:Haltrecht, p. 216 3200:Haltrecht, p. 221 2870:The Musical Times 2442:'s ENO stagings, 2346:The Bohemian Girl 2261:The operas were: 2224:(2016–2020) 2218:(2005–2015) 2197:Mark Wigglesworth 2154:Charles Mackerras 2108:Musical directors 2086:The Mastersingers 2012:The Mastersingers 1973:La vie parisienne 1955:Hansel and Gretel 1876:Pacific Overtures 1873:shows, including 1774:La Vie parisienne 1734:The Bohemian Girl 1681:, Iain Hamilton, 1674:The Silver Tassie 1509:The Mastersingers 1497:Mark Wigglesworth 1478:Michel van der Aa 1461:Christopher Alden 1376:'s massive opera 1262:played to 20,000 1096:Der Rosenkavalier 971:The Musical Times 944:Hansel and Gretel 879:although neither 827:Valerie Masterson 797:Charles Mackerras 786:Der Rosenkavalier 695:The Mastersingers 518:Charles Mackerras 504:Charles Mackerras 329:Ninette de Valois 115:Charles Mackerras 16:(Redirected from 6662: 6480:Barbican Theatre 6468:Coliseum Theatre 6391:Madama Butterfly 6202: 6195: 6188: 6179: 6157: 6138: 6119: 6107: 6096: 6079: 6060: 6041: 6022: 6020: 6013: 6001: 5984: 5956: 5943: 5934: 5931: 5925: 5922: 5916: 5913: 5907: 5900: 5894: 5891: 5885: 5874: 5868: 5861: 5852: 5842: 5836: 5829: 5823: 5816: 5810: 5803: 5797: 5790: 5784: 5775: 5769: 5766: 5760: 5741: 5735: 5720: 5714: 5696: 5690: 5674:White, Michael. 5672: 5666: 5601: 5595: 5592: 5583: 5580: 5574: 5556: 5550: 5549:, 10 August 2010 5532: 5526: 5523: 5517: 5499: 5493: 5492: 5490: 5488: 5477: 5471: 5470: 5468: 5466: 5443: 5437: 5436: 5434: 5432: 5417: 5411: 5410: 5408: 5406: 5391: 5385: 5384: 5382: 5380: 5369: 5363: 5362: 5360: 5358: 5344: 5338: 5337: 5335: 5333: 5323: 5317: 5316: 5314: 5312: 5302: 5296: 5295: 5293: 5291: 5277: 5271: 5270: 5268: 5266: 5251: 5245: 5244: 5242: 5240: 5226: 5220: 5219: 5217: 5215: 5200: 5194: 5193: 5191: 5189: 5179: 5173: 5160: 5151: 5138: 5132: 5119: 5113: 5100: 5094: 5076: 5070: 5052: 5043: 5025: 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Pinafore 1786:The Gipsy Baron 1780:La belle Hélène 1751:The Merry Widow 1725: 1691:Julian Anderson 1635:Jonathan Harvey 1623: 1617: 1596: 1561:Martyn Brabbins 1531:, with sets by 1511:, which won an 1439: 1240:Michael Kennedy 1227: 1215: 1207: 1195: 1187: 1111:The Independent 1021:Jonathan Miller 920:Nicholas Hytner 907: 902: 855:Vienna Festival 775:Richard Strauss 714: 689:London Coliseum 684:The Merry Widow 520:and the company 496:James Robertson 429: 343:Anthony Collins 286:Birmingham Post 237: 197:Charles Santley 172: 167: 139:Nicholas Hytner 135:Jonathan Miller 127:Martyn Brabbins 69:The Royal Opera 61:London Coliseum 38:London Coliseum 28: 23: 22: 15: 12: 11: 5: 6668: 6666: 6658: 6657: 6652: 6647: 6642: 6637: 6627: 6626: 6618: 6617: 6615: 6614: 6602: 6590: 6578: 6573: 6561: 6553:Katya Kabanova 6549: 6537: 6525: 6507: 6495: 6483: 6471: 6459: 6447: 6435: 6423: 6411: 6399: 6387: 6375: 6363: 6351: 6339: 6326: 6324: 6320: 6319: 6317: 6316: 6304: 6292: 6280: 6268: 6256: 6244: 6232: 6219: 6217: 6213: 6212: 6207: 6205: 6204: 6197: 6190: 6182: 6176: 6175: 6170: 6163: 6162:External links 6160: 6159: 6158: 6152: 6139: 6133: 6120: 6114: 6097: 6080: 6074: 6061: 6055: 6042: 6036: 6023: 6002: 5985: 5979: 5964: 5961: 5958: 5957: 5935: 5926: 5917: 5908: 5895: 5886: 5882:The Gramophone 5878:The Gramophone 5869: 5865:The Gramophone 5853: 5837: 5833:The Gramophone 5824: 5811: 5807:The Gramophone 5798: 5794:The Gramophone 5785: 5780:The Gramophone 5770: 5761: 5736: 5715: 5691: 5689:, 11 May 2015] 5667: 5596: 5584: 5575: 5551: 5527: 5518: 5494: 5472: 5438: 5412: 5386: 5364: 5339: 5318: 5297: 5272: 5246: 5221: 5195: 5174: 5152: 5133: 5114: 5095: 5071: 5044: 5020: 4996: 4972: 4948: 4913: 4896:Singh, Anita. 4889: 4862: 4845:Singh, Anita. 4835: 4818: 4796: 4772: 4748: 4746:, 3 April 2009 4724: 4701: 4677: 4653: 4629: 4606: 4582: 4558: 4545: 4536: 4527: 4525:, 23 June 1984 4503: 4490: 4466: 4457: 4433: 4409: 4400: 4387: 4371: 4361:Picard, Anna. 4354: 4344:Picard, Anna. 4337: 4313: 4289: 4265: 4241: 4214: 4190: 4188:, 21 July 2002 4166: 4140: 4116: 4092: 4068: 4044: 4035: 4008: 3989: 3970: 3958: 3949: 3933: 3920: 3907: 3898: 3874: 3861: 3837: 3813: 3774: 3761: 3759:Conrad, p. 299 3752: 3743: 3711: 3681: 3672: 3663: 3636: 3627: 3618: 3609: 3597: 3588: 3579: 3566: 3557: 3548: 3539: 3526: 3517: 3504: 3495: 3486: 3484:, 15 July 2010 3462: 3453: 3440: 3432:Sadie, Stanley 3424: 3411: 3395: 3382: 3373: 3351: 3338: 3329: 3316: 3303: 3286: 3269: 3260: 3251: 3242: 3230: 3211: 3202: 3193: 3184: 3166: 3153: 3144: 3131: 3118: 3109: 3096: 3087: 3078: 3069: 3059:Glock, William 3046: 3044:Gilbert, p. 98 3037: 3028: 3016: 3007: 2998: 2989: 2980: 2967: 2965:Gilbert, p. 58 2958: 2945: 2932: 2930:Gilbert, p. 51 2923: 2921:Gilbert, p. 49 2914: 2912:Gilbert, p. 46 2905: 2878: 2844: 2831: 2829:Gilbert, p. 29 2822: 2820:Gilbert, p. 23 2810: 2801: 2792: 2783: 2774: 2765: 2752: 2750:Gilbert, p. 11 2743: 2741:Schafer, p. 85 2733: 2732: 2730: 2727: 2725: 2724: 2700: 2691: 2676: 2663: 2653: 2630:Deborah Warner 2626:Phyllida Lloyd 2601: 2597:Fiona Maddocks 2572: 2563: 2546: 2538:Maria Bjornsen 2458:Bartered bride 2431: 2418: 2397: 2388: 2379: 2370: 2357: 2254: 2240: 2238: 2235: 2233: 2230: 2229: 2228: 2225: 2219: 2211: 2208: 2207: 2206: 2200: 2194: 2191:Edward Gardner 2188: 2182: 2176: 2168: 2165: 2164: 2163: 2157: 2151: 2148:Bryan Balkwill 2144:Mario Bernardi 2141: 2135: 2129: 2123: 2117: 2109: 2106: 2093: 2090: 1959:Die Fledermaus 1912: 1909: 1835:The Gondoliers 1768:Merrie England 1756:Die Fledermaus 1724: 1721: 1695:Stephen Oliver 1687:Robin Holloway 1619:Main article: 1616: 1613: 1595: 1592: 1438: 1435: 1422:Edward Gardner 1392:Lesley Garrett 1384:Sarah Connolly 1287:Richard Hudson 1283:Phyllida Lloyd 1236:Calixto Bieito 1224:, 19 July 2002 1208: 1202:The Times 1188: 1186: 1183: 1178:The Two Widows 911:David Pountney 906: 903: 901: 898: 881:Scottish Opera 843:; Donizetti's 722:, directed by 713: 710: 540:Glen Byam Shaw 428: 425: 417:Owen Brannigan 408:Tyrone Guthrie 379:Johann Strauss 297:Edward J. Dent 260:Carnegie Trust 249:Sadler's Wells 236: 233: 171: 168: 166: 163: 147:Calixto Bieito 143:Phyllida Lloyd 131:David Pountney 123:Edward Gardner 99:Sadler's Wells 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 6667: 6656: 6653: 6651: 6648: 6646: 6643: 6641: 6638: 6636: 6633: 6632: 6630: 6623: 6612: 6608: 6607: 6603: 6600: 6596: 6595: 6591: 6588: 6584: 6583: 6579: 6577: 6574: 6571: 6567: 6566: 6562: 6559: 6555: 6554: 6550: 6547: 6543: 6542: 6538: 6535: 6531: 6530: 6526: 6523: 6519: 6518: 6513: 6512: 6508: 6505: 6501: 6500: 6496: 6493: 6489: 6488: 6484: 6481: 6477: 6476: 6472: 6469: 6465: 6464: 6460: 6457: 6453: 6452: 6448: 6445: 6441: 6440: 6436: 6433: 6429: 6428: 6424: 6421: 6417: 6416: 6412: 6409: 6405: 6404: 6400: 6397: 6393: 6392: 6388: 6385: 6381: 6380: 6376: 6373: 6369: 6368: 6364: 6361: 6357: 6356: 6352: 6349: 6345: 6344: 6340: 6337: 6333: 6332: 6328: 6327: 6325: 6321: 6314: 6310: 6309: 6305: 6302: 6298: 6297: 6293: 6290: 6286: 6285: 6281: 6278: 6274: 6273: 6269: 6266: 6262: 6261: 6257: 6254: 6250: 6249: 6248:Khovanshchina 6245: 6242: 6238: 6237: 6233: 6230: 6226: 6225: 6221: 6220: 6218: 6214: 6210: 6203: 6198: 6196: 6191: 6189: 6184: 6183: 6180: 6174: 6171: 6169: 6166: 6165: 6161: 6155: 6153:1-902806-64-6 6149: 6145: 6140: 6136: 6134:0-413-45631-5 6130: 6126: 6121: 6117: 6115:0-00-211163-2 6111: 6106: 6105: 6098: 6094: 6090: 6086: 6081: 6077: 6071: 6067: 6062: 6058: 6056:0-563-17697-0 6052: 6048: 6043: 6039: 6037:0-7011-3274-4 6033: 6029: 6024: 6017: 6010: 6009: 6003: 5999: 5995: 5991: 5986: 5982: 5980:0-85115-791-2 5976: 5972: 5967: 5966: 5962: 5954: 5950: 5947: 5942: 5940: 5936: 5930: 5927: 5921: 5918: 5912: 5909: 5905: 5899: 5896: 5890: 5887: 5883: 5879: 5873: 5870: 5866: 5860: 5858: 5854: 5850: 5846: 5841: 5838: 5834: 5828: 5825: 5821: 5815: 5812: 5808: 5802: 5799: 5795: 5789: 5786: 5782: 5781: 5774: 5771: 5765: 5762: 5759: 5755: 5752: 5751: 5745: 5740: 5737: 5733: 5729: 5727: 5719: 5716: 5713:, 21 May 2015 5712: 5708: 5704: 5701: 5695: 5692: 5688: 5684: 5680: 5677: 5671: 5668: 5665:, 16 May 2015 5664: 5663: 5662:The Spectator 5658: 5654: 5651: 5647: 5643: 5639: 5636: 5632: 5628: 5624: 5621: 5617: 5613: 5609: 5606: 5600: 5597: 5591: 5589: 5585: 5579: 5576: 5572: 5568: 5564: 5561: 5555: 5552: 5548: 5544: 5540: 5537: 5534:Walker, Tim. 5531: 5528: 5522: 5519: 5516:, 31 May 2011 5515: 5511: 5507: 5504: 5501:Service, Tom 5498: 5495: 5482: 5476: 5473: 5461: 5457: 5453: 5449: 5442: 5439: 5427: 5423: 5416: 5413: 5401: 5397: 5390: 5387: 5374: 5368: 5365: 5353: 5349: 5343: 5340: 5328: 5322: 5319: 5307: 5301: 5298: 5286: 5282: 5276: 5273: 5260: 5256: 5250: 5247: 5235: 5231: 5225: 5222: 5209: 5205: 5199: 5196: 5184: 5178: 5175: 5171: 5167: 5164: 5159: 5157: 5153: 5149: 5145: 5142: 5137: 5134: 5130: 5126: 5123: 5118: 5115: 5111: 5107: 5104: 5099: 5096: 5092: 5088: 5084: 5081: 5078:Brown, Mark. 5075: 5072: 5068: 5064: 5060: 5057: 5051: 5049: 5045: 5041: 5037: 5033: 5030: 5024: 5021: 5017: 5013: 5009: 5006: 5003:Brown, Mark. 5000: 4997: 4993: 4989: 4985: 4982: 4979:Brown, Mark. 4976: 4973: 4969: 4965: 4961: 4958: 4955:Brown, Mark. 4952: 4949: 4945: 4941: 4938: 4934: 4930: 4926: 4923: 4920:Clark, Nick. 4917: 4914: 4910: 4906: 4902: 4899: 4893: 4890: 4886: 4882: 4878: 4875: 4872:Brown, Mark. 4869: 4867: 4863: 4859: 4855: 4851: 4848: 4842: 4840: 4836: 4832: 4828: 4822: 4819: 4815: 4811: 4808: 4803: 4801: 4797: 4794:, 20 May 2011 4793: 4789: 4785: 4782: 4776: 4773: 4769: 4765: 4761: 4758: 4752: 4749: 4745: 4741: 4737: 4734: 4728: 4725: 4721: 4718: 4714: 4710: 4705: 4702: 4698: 4694: 4690: 4687: 4681: 4678: 4674: 4670: 4666: 4663: 4657: 4654: 4650: 4646: 4642: 4639: 4633: 4630: 4626: 4623: 4619: 4616: 4610: 4607: 4603: 4599: 4595: 4592: 4586: 4583: 4579: 4575: 4571: 4568: 4562: 4559: 4555: 4549: 4546: 4540: 4537: 4531: 4528: 4524: 4520: 4516: 4513: 4507: 4504: 4500: 4494: 4491: 4487: 4483: 4479: 4476: 4470: 4467: 4461: 4458: 4454: 4450: 4446: 4443: 4442:"The Trojans" 4440:Ashley, Tim. 4437: 4434: 4430: 4426: 4422: 4419: 4413: 4410: 4404: 4401: 4397: 4391: 4388: 4384: 4380: 4375: 4372: 4368: 4364: 4358: 4355: 4351: 4347: 4341: 4338: 4334: 4330: 4326: 4323: 4317: 4314: 4310: 4306: 4302: 4299: 4293: 4290: 4286: 4282: 4278: 4275: 4269: 4266: 4262: 4258: 4254: 4251: 4245: 4242: 4238: 4234: 4230: 4227: 4221: 4219: 4215: 4211: 4207: 4203: 4200: 4194: 4191: 4187: 4183: 4179: 4176: 4170: 4167: 4163: 4162: 4157: 4153: 4150: 4144: 4141: 4138:, 2 June 2001 4137: 4133: 4129: 4126: 4120: 4117: 4114:, 3 June 2001 4113: 4109: 4105: 4102: 4096: 4093: 4090:, 2 June 2001 4089: 4085: 4081: 4078: 4072: 4069: 4066:, 4 June 2001 4065: 4061: 4057: 4054: 4048: 4045: 4039: 4036: 4032: 4028: 4024: 4021: 4015: 4013: 4009: 4005: 4001: 3996: 3994: 3990: 3986: 3982: 3977: 3975: 3971: 3965: 3963: 3959: 3953: 3950: 3946: 3940: 3938: 3934: 3930: 3924: 3921: 3917: 3911: 3908: 3902: 3899: 3895: 3891: 3887: 3884: 3881:Tait, Simon. 3878: 3875: 3871: 3865: 3862: 3858: 3854: 3850: 3847: 3841: 3838: 3834: 3830: 3826: 3823: 3817: 3814: 3810: 3806: 3802: 3799: 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2475: 2471: 2467: 2463: 2459: 2455: 2454:Mastersingers 2451: 2450: 2449:Grand macabre 2445: 2441: 2435: 2432: 2428: 2422: 2419: 2415: 2411: 2407: 2401: 2398: 2392: 2389: 2383: 2380: 2374: 2371: 2366: 2361: 2358: 2354: 2353: 2348: 2347: 2342: 2341: 2336: 2335: 2330: 2329: 2324: 2323: 2318: 2317: 2312: 2311: 2306: 2305: 2300: 2296: 2295: 2290: 2289: 2284: 2283: 2278: 2277: 2272: 2271: 2266: 2265: 2258: 2255: 2251: 2245: 2242: 2236: 2231: 2226: 2223: 2222:Daniel Kramer 2220: 2217: 2214: 2213: 2209: 2204: 2201: 2198: 2195: 2192: 2189: 2186: 2183: 2180: 2177: 2174: 2171: 2170: 2166: 2161: 2158: 2155: 2152: 2149: 2145: 2142: 2139: 2136: 2133: 2130: 2127: 2124: 2121: 2118: 2115: 2114:Charles Corri 2112: 2111: 2107: 2105: 2103: 2099: 2091: 2089: 2087: 2083: 2079: 2078: 2073: 2072: 2067: 2066: 2061: 2057: 2056: 2051: 2047: 2043: 2042: 2037: 2036: 2031: 2030: 2025: 2024:Julius Caesar 2021: 2015: 2013: 2009: 2005: 2001: 1996: 1994: 1990: 1986: 1982: 1978: 1974: 1970: 1969: 1964: 1960: 1956: 1952: 1951: 1946: 1942: 1938: 1933: 1931: 1930:Charles Craig 1927: 1926:Peter Glossop 1923: 1919: 1910: 1908: 1906: 1905:Michael Grade 1902: 1901: 1896: 1895: 1890: 1889: 1884: 1883: 1878: 1877: 1872: 1867: 1865: 1864: 1859: 1858: 1853: 1849: 1848:Cal McCrystal 1845: 1841: 1837: 1836: 1831: 1830: 1825: 1821: 1820: 1815: 1811: 1807: 1803: 1799: 1795: 1790: 1788: 1787: 1782: 1781: 1776: 1775: 1770: 1769: 1764: 1763: 1758: 1757: 1752: 1748: 1747: 1742: 1741: 1736: 1735: 1730: 1722: 1720: 1718: 1714: 1713:War and Peace 1710: 1706: 1705:Káťa Kabanová 1702: 1701: 1696: 1692: 1688: 1684: 1680: 1676: 1675: 1670: 1669: 1664: 1660: 1656: 1652: 1648: 1644: 1640: 1636: 1632: 1631:Iain Hamilton 1628: 1627:Gordon Crosse 1622: 1614: 1612: 1605: 1600: 1593: 1591: 1588: 1582: 1579: 1574: 1570: 1567: 1566:Stuart Murphy 1562: 1556: 1553: 1552:Harry Brünjes 1548: 1546: 1545: 1540: 1539: 1534: 1530: 1529: 1524: 1520: 1519: 1514: 1513:Olivier Award 1510: 1505: 1502: 1498: 1493: 1491: 1487: 1483: 1482:Sunken Garden 1479: 1475: 1471: 1466: 1462: 1459:presented by 1458: 1454: 1450: 1449:Terry Gilliam 1446: 1445: 1436: 1434: 1431: 1429: 1428: 1423: 1418: 1413: 1411: 1410:Rodney Milnes 1407: 1406: 1401: 1397: 1393: 1387: 1385: 1381: 1380: 1375: 1371: 1370: 1365: 1364: 1359: 1358: 1353: 1352: 1347: 1346: 1341: 1340: 1335: 1331: 1330: 1325: 1324: 1319: 1311: 1310: 1305: 1301: 1298: 1297: 1292: 1288: 1284: 1280: 1275: 1273: 1269: 1265: 1261: 1260: 1255: 1250: 1248: 1247: 1241: 1237: 1233: 1226: 1223: 1219: 1212: 1206: 1203: 1199: 1192: 1184: 1182: 1180: 1179: 1174: 1173: 1168: 1167: 1162: 1161: 1156: 1155: 1150: 1149: 1144: 1143: 1138: 1137: 1132: 1128: 1127: 1120: 1117: 1113: 1112: 1105: 1103: 1102: 1097: 1093: 1089: 1085: 1080: 1078: 1074: 1073: 1068: 1064: 1060: 1056: 1052: 1048: 1044: 1040: 1036: 1035: 1030: 1029:War and Peace 1026: 1022: 1018: 1014: 1013: 1008: 1007: 1002: 998: 997: 992: 991: 984: 981: 975: 973: 972: 967: 966:Tom Sutcliffe 960: 958: 957: 952: 951: 946: 945: 940: 939: 933: 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356: 352: 348: 344: 340: 339:Geoffrey Toye 336: 332: 330: 322:Lilian Baylis 320: 315: 310: 308: 307: 302: 298: 293: 288: 287: 281: 279: 277: 272: 271: 270:Twelfth Night 265: 261: 256: 254: 250: 241: 234: 232: 230: 229:Robert Atkins 227: 226:actor-manager 223: 219: 213: 211: 206: 205:Charles Corri 202: 201:Lilian Baylis 198: 193: 189: 185: 176: 169: 164: 162: 160: 156: 152: 148: 144: 140: 136: 132: 128: 124: 120: 116: 112: 108: 103: 100: 95: 93: 89: 85: 81: 80:Lilian Baylis 77: 72: 70: 66: 62: 58: 54: 46: 39: 34: 30: 19: 6622: 6604: 6592: 6580: 6575: 6563: 6551: 6539: 6533: 6527: 6515: 6509: 6503: 6497: 6485: 6473: 6461: 6456:Soho Theatre 6449: 6437: 6431: 6425: 6413: 6407: 6401: 6395: 6389: 6377: 6371: 6365: 6353: 6341: 6329: 6323:2001–present 6306: 6294: 6282: 6276: 6270: 6258: 6252: 6246: 6234: 6222: 6143: 6124: 6103: 6084: 6065: 6046: 6027: 6016:the original 6007: 5989: 5970: 5929: 5920: 5911: 5903: 5898: 5889: 5881: 5877: 5872: 5864: 5848: 5845:Lamb, Andrew 5840: 5832: 5827: 5819: 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"Music", 2506:Masked Ball 2494:David Alden 2482:Graham Vick 2328:Fra Diavolo 2294:La traviata 2205:(2016–2023) 2199:(2015–2016) 2193:(2007–2015) 2187:(1997–2005) 2185:Paul Daniel 2181:(1993–1995) 2175:(1979–1993) 2162:(1978–1979) 2156:(1970–1977) 2140:(1961–1965) 2138:Colin Davis 2134:(1957–1959) 2128:(1946–1954) 2116:(1898–1935) 2029:La traviata 2020:Mary Stuart 1987:(1963) and 1918:Heddle Nash 1888:On the Town 1854:(2018) and 1824:Ken Russell 1709:Oedipus rex 1683:David Blake 1647:David Sawer 1523:Bryn Terfel 1474:La traviata 1451:and set in 1379:The Trojans 1366:(2006) and 1348:(2005) and 1291:Jeremy Sams 1157:(1998) and 1116:Paul Daniel 1101:Don Quixote 999:(1986) and 980:Peter Brook 953:(1987) and 915:Peter Jonas 894:Opera North 846:Mary Stuart 823:Janet Baker 753:Rita Hunter 637:Oedipus rex 622:Oedipus rex 603:Colin Davis 590:Colin Davis 413:Peter Pears 395:Mendelssohn 387:Ethel Smyth 314:disastrous. 301:Clive Carey 218:Shakespeare 170:Foundations 107:Colin Davis 6629:Categories 6565:Billy Budd 6541:Semiramide 6260:Billy Budd 5904:Gramophone 5849:Gramophone 5820:Gramophone 5465:5 December 5431:5 December 5405:18 October 5379:18 October 5188:19 October 3391:Gramophone 2729:References 2622:Jude Kelly 2614:Tim Albery 2250:music hall 2216:John Berry 2173:Mark Elder 1993:The Mikado 1911:Recordings 1840:Mike Leigh 1810:The Mikado 1802:The Mikado 1729:Irish Ring 1655:Nico Muhly 1594:Repertoire 1465:paedophile 1447:staged by 1417:John Berry 1408:magazine, 1264:rock music 1254:Séan Doran 1218:Alan Blyth 1198:Tim Albery 1017:The Mikado 1001:Billy Budd 869:Mark Elder 701:Gramophone 674:The Mikado 641:Monteverdi 617:Stravinsky 527:Billy Budd 347:Joan Cross 151:Monteverdi 119:Mark Elder 6606:Innocence 6517:Pagliacci 6427:Partenope 6224:Stiffelio 6216:1993–2000 5998:641971554 5460:0261-3077 5285:The Stage 5234:The Stage 4831:The Times 4649:The Times 4625:The Times 4578:The Times 4429:The Times 4237:The Times 4136:The Times 4088:The Times 4004:The Times 3985:The Times 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1971:(1960), 1965:(1959), 1961:(1959), 1947:(1960), 1891:(2005), 1885:(1989), 1879:(1987), 1871:Broadway 1852:Iolanthe 1806:Patience 1798:Iolanthe 1789:(1964). 1777:(1961), 1771:(1960), 1765:(1960), 1759:(1958), 1753:(1958), 1746:Maritana 1717:Akhnaten 1671:(1986), 1665:(1965), 1544:Akhnaten 1486:Barbican 1360:(2002), 1332:(2000), 1151:(1996), 1145:(1995), 1139:(1994), 1133:(1990), 1129:(1990), 1051:Patience 1043:Patience 1025:Gloriana 996:Parsifal 993:(1981), 883:nor the 860:Gloriana 851:Patience 835:Massenet 812:Patience 712:Coliseum 656:Iolanthe 607:Pizzetti 264:freehold 222:West End 212:operas. 159:Broadway 155:operetta 6355:Wozzeck 5963:Sources 2510:Oedipus 2498:Mazeppa 2478:Rusalka 2412:at the 2368:years." 2046:Werther 1900:Candide 1521:, with 1382:, with 1374:Berlioz 1351:Messiah 1345:Jephtha 1334:Tippett 1329:Requiem 1309:Messiah 1216:Critic 1131:Wozzeck 1072:Macbeth 1059:mafiosi 956:Wozzeck 938:Rusalka 926:In the 905:1980–99 840:Werther 659:, with 653:opera, 646:L'Orfeo 544:Janáček 514:Janáček 363:Puccini 309:wrote: 192:Old Vic 165:History 161:shows. 84:Old Vic 6613:(2024) 6601:(2023) 6594:Alcina 6589:(2022) 6582:Jenůfa 6572:(2020) 6560:(2019) 6548:(2018) 6536:(2017) 6524:(2016) 6506:(2015) 6494:(2014) 6482:(2013) 6470:(2012) 6458:(2011) 6451:Bohème 6446:(2010) 6434:(2009) 6422:(2008) 6410:(2007) 6403:Jenufa 6398:(2006) 6386:(2005) 6374:(2004) 6362:(2003) 6350:(2002) 6338:(2001) 6315:(2000) 6303:(1999) 6291:(1998) 6279:(1997) 6267:(1996) 6255:(1995) 6243:(1994) 6231:(1993) 6150: 6131: 6112: 6091: 6072: 6053: 6034: 5996: 5977: 5487:24 May 5458: 5357:21 May 5239:21 May 5214:21 May 2530:Rienzi 2526:Xerxes 2522:Mikado 2464:, and 2456:, and 2444:Ligeti 2322:Martha 2264:Carmen 2071:Otello 2065:Ernani 1894:Kismet 1606:operas 1357:Alcina 1136:Jenůfa 1077:Xerxes 1006:Xerxes 780:Salome 773:, and 400:Elijah 355:Mozart 276:Carmen 210:Wagner 6093:81272 6019:(PDF) 6012:(PDF) 2516:, to 2508:, to 2504:, to 2500:, to 2414:Proms 2288:Faust 2237:Notes 1538:Norma 1463:as a 1405:Opera 890:Leeds 383:Holst 367:Balfe 359:Verdi 6148:ISBN 6129:ISBN 6110:ISBN 6089:OCLC 6070:ISBN 6051:ISBN 6032:ISBN 5994:OCLC 5975:ISBN 5489:2024 5467:2023 5456:ISSN 5433:2023 5407:2023 5381:2023 5359:2023 5334:2022 5313:2022 5292:2022 5267:2022 5241:2023 5216:2023 5190:2022 2632:and 2528:and 2512:and 2488:and 2484:... 2476:and 2408:and 2349:and 2313:and 2084:and 2074:and 2035:Lulu 2004:Ring 1928:and 1800:and 1743:and 1693:and 1653:and 1453:Nazi 1394:and 1318:Bach 1279:Ring 1175:and 1041:and 1015:and 825:and 783:and 761:Ring 755:and 740:Ring 538:and 470:and 441:CEMA 415:and 389:and 377:and 349:and 341:and 299:and 186:, a 157:and 145:and 121:and 90:and 36:The 6520:– 2579:In 2446:'s 1941:EMI 1731:" ( 1480:'s 1336:'s 1320:'s 1088:BBC 900:ENO 837:'s 809:to 777:'s 767:'s 643:'s 629:'s 619:'s 609:'s 546:'s 456:by 397:'s 63:in 57:ENO 6631:: 6609:– 6597:– 6585:– 6568:– 6556:– 6544:– 6532:– 6514:/ 6502:– 6490:– 6478:– 6466:– 6454:– 6442:– 6430:– 6418:– 6406:– 6394:– 6382:– 6370:– 6358:– 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English National Opera

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