Foundations In 1889,
Emma Cons, a
Victorian philanthropist who ran the
Old Vic 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 were noted singers such as
Charles Santley. These operatic evenings quickly became more popular than the dramas that Cons had been staging separately. In 1898, she recruited her niece
Lilian Baylis to help run the theatre. At the same time she appointed
Charles Corri 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 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
Wagner operas. 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 and 16 plays (13 of which were by
Shakespeare). In the years after the First World War, Baylis's Shakespeare productions, which featured some of the leading actors from London's
West End, attracted national attention, as her shoe-string opera productions did not. The opera, however, remained her first priority. The
actor-manager Robert Atkins, who worked closely with Baylis on her Shakespearean productions, recalled, "Opera, on Thursday and Saturday nights, played to bulging houses."
Vic-Wells 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
Sadler's Wells theatre in Rosebery Avenue,
Islington, on the other side of London from the Old Vic. She sought to run it in tandem with her existing theatre. Baylis made a public appeal for funds in 1925. With the help of the
Carnegie Trust and many others, she acquired the
freehold 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. Baylis strove to improve operatic standards, while at the same time fending off attempts by
Sir Thomas Beecham 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
Edward J. Dent and
Clive Carey convinced Bayliss that it was not in the interests of her regular audience. This view received strong support from the press;
The Times wrote: 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 disastrous. 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 latter co-founded by Baylis and
Ninette de Valois in 1930. Among the singers in the opera company were
Joan Cross and
Edith Coates. In the 1930s, the company presented standard repertoire operas by
Mozart,
Verdi, Wagner and
Puccini, lighter works by
Balfe,
Donizetti,
Offenbach and
Johann Strauss, some novelties, among which were operas by
Holst,
Ethel Smyth and
Charles Villiers Stanford, and an unusual attempt at staging an oratorio,
Mendelssohn's
Elijah. 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 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
Peter Pears and
Owen Brannigan, and the conductor
Reginald Goodall.
Sadler's Wells Opera 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 (
CEMA), 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,
David Webster, 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". 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. Divisions within the company threatened its continued existence. Cross announced her intention to re-open Sadler's Wells theatre with
Peter Grimes by
Benjamin Britten, with herself and Pears in the leading roles. Many complaints resulted about supposed favouritism and the "cacophony" of Britten's score.
Peter Grimes opened in June 1945, to both public and critical acclaim; its box-office takings matched or exceeded those for
La bohème and
Madame Butterfly, 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
English Opera Group. 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. Clive Carey, who had been in Australia during the war, was brought back to replace Joan Cross and rebuild the company. The critic
Philip Hope-Wallace 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,
The Times Literary Supplement 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
James Robertson as musical director, Michael Mudie as his assistant conductor and
Norman Tucker in charge of administration. From October 1948, Tucker was given sole control. Mudie became ill, and the young
Charles Mackerras was appointed to deputise for him. , championed by
Charles Mackerras and the company 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
Billy Budd, for lack of resources. Keen to improve the dramatic aspects of opera production, Tucker engaged eminent theatrical directors including
Michel Saint-Denis,
George Devine and
Glen Byam Shaw worked on Sadler's Wells productions in the 1950s. New repertoire was explored, such as the first British staging of
Janáček's
Káťa Kabanová, at Mackerras's urging. 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
Carl Rosa Opera Company 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 near the
Royal Festival Hall, which fell through because the government was unwilling to fund the building. 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 its presence on the London opera scene, Tucker, his deputy
Stephen Arlen, and his musical director
Alexander Gibson 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 Wells theatre while the other was on the road. , musical director, 1961–65 By the late 1950s, Covent Garden was gradually abandoning its policy of productions in the vernacular; such singers as
Maria Callas 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.
Colin Davis 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
Pizzetti's
Murder in the Cathedral,
Stravinsky's
Oedipus rex,
Richard Rodney Bennett's
The Mines of Sulphur and more Janáček. Sadler's Wells's traditional policy of giving all operas in English continued, with only two exceptions:
Oedipus rex, which was sung in Latin, and
Monteverdi's ''
L'Orfeo, sung in Italian, for reasons not clear to the press. In January 1962, the company gave its first Gilbert and Sullivan opera, Iolanthe'', with
Margaret Gale in the title role, on the day on which the
Savoy operas came out of copyright and the
D'Oyly Carte monopoly ended. The production was well received (it was successfully revived for many seasons until 1978) and was followed by a production of
The Mikado in May of the same year. 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 in a large West End theatre, such as its 1958 sell-out production of
The Merry Widow that had transferred to the 2,351-seat
London Coliseum 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. One of the company's last productions at the Islington theatre was Wagner's
The Mastersingers, conducted by Goodall in 1968, which 40 years later was described by
Gramophone 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,
Peter Grimes. Its last performance at the Rosebery Avenue theatre was on 15 June 1968.
Coliseum The company, retaining the title "Sadler's Wells Opera", opened at the Coliseum on 21 August 1968, with a new production of Mozart's
Don Giovanni, directed by
Sir John Gielgud. The success of the 1968
Mastersingers was followed in the 1970s by the company's first
Ring cycle, conducted by Goodall, with a new translation by
Andrew Porter and designs by Ralph Koltai. The cast included
Norman Bailey,
Rita Hunter and
Alberto Remedios. In Harewood's view, among the highlights of the first ten years at the Coliseum were the
Ring,
Prokofiev's
War and Peace, and
Richard Strauss's
Salome and
Der Rosenkavalier. Harewood praised his exceptional versatility, with a range "from
The House of the Dead to
Patience." Among the operas he conducted for the company were Handel's
Julius Caesar starring
Janet Baker and
Valerie Masterson; five Janáček operas;
The Marriage of Figaro with pioneering use of 18th century performing style;
Massenet's
Werther; Donizetti's
Mary Stuart with Baker; and Sullivan's
Patience. The company took the production of the last to the
Vienna Festival in 1975, along with Britten's
Gloriana.
Sir Charles Groves succeeded Mackerras as musical director from 1978 to 1979, but Groves was unwell and unhappy during his brief tenure. Starting in 1979,
Mark Elder succeeded Groves in the post, and described Groves "immensely encouraging and supportive". 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 drivers kept on taking their patrons up to Rosebery Avenue". Harewood considered it an elementary rule that "you must not carry the name of one theatre if you are playing in another one." In 1977, in response to demand for more opera productions in English provincial cities, a second company was established. It was based at
Leeds in northern England, and was known as ENO North. Under Harewood's guidance, it flourished, and in 1981 it became an independent company,
Opera North.
ENO 1980–99 In 1982, at Elder's instigation, Harewood appointed
David Pountney director of productions. In 1985 Harewood retired, becoming chairman of ENO's board the following year.
Peter Jonas 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 effective", and by the director
Nicholas Hytner as "Euro-bollocks that never has to be comprehensible to anybody but the people sitting out there conceiving." A 1980s audience survey showed that the two things that ENO audiences most disliked were poor diction and the extremes of "director's opera". In the
Grove Dictionary of Music and Musicians, 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
Rusalka (1983), with its Edwardian nursery setting and Freudian undertones, and
Hansel and Gretel (1987), its dream pantomime peopled by fantasy figures from the children's imagination ...
Lady Macbeth of the Mtsensk District (1987) and
Wozzeck (1990) exemplified an approach to production in which grotesque caricature jostles with forceful emotional engagement. 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,
Tom Sutcliffe wrote in
The Musical Times: Productions during the 1980s included the company's first presentations of
Pelléas and Mélisande (1981),
Parsifal (1986) and
Billy Budd (1988). 1980s productions that remained in the repertory for many years included
Xerxes directed by Hytner, and
Rigoletto and
The Mikado directed by
Jonathan Miller. In 1990 ENO was the first major foreign opera company to tour the
Soviet Union, performing the Miller production of
The Turn of the Screw, Pountney's production of
Macbeth, and Hytner's much-revived
Xerxes. The 'Powerhouse' era ended in 1992, when all three of the triumvirate left at the same time. The new general director was
Dennis Marks, formerly head of music programmes at the
BBC, and the new music director was
Sian Edwards. 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
Der Rosenkavalier was a critical and financial success, as was a staging of Massenet's
Don Quixote, described by the critic Hugh Canning as "the kind of old-fashioned theatre magic which the hair-shirted Powerhouse regime despised". 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, 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
The Independent 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.
Paul Daniel 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 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. Productions in the 1990s included the company's first stagings of
Beatrice and Benedict (1990),
Wozzeck (1990),
Jenůfa (1994), ''
A Midsummer Night's Dream (1995), Die Soldaten (1996), Doctor Ox's Experiment (1998) and Dialogues of the Carmelites'' (1999). He and Payne came into conflict over the effect on revenue of the "director's opera" productions that Payne insisted on commissioning. The most extreme case was a production of
Don Giovanni directed by
Calixto Bieito in 2001, despised by critics and public alike;
Michael Kennedy 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
The Financial Times, 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. 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
The Valkyrie played to 20,000
rock music fans at the
Glastonbury Festival.
Oleg Caetani was announced as the next music director, from January 2006. In 2004, ENO embarked on its second production of Wagner's
Ring. 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
Phyllida Lloyd, with designs by
Richard Hudson, in a new translation by
Jeremy Sams. The first instalments of the cycle were criticised as poorly sung and conducted, but by the time
Twilight of the Gods 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 never played as a complete cycle. '', staged in 2009 During the 2000s the company repeated the experiment, previously tried in 1932, ENO responded to the increased interest in Handel's operas, staging
Alcina (2002),
Agrippina (2006) and
Partenope (2008). 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
Lesley Garrett and
Andrew Shore, ENO singers of the 21st century were considered to have poorer diction than earlier singers such as Masterson and
Derek Hammond-Stroud. 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
Opera magazine,
Rodney Milnes, 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. On 29 November 2005, Doran resigned as artistic director. To replace him, Smith divided the duties between Loretta Tomasi as chief executive and
John Berry 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, 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
Edward Gardner as music director from 2007 received considerable praise.
The Observer commented that Gardner was "widely credited with breathing fresh life into English National Opera". 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.
2010–present Productions in the 2011 season continued the company's traditions of engaging directors with no operatic experience (a well-reviewed
The Damnation of Faust staged by
Terry Gilliam and set in
Nazi Germany) and of drastic reinterpretations (a version of Britten's ''A Midsummer Night's Dream'' presented by
Christopher Alden as a
paedophile 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". In January 2014, the ENO announced Gardner's departure as music director at the end of the 2014–15 season, to be succeeded by
Mark Wigglesworth. At the time, the ENO had accumulated an £800,000 deficit, exacerbated by reductions in public subsidy;
The Times 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 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. New productions announced for 2015–2016 were
Tristan and Isolde, with sets by
Anish Kapoor; the company's first staging of
Norma; and the first London performance for 30 years of
Akhnaten. 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
Harry Brünjes 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 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. 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
Martyn Brabbins as its next music director, with immediate effect, with an initial contract through October 2020. In March 2018, ENO announced the appointment of
Stuart Murphy 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 October 2022, ENO announced that Stuart Murphy would leave the company as Chief Executive in September 2023. 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. In November 2022,
Arts Council England 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 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." In October 2023, Martyn Brabbins resigned as music director of ENO, with immediate effect, in protest at proposed personnel reductions to the company's music staff. Two months later, ENO announced the planned establishment of a "main base" in
Greater Manchester by 2029. Jenny Mollica became interim chief executive officer (CEO) of the company in August 2023. In May 2024, ENO elevated Mollica to the post of its full CEO with immediate effect. In May 2025, ENO announced the appointment of
André de Ridder as its next music director, effective with the 2027-2028 season, and with the title of music director-designate as of September 2025. In November 2025, ENO announced that Mollica is to stand down as its CEO in the summer of 2026. ==Repertoire==