ENO reviews artistic leadership following John Berry exit
English National Opera has unveiled a restructure of its artistic leadership team following John Berry’s departure, and extended Cressida Pollock’s role as chief executive.
ENO said the new structure, initially to last for this season, was being implemented as it undertakes a “full evaluation” of the way the organisation is led artistically following Berry’s exit as artistic director in July.
Pollock has been appointed chief executive on a fixed three-year contract. She initially joined the company in the new role of interim chief executive in March, after a period which saw ENO dropped from Arts Council England’s national portfolio and the resignation of two leaders, including Henriette Gotz as executive director.
For the 2015/16 season, it said the artistic leadership was being overseen by Mark Wigglesworth as music director and Terri-Jayne Griffin as producing director.
In addition, it said that John McMurray, former head of casting, had become senior artistic adviser and Bob Holland, a producer with ENO, had now taken on the role of programming director.
Sophie Joyce has moved to the role of head of casting having been assistant to McMurray previously.
Meanwhile, Harry Brunjes has been appointed chairman on a full-time basis, having been acting chairman since Martyn Rose stepped down earlier this year.
Pollock said: “During my time at ENO so far, I have been genuinely overwhelmed by the talent, dedication and commitment that is demonstrated by everyone in the company. As we enter this new era, I recognise that we face significant challenges, not least to reduce our reliance on public subsidy. However, I am convinced we can succeed and that… we can continue to produce brilliant opera for audience members in London and around the UK.”
Arts Council England London area director Joyce Wilson said ACE was “pleased” with the new appointments and added that it would “continue to work closely with them and the wider executive team on the organisation’s strategic development and business plan”.
We need your help…
When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.
The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.
We are fully independent, but this means we rely on revenue from readers to survive.
Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.