The English National Opera (ENO) has joyfully announced its inaugural productions and ambitious plans for its upcoming relocation to Manchester, following a forced exit from London.
In a controversial move in 2022, the esteemed opera company faced the ultimatum of vacating the capital or forfeiting its generous £12m annual subsidy from Arts Council England, part of a broader initiative aimed at redistributing arts funding more equitably across the UK.
The ENO is now poised to become “firmly established” in Greater Manchester by the year 2029.
However, the vibrant journey begins earlier, with productions scheduled at notable venues such as the Lowry, Bridgewater Hall, and Aviva Studios starting in 2025, alongside an innovative mass singing initiative involving local grassroots football teams.
The company revealed an impressive lineup of future productions:
- A groundbreaking interpretation of Philip Glass and Robert Wilson’s opera Einstein on the Beach, skillfully directed by Phelim McDermott, set for the spring of 2027
- The long-awaited UK premiere of Angel’s Bone, a Pulitzer Prize-winning composition from 2017, to be performed at Aviva Studios in May 2026
- Benjamin Britten’s beloved Albert Herring will grace the stage at the Lowry in October 2025
- Additionally, a staged concert adaptation of Mozart’s classic Cosi Fan Tutte will unfold at Bridgewater Hall in February 2026
To further enrich the community, the ENO plans to establish a new Greater Manchester Youth Opera Company for aspiring artists aged 13 to 16 and will implement a scheme focused on nurturing “new voices and stories in opera.”
Focusing on the intersection of sports and arts, the ambitious initiative titled Perfect Pitch will investigate how mass singing influences both team performance and the spectator experience, as articulated by the company.
ENO’s artistic director Annilese Miskimmon expressed her enthusiasm, stating that this transformative move marks the beginning of “a bold and confident future for opera in the UK”.
Jenny Mollica, the chief executive, highlighted Greater Manchester’s reputation as “a region of limitless creative possibilities,” offering the ENO the perfect platform to “explore new visions for the future of opera.”
The productions in Manchester are set to showcase a diverse range of performances, encompassing “larger scale traditional opera, more experimental works, and intimate chamber music,” enabling the ENO to engage with “a wider range of audiences,” she remarked.
The announcements come in the wake of two challenging years for the ENO since the relocation mandate was issued.
After initially proposing to reduce the ENO’s funding by almost 50% even if they relocated, the Arts Council later adjusted their stance, providing additional funds and extending the relocation deadline.
The ENO’s initial hesitation regarding the relocation sparked a pointed response from Greater Manchester Mayor Andy Burnham, who stated, “If you can’t come willingly, don’t come at all.”
At a recent launch event, Burnham reflected on their complex relationship, admitting it began with “an awkward or even mildly disastrous first date,” though he acknowledged the ENO’s evident commitment to the region.
According to him, “It was clear there was a meeting of minds and a partnership that’s going to work for both sides,” he shared with BBC News.
The upheaval led to significant cuts to the ENO’s orchestral and choral staff based in London, prompting members to threaten strikes earlier this year over proposals to make them redundant and re-hire them for only six months each year.
Martyn Brabbins, the company’s music director, resigned in protest against these substantial cuts.
Fortunately, the strike was ultimately called off after the ENO agreed to provide seven-month contracts.
Even post-relocation, the ENO plans to maintain an annual season at its beloved London Coliseum.
The ENO’s orchestra and chorus will perform in both London and Manchester while collaborating with local organizations such as the Halle Orchestra, BBC Philharmonic, and local freelance musicians.
Naomi Pohl, the general secretary of the Musicians’ Union, expressed optimism regarding the ENO’s artistic direction, pointing out that it is “certainly positive to see the artistic vision coming through” in their recent announcements, hoping for their continued growth.
She also welcomed the commitment to remain active at the London Coliseum and vowed to observe the impact of the ENO’s initiatives in Manchester on existing performance companies.
Paul Fleming, general secretary of arts union Equity, recognized the value of new opera productions and engagement programs in Manchester but lamented that “it falls short of a season at the scale audiences deserve.”
How will the ENO’s new productions redefine the experience of opera for UK audiences?
**Interview with Annilese Miskimmon, Artistic Director of the English National Opera (ENO)**
**Interviewer:** Thank you for joining us today, Annilese. The ENO’s relocation to Manchester is quite the milestone. What does this mean for the company and for the future of opera in the UK?
**Annilese Miskimmon:** Thank you for having me! This is indeed a transformative time for us at the ENO. Relocating to Manchester marks the beginning of a bold and confident future for opera in the UK. We see this move not just as a challenge but as an incredible opportunity to reimagine what opera can be, engaging with new audiences and collaborating with local communities.
**Interviewer:** You have several exciting productions lined up. Can you share more about them and what audiences can expect?
**Annilese Miskimmon:** Absolutely! We’re excited to present a diverse lineup. Notably, we have *Einstein on the Beach* in spring 2027, which is a groundbreaking interpretation, as well as the UK premiere of *Angel’s Bone* at Aviva Studios in May 2026. We also look forward to staging *Albert Herring* at the Lowry in October 2025 and a concert adaptation of *Cosi Fan Tutte* in February 2026 at Bridgewater Hall. Each production reflects our commitment to variety, ranging from traditional opera to more experimental works.
**Interviewer:** It sounds fantastic! Can you elaborate on the community initiatives you’re planning, such as the Greater Manchester Youth Opera Company?
**Annilese Miskimmon:** Yes! We’re thrilled to establish the Greater Manchester Youth Opera Company for aspiring artists aged 13 to 16. This program aims to nurture new voices and stories in opera, ensuring that we’re not only performing but also developing the next generation of talent. Additionally, our *Perfect Pitch* initiative will explore the intersection of sports and arts, investigating how mass singing can enhance team performance and enrich the spectator experience.
**Interviewer:** That’s a wonderful approach. How does the ENO plan to engage with the Greater Manchester community specifically?
**Annilese Miskimmon:** We’re committed to making opera more accessible and relevant. By collaborating with local grassroots football teams for our *Perfect Pitch* initiative and performing at iconic venues throughout Manchester, we aim to create a vibrant tapestry of events that resonate with a diverse audience. We believe that art can inspire and unite communities, and we’re eager to explore those possibilities in Manchester.
**Interviewer:** There’s been a lot of discussion about the Arts Council funding and the challenges you faced during the relocation process. How do you feel about the current support from them?
**Annilese Miskimmon:** Initially, it was a difficult transition for us, but we appreciate the Arts Council’s eventual support and their recognition of our efforts to adapt and thrive. With the aid of the £12 million annual subsidy, we’re establishing a foundation from which we can innovate and grow in Manchester. Their understanding of our mission is vital for our future.
**Interviewer:** Thank you, Annilese. Lastly, what do you hope the long-term impact of the ENO’s move to Manchester will be?
**Annilese Miskimmon:** I hope it inspires a new audience to engage with opera, encouraging more participation and appreciation of the arts. I envision Manchester becoming a hub for opera that attracts talent from all over the country. We want to contribute to the rich cultural landscape of the region and help redefine the future of opera in the UK for generations to come.
**Interviewer:** Thank you for your insights, Annilese. We look forward to seeing how the ENO flourishes in Manchester!
**Annilese Miskimmon:** Thank you! We can’t wait to share this journey with everyone.
