ANNUAL REPORT 2006 TRANSFORMATIONS

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CHAIRMAN’S INTRODUCTION

TransformationsThis year we celebrate 400 years of opera. Over fourcenturies, the artform has constantly changed and evolved:it is still very much a living art, not a museum piece.

A little over 70 years ago, my grandparents foundedGlyndebourne to celebrate and share their love of opera.It has since become something of an institution; but emphaticallynot a museum. Like opera itself, Glyndebourne continues toevolve and reinvent itself – to commission new work, presentnew interpretations of established repertoire, and reach out tonew audiences. Last year saw notable achievements in all theseareas of our work.

We continue to transform and renew Glyndebourne – and,we hope, to offer transformative experiences for our audiencesold and new. In the process we are becoming a more open and inclusive organisation. As always, we are fundedpredominantly by our audience; and the balance of our incomecomes primarily from the generosity of individuals rather than corporations. Glyndebourne has grown considerably inthe past 70 years, but it remains essentially a family business,supported by people with a shared passion for what we do.That’s one thing which I hope will never change.

Gus ChristieChairman

CONTENTS

Chairman’s introduction: 1

Highlights of 2006: 2

General Director’s review: 4

The year ahead: 6

Transforming Fidelio: 8

Transformation scene: 9

Translating and transferring: 13

Education: 14

Financial review and accounts: 16

How you can contribute: 19

Supporters: 20

Governance and acknowledgements: 21

Glyndebourne began in 1934 as a two-week festival of two Mozart operas, staged by John Christie and his wife, Audrey Mildmay,in their home.Their son, George, continued its development, launchingthe Tour in 1968 and developing the Festival into an internationallyacclaimed three-month season in the world-class opera house he opened in 1994. Now guided and hosted by George’s son, Gus,it retains a strong sense of family that embraces audiences, performersand staff alike.Their shared affection for Glyndebourne is what creates its unique atmosphere.

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HIGHLIGHTS OF 2006

Transformative experiences“Distinguished, sizzling, ear-tickling, great, lovely, searing,sublime, magnificently complete, fabulous, seductive, coquettish,bawdy, thunderously entertaining, sparkling, peerless,painstaking, brilliant, deeply affecting, beguiling, disturbing.”The critics found much to like in the 2006 Festival and Tour.

DIE FLEDERMAUS“I don’t think I have heard a more sizzlingaccount… than this one, conducted with ear-tickling brilliance and brio by Vladimir Jurowski.”Opera

BETROTHAL IN A MONASTERY“Vladimir Jurowski… coaxes and cajoles afabulous range of seductive and coquettish and downright bawdy colours from the London Philharmonic Orchestra. It can neverhave sounded better.” The Independent

A MIDSUMMER NIGHT’S DREAM“One of opera’s great and lovely productions.”Sunday Telegraph

“Anyone who has not seen it should catch it now.” FT Magazine

“Surely one of the great operatic events of our time.” Mail on Sunday

FIDELIO“Searing, sublime… an example of what canhappen – but seldom does – when everythingcomes together in opera. Opera simply doesnot come better than this.” Sunday Telegraph

“A triumph… a magnificently completeproduction.” The Guardian

COSÌ FAN TUTTE“It is easy to get carried away after a performanceof this quality, but I had to search long and hard down memory lane to recall a Così that so vividly revealed both the pleasure and theoverwhelming pain of this ever more disturbingmasterpiece.” Opera

“When you see something this distinguished,you not only realise what you are usually missing in operatic performances, but also have your faith in opera as one of the two or three supreme forms of creative endeavourreaffirmed.” The Spectator

GIULIO CESARE“David McVicar’s thunderously entertainingproduction.” The Times

“has returned this summer with its joie de vivreundiminished.” Financial Times

THE TURN OF THE SCREW ON TOUR“Brilliant and deeply affecting.” The Independent

“Hard to think of another production of thisopera in which theatrical details have been sopainstakingly developed… impossible to think of one in which musical performance is soperfectly poised to beguile and disturb.”Independent on Sunday

COSÌ AT THE PROMS“Peerless.” Independent on Sunday

“I have never heard a more sparkling accountthan this.” Mail on Sunday

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GENERAL DIRECTOR’S REVIEW

As the press reviews on the previous pages confirm,last year was an exceptionally exciting one artistically.It was also exciting for the way we were able to share the year’s artistic achievements more widely.

REACHING MORE PEOPLE THAN EVERWith our hip-hop production of Così fan tutte, the return of our schoolsmatinee performances and the very successful under-30s performance of Fidelio, we welcomed more first-time visitors to Glyndebourne thanever before.The matinees enabled over 2,000 young people to see a Glyndebourne production for just £6, thanks to support from ArtsCouncil England, the Peter Moores Foundation and Jon and Julia Aisbitt.

We filmed Così fan tutte – the seventh audio-visual recording in which we have invested to secure ownership of digital rights – and the BBCbroadcast it three times during the year.We also took it to a packedAlbert Hall for the Proms.Three of our productions were broadcast on Radio 3. The Tour returned to London with a week at Sadler’s Wells.Sales of our DVD recordings passed 60,000. And we began work withdigital media consultants to explore the potentially transformativeopportunities for bringing Glyndebourne to new audiences worldwidethrough digital channels including the internet.

In short, we are making Glyndebourne’s work more accessible than ever.

2006 FESTIVALBy adding two extra performances, we also created more opportunitiesfor people to enjoy the Festival. Over 90,000 people saw 78 performancesof six productions.The repertoire included two new productions:Nicholas Hytner’s staging of Così fan tutte, and Prokofiev’s rarely performedBetrothal in a Monastery. Glyndebourne has a long association with Così fan tutte – we first performed it in 1934 – and we are delighted tobring this acclaimed production back for the 2007 Festival.

Four revivals completed the programme – Die Fledermaus, A MidsummerNight’s Dream, Fidelio and Giulio Cesare. Peter Hall’s ever-popular A Midsummer Night’s Dream was making its fourth return appearance,and it was a pleasure to continue our Baroque work by bringing backHandel’s Giulio Cesare – the hit of the 2005 Festival and winner of theOpera Award at the 2006 South Bank Show Awards.

Our target was to fill 94% of the available seats; in the event, we achieved97%. Members continued to account for some 85% of bookings, and avariety of audience development initiatives attracted a record number of first-time ticket buyers.The additional performance of Fidelio, where we offered 300 top-price seats for £30 to people aged 30 and under,proved particularly successful.

For many, Fidelio was the year’s big hit. Deborah Warner returned to re-direct her 2001 production, and transformed it with a superb cast andthe opportunity for reappraisal that Glyndebourne’s generous rehearsalperiods allow. You can read more about this revival on page 8.

Four performances of Fidelio were conducted by Edward Gardner,who has given us three inspiring seasons as Music Director of the Tour.We wish him continued success in his new role at ENO. Meanwhile,Robin Ticciati’s inspired conducting of Die Fledermaus on the 2006 Tourgave a taste of what we can look forward to when he succeeds Ed as the Tour’s Music Director this year.

2006 TOURThe Tour’s 47 performances of three productions were seen by over48,700 people at seven venues including, for the first time since 1993,Sadler’s Wells. Box Office was on target, at 81% of potential sales.

In addition to revivals of Così fan tutte and Die Fledermaus from theFestival, we extended our long association with Benjamin Britten with our first-ever staging of The Turn of the Screw. We are pleased to bring this production to the Festival this year.

GLYNDEBOURNE EDUCATIONDuring the year over15,000 people took part in our Educationprogramme.

The highlight of the year was School 4 Lovers – a Hip H’Opera. This moderninterpretation of Così fan tutte, combining music from the original operawith contemporary hip hop, was a co-production with Finnish NationalOpera. At the three Glyndebourne performances, over half of theaudience were 18 or under and 49% were new to Glyndebourne.The production was also performed in Finland and Estonia.

Our four Youth Opera Groups had 46 meetings involving 105 local young people.To help audiences prepare for the Festival productions we held three London talks, 14 pre-performance talks and two study days.We also held Opera Experience workshops for young people in all thetouring venues.

Members of the Glyndebourne Chorus took part in three performances,entitled Masquerade, the culmination of their training under the JerwoodChorus Development Scheme. And for primary schools we devised a version of The Turn of the Screw, with friendly ghosts.

SPONSORSI would like to thank Carol and Paul Collins for their support of Betrothalin a Monastery last year. They have become established major supportersof Glyndebourne and clearly derive great pleasure from being able toprovide such invaluable support to an organisation they love.They are notalone: we are seeing a major shift of emphasis in our sponsorships fromcorporate patrons to individuals who identify personally with Glyndebourneas an extended family of people who love opera and want to share thetop quality work that we produce here.

We are indebted to three corporate sponsors. Balli Group, whichsponsored the original production of Giulio Cesare, returned to sponsorCosì fan tutte in 2006 together with Glyndebourne Association America.London Diversified Fund Management made its debut as sponsor of A Midsummer Night’s Dream. And we thank Associated Newspapers for continuing its long-standing relationship with Glyndebourne: in 2006,its 11th successive year of support, it sponsored Die Fledermaus.

We are also doing all we can to develop additional sources of revenuefrom our own activities. Our investment in filming our productions isalready paying off – we have licensed broadcast rights in 14 countries andDVD sales are exceeding our expectations. For more on this, see page 13.

GLYNDEBOURNE PEOPLEGlyndebourne is a place where creative relationships blossom.The rapport between our Music Director,Vladimir Jurowski, and our twoorchestras has been increasingly evident to Glyndebourne audiences.So we are delighted that he is to become Principal Conductor of theLondon Philharmonic Orchestra from October 2007, and that theOrchestra of the Age of Enlightenment has invited him to be an AssociateConductor. These appointments add a new dimension to our plans withVladimir for the years ahead.

In October we welcomed Julian Philips, Head of Composition at theGuildhall School of Music, to the new role of Composer in Residence.We are the first UK opera house to have a composer in residencescheme, and you can read more about this on page 14.

THE FUTUREIn April this year we completed the acquisition of a much-needed newscenery store, at a total cost of £3.1m. Further capital projects plannedover the next three years include the redevelopment of the Middle andOver Wallop restaurant, and an education facility in the Ebert Room foraudience talks, education projects and other events.

In the meantime, we expect our work on digital media to prompt a number of initiatives over the next couple of years, aimed at giving aworldwide audience broader access to Glyndebourne’s unique archivesand current work.

We try to be innovative and forward-looking in all we do, both inside and outside the opera house. As our energy bills rise and global warmingbecomes an increasingly urgent issue, we have applied for planningpermission to install a wind turbine to generate our own electricity.If we get the go-ahead, this would reduce our carbon emissions by over70%.The proposed location was once the site of a traditional windmill –so this could be another Glyndebourne revival that builds on andtransforms its predecessor.

DAVID PICKARDGeneral Director

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THE YEAR AHEAD

2007 FestivalGiuseppe Verdi MacbethWolfgang Amadeus Mozart Così fan tutteGioachino Rossini La CenerentolaJohann Sebastian Bach St Matthew PassionRichard Wagner Tristan und IsoldeBenjamin Britten The Turn of the Screw

2007 TourGiuseppe Verdi MacbethBenjamin Britten Albert HerringGaetano Donizetti L’elisir d’amore

FESTIVALVerdi’s masterpiece, Macbeth, will open the 2007 season and I am delightedto be collaborating with director Richard Jones on a work which is soimportant in Glyndebourne’s artistic history. I will also be conducting therevival of La Cenerentola which, for the first time, will see a Rossini operaperformed by a period orchestra at Glyndebourne. I am particularlyexcited that the 2007 Festival will include one of the greatest pieces everwritten – Bach’s St Matthew Passion – which will also see Katie Mitchell,one of Britain’s most thoughtful stage directors, making her house debut.I relish the opportunity of hearing Bach’s music resounding in the uniqueacoustic of the Glyndebourne auditorium throughout the summer ahead.

VLADIMIR JUROWSKIMusic Director

TOURIn 2007 Robin Ticciati takes over as Music Director of Glyndebourne on Tour, following Edward Gardner’s final season in 2006 which wassupported by record audiences throughout the country.We will betouring three productions which reflect the high artistic and musicalstandards that we continually strive for, thanks to continuing support fromArts Council England and the generosity of our new Tour sponsor, Lexus.Thanks to the Clore Duffield Foundation, I am particularly pleased that the schools matinee performances are continuing, following theirintroduction last year.These will give up to 3,500 children access toGlyndebourne on Tour.

DAVID PICKARDGeneral Director

EDUCATIONIn 2007 we begin a three-year project with young offenders in LewesPrison, made possible by a grant from The Equitable Charitable Trust;in its first year this will take Verdi’s Macbeth as its starting point.In addition, the five-year Transition Project involving local children movingfrom primary to secondary schools entered its final two years.We arealso working with the Orchestra of the Age of Enlightenment on aprimary schools project based on La Cenerentola. This will culminate in a performance at Glyndebourne conducted by Vladimir Jurowski and apresentation of the young people’s own work in London. In the autumnwe will again present three schools matinee performances atGlyndebourne.The Photoperative Project, commissioned jointly withPhotoworks, is a film and sound installation by artist Sophy Rickett andcomposer Ed Hughes. It will be premiered with accompanying work from A-level students at the De La Warr Pavilion, Bexhill from September,and presented at Glyndebourne in November. Many thanks to the Foyle Foundation for supporting this project.

KATIE TEARLEHead of Education

NEW MEDIAThis promises to be a breakthrough year in turning our new mediaaspirations into reality. Our vision is to create a digital Glyndebourne that isopen to opera lovers at any time, anywhere in the world.This will begin inearnest with the transformation of our website at www.glyndebourne.com.The new site will be launched in the autumn, offering a more interactiveexperience that better reflects the artistic standards at the heart of all our activities.We want the website to give people greater access toGlyndebourne’s work, for example through audio streaming of full lengthperformances and interviews with directors, artists and staff.We’re alsoplanning to make better use of our wealth of recorded performances,both by launching our own Glyndebourne CD label and through otheropportunities arising from digital technology.

GILLY BRIERLEYHead of Marketing and Communications

VLADIMIR JUROWSKIMusic Director Vladimir Jurowski conductingrehearsals for the 2006 Festival.

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Transforming FidelioA revival should not mean a rehash. As Deborah Warnershowed with her return to Fidelio last year, a lot can change in five years.

Reviving an opera production is not like running repeats on TV.

No matter how distinctive or memorable the production, a revival still has to be remade.The sets or costume designs may remain unchanged,but the rest must be created afresh – and that can prompt considerablerethinking. Particularly at Glyndebourne, where we allow the sameextensive rehearsal period for revivals as we do for original productions.

Deborah Warner originally directed Fidelio for the 2001 Festival, withSimon Rattle conducting the Orchestra of the Age of Enlightenment. Lastyear she returned to recreate the production – this time with our otherhouse orchestra, the London Philharmonic, conducted by Mark Elder.

The 2006 revival was in no sense a repeat. In addition to the change from a period orchestra to a modern one, it was almost entirely recast.One notable new element was German soprano Anja Kampe, whoseperformance in the female lead role won widespread praise for its energy,fearlessness and dramatic intensity. ‘The Leonore of one’s dreams,’Opera magazine enthused. For The Spectator she was ‘a thrill and a realfind’, and for The Guardian she was ‘the heart of the production, singingwith tenderness’.

A MORE EQUIVOCAL VISIONBut the greatest force for change came from outside the rehearsal room.The first production took its final curtain just before 9/11; the secondbegan rehearsals a few months after 7/7. Between the productions, theworld had become a more threatening place. In an international climatedestabilised both by terrorism and by the war on terror, the celebrationof freedom at the end of the piece became altogether more equivocal.And while the first production drew references to the death of Yugoslavia,in the revival the imprisonment of Florestan without charge or trial hadunavoidable associations with Guantanamo Bay – a subject of muchdiscussion during rehearsals.

In this kind of climate, what can an opera offer its audience? “We live in a soap-opera culture of small, local, diminished emotions,” the directortold The Independent during rehearsals. “The antidote to soap opera is opera. Opera offers us emotions on the grand scale.This builds up oursense of human possibility and allows us to see that our lives are notsmall and cramped.”

REACHING OUT TO THE 30s AND UNDERThis proposition was up for debate on 16 August, when all 300 stalls seats for Fidelio (normal price: £160) were available at £30 each to people aged 30 and under. After the performance, Deborah led aquestions-and-discussion session with the audience and cast membersincluding Anja Kampe.

It provided a strong endorsement of Deborah’s aim of making somethingthat would have excited the person you were when 18 or 20.The youngeraudience members were particularly keen to discuss the production’scontemporary references which they felt gave the evening real impactand resonance.

This was the first time we had programmed an additional performance so that we could offer heavily subsidised seats to young people – aninnovation fully supported by the Glyndebourne Members, and one wewill be repeating this year.

DEBORAH WARNER

Transformation sceneDuring the Festival, the time pressures are intense.Following an onstage rehearsal in the morning, the stage has to be turned around for the afternoon performance of adifferent production. Our stage departments have to achievethis in just 31/2 hours.

Here’s how it’s done. Below: the set for Betrothal in a Monastery. On page 12: the set for Giulio Cesare.Between the two: 210 minutes of carefully synchronised effort by 32 skilled technicians…

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Transformation in progress

DISMANTLING SPAINFirst the entire floor is removed, including thegiant trapdoor. Scenery and sidewalls are flownout and carried to the scene dock behind the stage. Finally the flown scenery is lowered,and carried out.

INSTALLING EGYPTOn the bare stage, the lighting rig is loweredand reset. A new raked floor is installed tosupport Giulio Cesare’s lively choreography.The many-pillared set is erected, and behind it the rollers that make the sea effect.

A FINAL LIGHTING CHECK AND…

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Translating and transferringBecause we’re passionate about opera, we want to share it more widely. Not everyone can come to Glyndebourne,but we’re finding other ways to make our work available – any time, anywhere in the world.

…the transformation is complete.To make the change,it’s taken 18 stage technicians, a lighting team of eight, and a six-strong stage management team. A few hours later, whilethe audience makes its way home, the stage departments willbe back to make the next transformation overnight – readyfor the next morning’s rehearsal.

As the pictures show, our sets are built to last.They have to be robustenough to support a vigorously rehearsed and choreographed cast of perhaps 75 performers… to be built and dismantled at speed… and to survive repeated revivals at Glyndebourne and elsewhere. In ourscenery store we have sets up to 33 years old, which have been usedtime and again.

Sets of this quality and durability don’t come cheap.That’s why thescenery budget for a large Glyndebourne Festival production is in theregion of £200,000.

“Time stands still, as Cosí’s great terzetto of parting… is cast into pulse-stopping relief.” An extract from Hilary Finch’s review of School 4 Loversin The Times – and a reminder of the kind of thrill that an operaperformance can deliver.

By their nature, such moments are transient.You have to be there.

But today we have the technology to capture those moments andtranslate them into a permanent resource.This gives us a huge opportunityto reach new audiences, give wider exposure to our artists – and generatenew income.

There is only one Glyndebourne. But the UK alone has 238 TV channels,113 radio stations, 3m digital radios and 11m broadband accounts.The explosion in digital media has dramatically increased the demand for content. And because opera is inherently international, the potentialmarket for our work is now global.

PRESERVING OUR WORKUntil relatively recently, the only audio-visual recordings of Glyndebourneperformances were made by UK terrestrial broadcasters BBC and C4 for their own use. But since 2002 we have been investing in our ownrecordings with partners Opus Arte. This ensures that our work ispreserved for exploitation across the full range of new media outlets –including those not yet invented.

Glyndebourne is the first UK opera house to produce its own audio-visual recordings in this way. The development has been made possible by the partnership with Opus Arte – and by artists, who have agreed to a royalty share arrangement.

So far we have invested in the recordings of Carmen, Die Fledermaus,Gianni Schicchi,The Miserly Knight, La Cenerentola and Giulio Cesare – all now available on DVD. In 2006 we added Così fan tutte, which welicensed to the BBC – for broadcast on BBC4 and BBC2 – and launchedon DVD earlier this year.

The success of the first recordings exceeded our most optimisticexpectations.They have been broadcast on TV in 14 countries and over60,000 DVDs have been sold worldwide.

Their impact on our reach has been extraordinary. Only about 16,000people could see David McVicar’s 2002 production of Carmen atGlyndebourne – but in the following three years over 24,000 peoplebought it on DVD. Giulio Cesare looks set to do even better, with over10,000 copies sold in its first year alone.The DVD of this year’s ground-breaking Tristan und Isolde is scheduled for release next spring.

This year we plan to launch our own audio label, based on a similarroyalty share agreement.This will allow us to release important archiverecordings as well as current productions.We aim to publish up to sixtitles a year, providing further opportunities to bring Glyndebourne’s high musical standards to a broader audience.

We are currently working with consultants on a wider digital mediastrategy. In addition to the relaunched website planned for later this year,the strategy will include new ways to exploit the Glyndebourne archiveand a more integrated e-commerce offering.

TRAVELLING THE WORLDMeanwhile, we still reach new audiences by the more traditional methodof hiring productions to other opera houses. In 2006 our production of Yevgeny Onyegin went to La Scala, and The Rake’s Progress and Flightwent to Australia, where both won awards. Our double bill of The MiserlyKnight with Gianni Schicchi went to the new opera house in Tenerife and Le Comte Ory went to Liège.

This year Giulio Cesare is booked for Lille and Chicago, Tristan und Isoldefor Baden-Baden, Carmen for Bergen, Manon Lescaut for Genoa, andJenufa follows the double bill to Tenerife.

Such transfers provide another way of earning additional revenue –sometimes for decades. Our John Cox/David Hockney production of The Rake’s Progress has been restaged 10 times in the Festival and Toursince its debut in 1976, and is still travelling the world. After celebrating its 30th birthday in Australia in 2006, this year it’s off to Stockholm.

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EDUCATION

Changing young people’s ideas about opera

SCHOOL 4 LOVERS“The transformed version of Mozart’s timelessmasterpiece is part of an increasingly successfulattempt to draw new, and particularly young,audiences to the venue.” Martin Wainwright,The Guardian

“This hip-hop reinvention of Mozart’s operatapped into its tenderness, violence, passion and despair more powerfully than almost anyCosì I’ve seen.With 18 Brighton teenagersinvolved on stage, School 4 Lovers is an extremelyclassy act… the sheer virtuosity of [the]metamorphoses in the musical arrangements is striking, sometimes breathtaking.” Hilary Finch,The Times

“One of the slickest and sassiest musicalsaround.” The Times

“The latest project from the most imaginativeopera-education department in the country.”The Independent

SCHOOLS MATINEES“For many of our pupils this was a lifetime experience.We felt very privileged.”Karen Rough, Lindfield Special School

THEATRE CRAFTS DAY“Illuminating and inspiring.” Tutor

“Fantastic – a wonderful opportunity.” Student

Glyndebourne Education continues to develop a high profile programmewith three main aims: we want to make our work accessible to a wideraudience, to develop creative and dynamic relationships between artistsand communities, and to contribute to the further development of theartform. Our year-round programme covers youth and community work,talks and events, and the development of new work.

We celebrated the 250th anniversary of Mozart’s birthday with a criticallyacclaimed project that combined audience and artform development.School 4 Lovers – a Hip H’Opera crossed national, generational and artisticboundaries with a modern interpretation of Mozart’s Così fan tutte fusingthe music of the original opera with contemporary hip-hop.

The project, a co-production with the Finnish National Opera, exploredhow a historic artform can reflect the lives and interests of young peopletoday. It aimed to open up opera to young audiences, while nurturingyoung artists from both opera and hip-hop backgrounds and developingnew creative relationships across Europe. It was developed as part of theRESEO (European Network of Opera Education Departments) CreativeWays to Mozart Project.

The three performances at Glyndebourne in March certainly attracted a new audience for us. Over half of the audience were 18 or under and49% were new to Glyndebourne.

RETURN OF THE SCHOOLS MATINEESWe also greatly increased our accessibility to young people by revivingour schools matinees, an opportunity we last offered in 1989. Studentsfrom over 60 schools attended the three performances at Glyndebournein October – thanks to support from Arts Council England, the PeterMoores Foundation, and Jon and Julia Aisbitt.

Our Glyndebourne Youth Opera Groups celebrated their 10th anniversaryin 2006.We now have four groups involving 105 young people from thelocal area. In March we showcased their work in the Jerwood Studio toan audience of friends and family. And during the Festival, Groups 2 and 4gave performances to dress rehearsal and first night audiences for Fidelio.

Other youth and community events included a project with 430 youngpeople from schools in Hampstead, Bradford-upon-Avon, Gloucestershireand East Sussex – who all came to Glyndebourne for a 45-minute‘highlights’ performance of Così fan tutte by the understudy cast with theOrchestra of the Age of Enlightenment.We ran a project for pre-schoolchildren in Hailsham as part of Arts Council England’s Creative Partnershipinitiative. And in September we held our first Theatre Crafts Day forstudents interested in careers in theatre arts.

Internationally, we undertook a six-day residency in two New York highschools, devising a piece of music theatre that was showcased at theUnited Nations.

In October we welcomed our first-ever Composer in Residence, inassociation with the University of Sussex. Julian Philips began a three-yeardoctorate programme which will include composition work with ourYouth Opera Groups, education projects and the Jerwood ChorusDevelopment Scheme. He is funded by an Arts & Humanities ResearchCouncil Collaborative Doctoral Award.

EDUCATIONTotal investment in the Education programme for the year, excludingpermanent staff costs and other overheads funded by the Festival butincluding Opera Experience, almost doubled from £181,075 to £366,594.

The significant increase in costs was due to the commissioning andperformance of School 4 Lovers – a Hip H’Opera. This was fully funded, aswas the Education programme as a whole, showing a net surplus for theyear of £261 compared with a deficit of £5,767 in 2005.The programmewas funded largely by donations from trusts, foundations and individuals.

INVESTMENT INCOMEInvestment income contributed a further £1.0m (2005: £750,198) towardscosts for the year, the improvement resulting from further gains on thesale of investments.

Net cash and investments at the year end amounted to £9.8m (2005:£8.5m). Of this, £2.8m is ring-fenced for investment in a new scenerystore: a deposit of £250,000 was paid on exchange of contracts duringthe year, and completion is due in April 2007. For the third year in a row,it has not been necessary to draw down from the investment portfolioto fund working capital requirements during the year.

Total reserves at the year end increased from £38.8m to £39.2m,all unrestricted. Of this balance, £29.4m was represented by tangible fixedassets – primarily the opera house itself, with a net book value of £29.1m.

MAINTAINING ADEQUATE RESERVESOur financial objective remains to raise sufficient income annually tocover expenditure for the year, while generating sufficient surplus cash to:

•Build up a reserve to cover capital requirements over the life of the lease of the existing opera house

•Finance continued investment in new productions, young artists through the Tour and education programmes, intellectual property,and audience development

•Fund the company pension scheme

•Make prudent provision for unforeseen circumstances.

We review the target value for reserves every year, along with our exposure to income and cost risks.

The key risks to income are a decline in Box Office due to ticket pricing,repertoire, or economic reasons beyond our control; and a decline in fund-raising driven by economic factors or competitive pressure.The key cost risks are generally those arising from changing legislation or economic factors: examples during the year were rising utilities costsand funding of the pension scheme deficit.We put strong emphasis on budgetary and financial control to reduce the risk of over-expenditureand mitigate the effect of a drop in income.

The current target for free reserves, including cash and investments in the Glyndebourne Arts Trust, is £8.0m.This was set on the basis of havingto fulfil financial commitments following a worst-case uninsurable event.Actual free reserves at 31 December 2006 amounted to £7.3m, taking fullaccount of our share of the pension scheme past-service liability.

OUTLOOKOn the basis of current repertoire plans and known events for the nextfour years, our financial target of a surplus averaging £400,000 a yearbefore depreciation looks achievable.This will allow continued investmentin areas that enable us to generate additional future income – theGlyndebourne website, media development opportunities and expansionof our fund-raising resources.We want to avoid dipping into our reservesfor this investment, as these reserves are considered crucial to protectagainst unpredictable and uncontrollable financial impacts arising fromchanging legislation or other economic pressures.

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FINANCIAL REVIEW

Strong performance supports vital investmentIn an outstanding year artistically, we also achieved our highest-ever turnover and generated a surplus for the third year running.

FINANCIAL RESULTSGlyndebourne’s 2006 turnover was a record £19.1m – a 7% increase on the previous year’s £17.8m.

The increase was almost entirely due to Box Office income.This wasboosted by two additional Festival performances, a 4% increase in theaverage Festival ticket price, and an increase in cashtake: the proportionof potential Box Office income actually realised rose from 94% to 96%.

Across all our key income sources, the relative contributions remainedfairly constant.Ticket sales provided 66% of turnover, membership andother fund-raising contributed 24%, and the balance came from othersources including programme book sales, catering income, merchandisingand production hire.

Despite tight cost controls, higher levels of activity increased total operatingcosts for the year by 4% to £19.3m. But the strong increase in turnoverhelped to reduce the operating deficit significantly – down from £680,689in 2005 to £217,465 in 2006. Combined with another year of stronginvestment performance, this enabled us to report a surplus for 2006 of£835,219 (2005: £69,509) – and to maintain our financial independence.

FESTIVALIncreased Box Office income and tight cost control enabled the Festival to increase its surplus from £154,078 to £237,533 before income fromtrading activities, investment income and depreciation.We were pleasedto be able to maintain this level of surplus despite a significant increase in funding for the pension scheme following the latest actuarial valuationas at 5 April 2006.

TOURThe Tour generated a net surplus of £170,051(2005: £42,316). However,as in previous years, it is important to note that this result does not reflectthe true cost of running the Tour.The Festival makes only a nominalcharge for fixed overheads, use of facilities and permanent staff: the truecost on a standalone basis has been estimated at over £600,000.

The increase in surplus was almost entirely repertoire-related, reflectinglower principal, orchestra and chorus numbers. It is highly unlikely that asurplus will be sustainable every year without compromising our objectiveof scheduling a well balanced repertoire.The viability of the Tour remainsheavily reliant on significant Arts Council England support.

PROFIT AND LOSS

2006 2005£m £m

Turnover 19.1 17.8

Operating expenses (19.3) (18.5)

(0.2) (0.7)

Investment income 1.0 0.8

Surplus for the year 0.8 0.1

BALANCE SHEET

2006 2005£m £m

Tangible fixed assets 29.4 30.3

Cash and investments 9.8 8.5

39.2 38.8

Represented by:

Unrestricted funds 39.2 38.8

KEY CONTRIBUTORSBox Office income increased by £1.2m

•Two more Festival performances

•2.2% increase in Festival cashtake

•4.3% increase in average ticket prices

Operating expenses held below 5% increase despite

•More Festival performances

•Higher principal and orchestra numbers due to repertoire

•Additional pension provision

Glyndebourne Annual Report 2006 18 Glyndebourne Annual Report 2006 19

How you can contributeSome 65% of last year’s total funding came from the Box Office. Another 15% came from investment income andcommercial activities. But Glyndebourne could not survivewithout the £3.2m of our income that you contributed in the form of sponsorship, donations and membership fees.Here’s a brief guide to how you – or your organisation –could support our future work.INDIVIDUALSIndividuals can contribute to Glyndebourne in many ways. In particular,the Annual Fund is an essential resource, raising donations large and small and providing support wherever it is needed. Last year some 660donations to the fund raised £214,000, which funded projects rangingfrom maintenance of the gardens to essential work in the Music Library.

Festival productions are increasingly supported by private individuals witha passion for particular repertoire, artistic teams or singers.The supportof Betrothal in a Monastery in 2006 from Carol and Paul Collins was aninspiring example of how individuals can make an invaluable contributionto our work. One of the most direct ways to contribute is to join aproduction syndicate funding the Festival’s core work. Syndicate membersenjoy a close and extended relationship with their chosen project, and in2006 syndicates supported the Festival revivals of Guilio Cesare and Fidelio.

Each season, Glyndebourne Association America (GAA) gives UStaxpayers the opportunity to support a Glyndebourne production,and in 2006 GAA supported our new production of Così fan tutte.

Our Festival Society and Associate Members continue to provide vitalsupport to the Festival, contributing almost £2m in 2006. Our FundingMembers are a more recent but equally committed and important groupof supporters.We are also grateful to the Friends of Glyndebourne onTour, who provide almost £70,000 each year.

Many people contribute directly to the development of our artists.Schemes supported in this way include the Understudy Programme,which offers young singers unparalleled opportunities for musical anddramatic development; the Music Preparation Scheme, which provides for assistant conductors, repetiteurs and language coaches throughout the intensive rehearsal period; and the Glyndebourne Chorus, whichoffers intensive training and valuable experience for emerging talent.

Legacies have long been an important source of support and make a unique memorial to a personal involvement with Glyndebourne.

For information on private support for Glyndebourne, please contact the Membership and Development office on 01273 815403 or emailsharon.bass@glyndebourne.com

TRUSTSGlyndebourne Education’s work would not be possible without grantsfrom trusts and foundations. According to The Independent, it is ‘the mostimaginative opera-education department in the country’. Its 2006programme is described on pages 14&15 and its current plans areoutlined on page 7.

Trusts and Foundations play a vital role in helping support the variedwork of Glyndebourne.We are grateful to the Peter Moores Foundation,the Paul Hamlyn Foundation and the Foundation for Sport and the Arts,which were all essential to the delivery of our far-reaching year-roundeducation programme in 2006.

CORPORATE OPPORTUNITIESOur corporate partners gain exposure to an audience that identifies with excellence, in an ideal setting for entertaining.We build close andpersonal working relationships with our corporate associates, creatingbespoke packages to suit their particular requirements.Whether throughsponsoring a production or single performance, supporting our renownededucation and chorus programmes, advertising in the programme bookor elegant corporate hospitality, corporate partners of Glyndebourne can count on the highest quality of service and product.

For further information on all corporate opportunities, please contact Abigail Markland, Corporate Development Manager, on 01273 815046 or email abigail.markland@glyndebourne.com

FIVE-YEAR FINANCIAL HIGHLIGHTS

2006 2005 2004 2003 2002£’000 £’000 £’000 £’000 £’000

Turnover 19,110 17,817 16,991 15,444 14,034

Investment income 1,055 750 469 433 (184)

Total income 20,165 18,567 17,460 15,877 13,850

Increase/(decrease) 9% 6% 10% 15% (9%)

Net surplus /(deficit) before exceptional items 835 69 135 (662) (2,730)

Cash & investments (including Glyndebourne Arts Trust) 14,551 12,794 12,622 9,402 8,553

Net assets 39,269 38,752 38,122 37,823 37,648

OPERATING COSTS

Festival Tour Education Total2006 2005 2006 2005 2006 2005 2006 2005

£m £m £m £m £m £m £m £m

Production-related 9.1 8.9 2.9 3.2 0.3 0.1 12.3 12.2

Management/admin 4.2 3.5 0.2 0.2 4.4 3.7

Premises/depreciation 2.0 2.0 2.0 2.0

Glyndebourne Enterprises 0.6 0.6 0.6 0.6

Total 15.9 15.0 3.1 3.4 0.3 0.1 19.3 18.5

% increase/(decrease) 6% 6% (9%) 10% 4% 7%

No of performances 78 76 47 48

WHERE THE MONEY CAME FROM %

Box Office Festival Tour Education

Sponsorship/donations/membership

Public funding

Investment income

Catering, retail, programme book

2

67

18

5

11

69

17

7

11

41

14

44

2

51

7

45

1117

50

16

320

77

2005 2005 2005

2006 2006 2006

Glyndebourne Annual Report 2006 20

GOVERNANCE ANDACKNOWLEDGEMENTS

SUPPORTERS

We would like to thank all the individuals, companies, trusts,foundations and other organisations who provided generoussupport to Glyndebourne in 2006.

INDIVIDUAL DONORSWe acknowledge with particularthanks the following individuals,whose gifts exceeded £1,000:

Jon and Julia AisbittMiss Rula Al-AdasaniVahid and Maryam AlaghbandMr and Mrs C AshersonDr and Mrs R K BaldwinPeter Bazalgette and Hilary NewissMr and Mrs David M M BeeverJuan de Beistegui EsqR S Bernstrom EsqDianne and Michael BienesCelia BlakeyMr F D W BoettcherJohn and Jean BottsMr and Mrs Richard G BoxallRichard J BradburnLady BrownMr and Mrs Patrick BurgessNick Butler and Rosaleen HughesMr and Mrs R V J ChadderRodney ChaseRichard Christou, Fujitsu ServicesMr Colin ClarkMr John ClayDr David CohenCarol and Paul CollinsDavid W Cooper EsqMr and Mrs M J CooperMike and April CornishMr and Mrs Sidney CorobGeoff Dawson and Hilary SpenceAlan and Shirley DayMrs Yvonne DestribatsMr J L DrewittHugo EddisDelfina EntrecanalesThe Hon Julian and Mrs FaneMr Michael FarmerJohn H FelthamDarius and Elizabeth FerrignoRalph FiennesDr Norman B FinterWinston and Jean FletcherHamish and Sophie ForsythJ E Francis EsqDr Angela GallopAnne and Eugene GardnerJack and Jill GerberProfessor Andrew Glass and Linda CraftMichael Godbee EsqLady GoslingMr Charles and the Rev Mrs Pauline GreenMr and Mrs Peter W GreenleafMr and Mrs John F GregoryWilliam J Gronow DavisMr and Mrs Douglas HaleMr B H HarmsworthRick and Janeen HaythornthwaiteMr and Mrs R A F HeathMr and Mrs E N HeesomDiana HiddlestonMr and Mrs Justin HillMiss Jenny HodgsonMr and Mrs André HoffmannDr and Mrs Keith HowardIn memory of David JalvingMr and Mrs Ronald JeffriesMr Phillip M Jelley

GLYNDEBOURNE’S STRATEGIC MANAGEMENT TEAMGus Christie Executive ChairmanDavid Pickard General DirectorSarah Hopwood Director of Finance & Resources/Company SecretarySteven Naylor Director of Artistic AdministrationDave Locker Technical DirectorSarah Dalton Head of Membership & DevelopmentKirsty MacDonald Interim Head of Membership & DevelopmentGillian Brierley Head of Marketing & CommunicationsKatie Tearle Head of Education

GLYNDEBOURNE PRODUCTIONS LTDIncorporated in 1939. Objective: the promotion of aesthetic educationand the cultivation and improvement of public taste in music opera or the other arts and the doing of all such things as are incidental to theattainment of the above objects.

Directors: John Botts CBE, Lord Stevenson of Coddenham CBE,Louise Flind, André Hoffmann.

Company limited by guarantee (company registration no 358266) and registered as a charity (charity registration no 243877).

GLYNDEBOURNE ENTERPRISES LTDWholly owned trading subsidiary of Glyndebourne Productions Ltd.

Directors: John Botts CBE, Matthew Searle, Gus Christie, David Pickard

GLYNDEBOURNE ARTS TRUSTEstablished in 1954. Objective: to ensure the future of the production of opera by Glyndebourne Productions Ltd by the establishment andadministration of an endowment sufficient to maintain and improveGlyndebourne’s amenities, to contribute towards the reduction of anyannual deficit and to extend the work of Glyndebourne generally.

Trustees: John Botts CBE Chairman, Paul Collins, Peter Loescher,Michael Lynch, Martin Lutyens, Paul Myners CBE, Lord Rothermere,Martin Smith, Lady Helen Taylor, Randle White, Henry Wyndham.

Company limited by guarantee (company registration no 533973) andregistered as a charity (registered charity no 208743).

GLYNDEBOURNE ASSOCIATION AMERICA INCEstablished in 1976.Trustees: Michael Lynch Chairman, Henry Astor,John Botts CBE, Gus Christie, Paul Collins, Robert Conway, Mark Flannery.

All Photography by Mike Hoban, 2006

Produced for Glyndebourne by Lang Communicationswith Langsford Corporate DesignPrinted in England by St Ives Westerham Press© Glyndebourne Productions Ltd 2007

Vincent and Amanda KeavenyM Pierre KellerMrs Carol Anne KennedyMr N W Kooy – Océ (UK) LtdChristine Lake and Vaughan ThomasMrs R A F LascellesJohn LearmonthDr Robert LefeverMr D G LewisMrs E LewisGary and Marilyn ListLord and Lady Lloyd of BerwickPeter and Marta LoescherJohn H M MacGowan EsqGuy and Barbara MadewellLord and Lady Marshall of KnightsbridgeDr D S J MawNikhil V MehtaMr Euan Milroy FRCSMr John MurphyB NagelAudrey NewallGraham and Sue OatesMadame G OrtegaMs E PadmoreJohn C PearsonRon and Lyn PeetSir Michael PerryMr and Mrs Ian PosgateF C Raven EsqMr and Mrs Alec ReedAnna and Michiel RemersMrs Janine RenschThe Rothenberg family and Judy and John KnoxMr and Mrs J J G RowleyProfessor T J RyanMrs Basil SamuelSir Robert Scholey CBEDr Lewis SevittSir David and Lady SieffMrs Lois SieffPeter and Catherine SiglerSue SladeMorton and Estelle SoslandMr and Mrs Michael SteenCharlotte StevensonMrs Hugh StevensonAndrew Sutton EsqMr David B SwiftSir Adrian SwirePatrick and Iwona TilleyMrs S Trayler and Mrs M HanwellMrs Patricia WellsMichael and Ruth WestWilliam Weston and Madeleine GantleyMr and Mrs Tom WinserSusan WoodDeputy Lieutenant and Mrs R WrayMrs Charles WrightsmanAri and Heba Zaphiriou-Zarifiand 13 anonymous donors

CORPORATE SUPPORTERSAbbey National PLCABF GroupABN AMROAccentureAdams & Remers SolicitorsAddleshaw GoddardAEGONAllen & Overy LLPAllianz Cornhill Insurance PLCAllied Irish BankAmberley CastleAMLIN PLCAnglo American PLCAon LimitedArup Group LtdAspects Beauty Company LtdAssociated Newspapers LtdAstraZeneca PLCAudi AGAutobar Group LtdAutomobile AssociationAVIVAThe Avon GroupBAA plc Terminal 5 ProjectBaker & McKenzieBalliThe Bank of Tokyo-Mitsubishi UFJ, LtdBank of AmericaBarclays Bank PLCBarlow Lyde & GilbertBASF PLCBear Stearns International LimitedBentley Capital (Europe) LtdBG Group PLCBHP Billiton PLCBMS Associates LtdBoizelBorax Europe LimitedBovis Homes Group PLCBP plcBritish American TobaccoBritish Telecom plcBT WholesaleBunzl PLCC J Coleman Holdings LtdCalyon Corporate and Investment BankCare Home Insurance ServiceCazenove Group PLCCB Richard Ellis LimitedCentrica PLCChannelCharterhouse Capital Partners LLPChelsfield PartnersChevron LimitedCitigroupCommonwealth Bank of AustraliaCorus Group PLCCostain Group PLCCouttsCredit SuisseCROWN Europe Group ServicesCyril Sweett LimitedDaily Mail and General Trust PLCDaimler Chrysler UK Holding plcDeloitte & ToucheDenton Wilde SapteDesign Initiative WeighingEquipmentDeutsche BankDiageo PLCDie Zeit

Digby Squires Consulting ServicesDLKW & PartnersDresdner KleinwortE.ON uk plcEco-Bat Technologies LtdEDF EnergyEdmundson Electrical LtdEFG Private Bank LtdElement SixEMI ClassicsEMI Group PLCErnst & Young LLPFidelity Investment Services LtdFinancial ExpressFoseco InternationalFoster Wheeler Energy LtdFreshfields Bruckhaus DeringerFulbright & Jaworski International L.L.P.Gallaher Group PlcGerald Hyam & CompanyGibson, Dunn & Crutcher LLPGlaxoSmithKlineGlobal Minerals and MetalsCorporationGoldman Sachs InternationalGrant ThorntonGrosvenorGuy Carpenter & Company LtdHanover Acceptances LtdHawkpoint Partners LimitedHenderson Global Investors LtdHerbert SmithHotel du VinHSBCImperial Chemical Industries PLCING GroupJohn Jenkins & Sons LtdJohn Lewis plcJohn Packer AssociatesJohn Swire and Sons LtdJones DayJulius Baer International LimitedKaye Enterprises LimitedKleinwort Benson Private Bank LtdKPMGLazard & Co LtdLegal and General Group PlcLehman BrothersLeo Burnett LimitedLeventis Overseas LtdThe Linde GroupLinde Material Handling (UK) LtdLloyds TSB Group PLCLombard Odier & CieLondon & ScandinavianMetallurgicalLondon Diversified FundManagementLondon Philharmonic OrchestraLondon Stock ExchangeLowe & Partners WorldwideMainstay UK LtdMaisons Marques et Domaines LtdMarks & SpencerMarley PLCMarsh LtdMayer, Brown, Rowe & Maw LLPMayo & PerkinsMcCann Erickson EMEA LtdThe Medicus Group

MGM AssuranceMiller Insurance Services LtdMitchells & Butlers PLCMitsubishi Corporation Finance PLCN M Rothschild & SonsNational GridNokiaNomura InternationalNorton RoseNYNAS UK ABOgilvy & Mather LimitedOrchestra of the Age ofEnlightenmentOrient-Express Hotels,Trains & CruisesPandrol International LtdPearson PLCPetros J Goulandris & SonsPhilips Medical SystemsPOPPrater LtdPremier Oil plcPricewaterhouseCoopersPrudential plcRecord Currency Management LtdReed ElsevierReuters Group PLCRio Tinto plcRix & Kay SolicitorsRocco Forte HotelsRoyal Bank of ScotlandRussell Reynolds Associates Inc.RWE npowerSaatchi & SaatchiSCA Packaging LtdSchlumbergerSchroders PLCSEBShanks Group PLCShell International LimitedSiemens PLCSmiths Group PLCSociété GénéraleSony United Kingdom LtdSpencer Stuart and AssociatesStandard Chartered BankStandard LifeStephen Rimmer & CoStrutt and ParkerSvenska HandelsbankenTalisker LtdTate & Lyle PLCTetra Pak UKThomas Swan & Co LtdThomas EggarTim Smartt and Nigel FarrowTotal E&P UK LimitedTronos LtdUBSUnilever PLCUnilever UK FoodsUnilever UK Home & Personal CareUnited House LtdUrenco LimitedVAT Watkins Holdings LtdWassen International LimitedWatermark & PartnersWates GroupWatson Wyatt WorldwideWilkinson Building Co (Leeds) LtdWilliam Grant & Sons LtdWT Partnership

TRUSTS, FOUNDATIONS AND ORGANISATIONSThe Ronald & Barbara AbbottCharitable TrustThe Ancaster TrustThe Archie Sherman Charitable TrustArts Council EnglandThe Ian Askew Charitable TrustThe Austin & Hope Pilkington TrustBernard Sunley Charitable FoundationThe Bird Charitable TrustBrighton and Hove City CouncilThe Britten Estate LimitedCentre for British TeachersCharles Peel Charitable TrustColumbia FoundationCreative Partnerships,Hastings & East SussexClore Duffield FoundationVivien Duffield FoundationDunard FundEast Anglian Friends of GOTThe Foundation for Sport & the ArtsGlyndebourne AssociationAmerica Inc.The Godinton Charitable TrustThe Paul Hamlyn FoundationThe Hardy Plant SocietyThe Headley TrustA D Hill Discretionary SettlementJerwood Charitable FoundationThe Kirby Laing FoundationLewes FestivalLewes Learning Schools’ NetworkThe Michael Lynch and Susan Baker FoundationThe Ian Mactaggart TrustManchester GlyndebourneAssociation Manhattan Bridges High School,New YorkThe Mercers’ CompanyThe Nottingham GlyndebourneAssociationPark West High School, New YorkThe Parnassus InstitutePeter Moores Foundation The Porter FoundationOfenheim Charitable TrustCharles Peel Charitable TrustRESEOThe Robinson and DixonCharitable TrustJeremy and John Sacher Charitable TrustThe Sainer CharityThe LJ Skaggs and Mary C Skaggs FoundationThe Spencer Wills TrustSt John Ambulance BrigadeSussex Learning and Skills CouncilThe Swan TrustSwire Charitable TrustUniversity of SussexJohn Wates Charitable TrustThe Weldon UK Charitable TrustWeltkunst FoundationWessex GlyndebourneAssociationThe Wilhelm Helmut TrustThe Dato KT Wong Charitable TrustYouth Music Action Zone

GLYNDEBOURNELEWES, EAST SUSSEX BN8 5UU

ADMINISTRATION: 01273 812321INFORMATION: 01273 815000

WWW.GLYNDEBOURNE.COM

INDIVIDUAL DONORSWe acknowledge with particularthanks the following individuals,whose gifts exceeded £1,000:

Jon and Julia AisbittMiss Rula Al-AdasaniVahid and Maryam AlaghbandMr and Mrs C AshersonDr and Mrs R K BaldwinPeter Bazalgette and Hilary NewissMr and Mrs David M M BeeverJuan de Beistegui EsqR S Bernstrom EsqDianne and Michael BienesCelia BlakeyMr F D W BoettcherJohn and Jean BottsMr and Mrs Richard G BoxallRichard J BradburnLady BrownMr and Mrs Patrick BurgessNick Butler and Rosaleen HughesMr and Mrs R V J ChadderRodney ChaseRichard Christou, Fujitsu ServicesMr Colin ClarkMr John ClayDr David CohenCarol and Paul CollinsDavid W Cooper EsqMr and Mrs M J CooperMike and April CornishMr and Mrs Sidney CorobGeoff Dawson and Hilary SpenceAlan and Shirley DayMrs Yvonne DestribatsMr J L DrewittHugo EddisDelfina EntrecanalesThe Hon Julian and Mrs FaneMr Michael FarmerJohn H FelthamDarius and Elizabeth FerrignoRalph FiennesDr Norman B FinterWinston and Jean FletcherHamish and Sophie ForsythJ E Francis EsqDr Angela GallopAnne and Eugene GardnerJack and Jill GerberProfessor Andrew Glass and Linda CraftMichael Godbee EsqLady GoslingMr Charles and the Rev Mrs Pauline GreenMr and Mrs Peter W GreenleafMr and Mrs John F GregoryWilliam J Gronow DavisMr and Mrs Douglas HaleMr B H HarmsworthRick and Janeen HaythornthwaiteMr and Mrs R A F HeathMr and Mrs E N HeesomDiana HiddlestonMr and Mrs Justin HillMiss Jenny HodgsonMr and Mrs André HoffmannDr and Mrs Keith HowardIn memory of David JalvingMr and Mrs Ronald JeffriesMr Phillip M Jelley

Vincent and Amanda KeavenyM Pierre KellerMrs Carol Anne KennedyMr N W Kooy – Océ (UK) LtdChristine Lake and Vaughan ThomasMrs R A F LascellesJohn LearmonthDr Robert LefeverMr D G LewisMrs E LewisGary and Marilyn ListLord and Lady Lloyd of BerwickPeter and Marta LoescherJohn H M MacGowan EsqGuy and Barbara MadewellLord and Lady Marshall of KnightsbridgeDr D S J MawNikhil V MehtaMr Euan Milroy FRCSMr John MurphyB NagelAudrey NewallGraham and Sue OatesMadame G OrtegaMs E PadmoreJohn C PearsonRon and Lyn PeetSir Michael PerryMr and Mrs Ian PosgateF C Raven EsqMr and Mrs Alec ReedAnna and Michiel RemersMrs Janine RenschThe Rothenberg family and Judy and John KnoxMr and Mrs J J G RowleyProfessor T J RyanMrs Basil SamuelSir Robert Scholey CBEDr Lewis SevittSir David and Lady SieffMrs Lois SieffPeter and Catherine SiglerSue SladeMorton and Estelle SoslandMr and Mrs Michael SteenCharlotte StevensonMrs Hugh StevensonAndrew Sutton EsqMr David B SwiftSir Adrian SwirePatrick and Iwona TilleyMrs S Trayler and Mrs M HanwellMrs Patricia WellsMichael and Ruth WestWilliam Weston and Madeleine GantleyMr and Mrs Tom WinserSusan WoodDeputy Lieutenant and Mrs R WrayMrs Charles WrightsmanAri and Heba Zaphiriou-Zarifiand 13 anonymous donors

CORPORATE SUPPORTERSAbbey National PLCABF GroupABN AMROAccentureAdams & Remers SolicitorsAddleshaw GoddardAEGONAllen & Overy LLPAllianz Cornhill Insurance PLCAllied Irish BankAmberley CastleAMLIN PLCAnglo American PLCAon LimitedArup Group LtdAspects Beauty Company LtdAssociated Newspapers LtdAstraZeneca PLCAudi AGAutobar Group LtdAutomobile AssociationAVIVAThe Avon GroupBAA plc Terminal 5 ProjectBaker & McKenzieBalliThe Bank of Tokyo-Mitsubishi UFJ, LtdBank of AmericaBarclays Bank PLCBarlow Lyde & GilbertBASF PLCBear Stearns International LimitedBentley Capital (Europe) LtdBG Group PLCBHP Billiton PLCBMS Associates LtdBoizelBorax Europe LimitedBovis Homes Group PLCBP plcBritish American TobaccoBritish Telecom plcBT WholesaleBunzl PLCC J Coleman Holdings LtdCalyon Corporate and Investment BankCare Home Insurance ServiceCazenove Group PLCCB Richard Ellis LimitedCentrica PLCChannelCharterhouse Capital Partners LLPChelsfield PartnersChevron LimitedCitigroupCommonwealth Bank of AustraliaCorus Group PLCCostain Group PLCCouttsCredit SuisseCROWN Europe Group ServicesCyril Sweett LimitedDaily Mail and General Trust PLCDaimler Chrysler UK Holding plcDeloitte & ToucheDenton Wilde SapteDesign Initiative WeighingEquipmentDeutsche BankDiageo PLCDie Zeit

Digby Squires Consulting ServicesDLKW & PartnersDresdner KleinwortE.ON uk plcEco-Bat Technologies LtdEDF EnergyEdmundson Electrical LtdEFG Private Bank LtdElement SixEMI ClassicsEMI Group PLCErnst & Young LLPFidelity Investment Services LtdFinancial ExpressFoseco InternationalFoster Wheeler Energy LtdFreshfields Bruckhaus DeringerFulbright & Jaworski International L.L.P.Gallaher Group PlcGerald Hyam & CompanyGibson, Dunn & Crutcher LLPGlaxoSmithKlineGlobal Minerals and MetalsCorporationGoldman Sachs InternationalGrant ThorntonGrosvenorGuy Carpenter & Company LtdHanover Acceptances LtdHawkpoint Partners LimitedHenderson Global Investors LtdHerbert SmithHotel du VinHSBCImperial Chemical Industries PLCING GroupJohn Jenkins & Sons LtdJohn Lewis plcJohn Packer AssociatesJohn Swire and Sons LtdJones DayJulius Baer International LimitedKaye Enterprises LimitedKleinwort Benson Private Bank LtdKPMGLazard & Co LtdLegal and General Group PlcLehman BrothersLeo Burnett LimitedLeventis Overseas LtdThe Linde GroupLinde Material Handling (UK) LtdLloyds TSB Group PLCLombard Odier & CieLondon & ScandinavianMetallurgicalLondon Diversified FundManagementLondon Philharmonic OrchestraLondon Stock ExchangeLowe & Partners WorldwideMainstay UK LtdMaisons Marques et Domaines LtdMarks & SpencerMarley PLCMarsh LtdMayer, Brown, Rowe & Maw LLPMayo & PerkinsMcCann Erickson EMEA LtdThe Medicus Group

MGM AssuranceMiller Insurance Services LtdMitchells & Butlers PLCMitsubishi Corporation Finance PLCN M Rothschild & SonsNational GridNokiaNomura InternationalNorton RoseNYNAS UK ABOgilvy & Mather LimitedOrchestra of the Age ofEnlightenmentOrient-Express Hotels,Trains & CruisesPandrol International LtdPearson PLCPetros J Goulandris & SonsPhilips Medical SystemsPOPPrater LtdPremier Oil plcPricewaterhouseCoopersPrudential plcRecord Currency Management LtdReed ElsevierReuters Group PLCRio Tinto plcRix & Kay SolicitorsRocco Forte HotelsRoyal Bank of ScotlandRussell Reynolds Associates Inc.RWE npowerSaatchi & SaatchiSCA Packaging LtdSchlumbergerSchroders PLCSEBShanks Group PLCShell International LimitedSiemens PLCSmiths Group PLCSociété GénéraleSony United Kingdom LtdSpencer Stuart and AssociatesStandard Chartered BankStandard LifeStephen Rimmer & CoStrutt and ParkerSvenska HandelsbankenTalisker LtdTate & Lyle PLCTetra Pak UKThomas Swan & Co LtdThomas EggarTim Smartt and Nigel FarrowTotal E&P UK LimitedTronos LtdUBSUnilever PLCUnilever UK FoodsUnilever UK Home & Personal CareUnited House LtdUrenco LimitedVAT Watkins Holdings LtdWassen International LimitedWatermark & PartnersWates GroupWatson Wyatt WorldwideWilkinson Building Co (Leeds) LtdWilliam Grant & Sons LtdWT Partnership

TRUSTS, FOUNDATIONS AND ORGANISATIONSThe Ronald & Barbara AbbottCharitable TrustThe Ancaster TrustThe Archie Sherman Charitable TrustArts Council EnglandThe Ian Askew Charitable TrustThe Austin & Hope Pilkington TrustBernard Sunley Charitable FoundationThe Bird Charitable TrustBrighton and Hove City CouncilThe Britten Estate LimitedCentre for British TeachersCharles Peel Charitable TrustColumbia FoundationCreative Partnerships,Hastings & East SussexClore Duffield FoundationVivien Duffield FoundationDunard FundEast Anglian Friends of GOTThe Foundation for Sport & the ArtsGlyndebourne AssociationAmerica Inc.The Godinton Charitable TrustThe Paul Hamlyn FoundationThe Hardy Plant SocietyThe Headley TrustA D Hill Discretionary SettlementJerwood Charitable FoundationThe Kirby Laing FoundationLewes FestivalLewes Learning Schools’ NetworkThe Michael Lynch and Susan Baker FoundationThe Ian Mactaggart TrustManchester GlyndebourneAssociation Manhattan Bridges High School,New YorkThe Mercers’ CompanyThe Nottingham GlyndebourneAssociationPark West High School, New YorkThe Parnassus InstitutePeter Moores Foundation The Porter FoundationOfenheim Charitable TrustCharles Peel Charitable TrustRESEOThe Robinson and DixonCharitable TrustJeremy and John Sacher Charitable TrustThe Sainer CharityThe LJ Skaggs and Mary C Skaggs FoundationThe Spencer Wills TrustSt John Ambulance BrigadeSussex Learning and Skills CouncilThe Swan TrustSwire Charitable TrustUniversity of SussexJohn Wates Charitable TrustThe Weldon UK Charitable TrustWeltkunst FoundationWessex GlyndebourneAssociationThe Wilhelm Helmut TrustThe Dato KT Wong Charitable TrustYouth Music Action Zone