Olivia joined ENO in December 2018, having worked as Associate Director at a PR agency specializing in media, entertainment and theatre.

What is your favourite ENO production?
The Magic Flute – visually unforgettable. And with the balcony full of kids making use of our Under 18 Free Ticket offer, the atmosphere at the London Coliseum was electric.

What has been your favourite ENO moment?
Bringing Carol Kirkwood to her first opera, and broadcasting the weather live from our roof on a chilly Valentine’s Day morning to the millions of viewers of BBC Breakfast.

How did you get started in your career?
I started in political lobbying straight after university, but after a couple of years quickly became disenchanted with politicians (and this was way before Brexit!). I subsequently made the move over to public relations where I enjoyed the quick pace and the thrill of seeing things I worked on appear in print or on TV. I worked for more than seven years on a variety of clients becoming Associate Director at a leading PR agency, and completed a secondment to the Really Useful Group where I worked on a number of exciting projects for Andrew Lloyd Webber before joining ENO.

What do you love most about working at ENO?
The variety of work – no one day is the same. Everyone at ENO – no matter what department they work in – is full of passion and a desire to bring opera to everyone. It takes an army to get to curtain up, and nothing beats the buzz of an opening night.

Andrew joined ENO in 2010 as the Grants Manager, before becoming Deputy Development Director and then moving to his current role.  He is responsible for the Partnerships, Philanthropy, Grants, Memberships and Events Teams who all work together to raise £4m a year from our amazingly generous members and donors to support every aspect of ENO’s work.

What us your favourite ENO production?
Phelim McDermott’s production of Cosi fan Tutte – setting it in Coney Island was a genius idea.

What has been your favourite ENO moment?
Being stuck in the lift on an Opening Night – chatting to John Hurt and Lesley Garrett about how brilliant Terry Gilliam’s production of Benvenuto Cellini was.

How did you get started in your career?
I graduated from University of Liverpool with a degree in music and taught in Secondary Schools before making a career move into the arts.

What do you love most about working at ENO?
Bringing people into the auditorium of the London Coliseum for the first time. The ‘wow’ factor of our theatre never gets old.

Richard joined ENO in January 2008 as Orchestra Logistics Manager after graduating from Trinity College of Music, where he gained a BMus in Performance and Trumpet. Subsequently he became Assistant Orchestra Manager and then Orchestra Manager and, in his current role, continues to manage the Orchestra as well as the Music Department comprising of the Chorus, Music Staff and the Music Administration team.

What is your favourite ENO production?
Nicholas Lehnhoff’s production of Parsifal staged in 2011.

What has been your favourite ENO moment?
Watching ENO’s production of Peter Grimes performed at the BBC Proms. Showing the Prommers what we do at the Coliseum every day.

How did you get started in your career?
I started playing the cornet at the age of 7. Music has always been a big part of my life and I feel blessed that I am able to work in the industry.

What do you love most about working at ENO?
The family feel of the company, and that I am truly lucky to work with such talented people.

Jenny joined ENO in 2020. Prior to this, she was Director of Creative Learning at the Barbican and Guildhall School of Music & Drama, where she worked for over a decade.

As Director of Strategy and Engagement, Jenny is responsible for leading organisational strategy and the ENO’s learning and participation programme, ENO Engage.

What is your favourite ENO production?
My favourite ENO production is probably yet to be made! I am excited to grow and develop new work by and with the communities that we work with in ENO Engage, and, with our artistic team, celebrate those new voices and stories through opera.

What has been your favourite ENO moment?
It’s still early on in my time at ENO, but so far it has to be launching our brand new social prescribing intervention, ENO Breathe, in partnership with Imperial College Healthcare Trust. The programme aims to make a difference to the lives of people and communities recovering from Covid-19, bringing together musical and medical expertise to support their recovery. It’s the thing I’m most proud of in my career to date.

How did you get started in your career?
I started my career in education. My first job was as Course Leader for Performing Arts at a Further Education College. It instilled in me a deep admiration for the art of teaching, as well as a lifelong fascination with how we all learn and create meaning.

What do you love most about working at ENO?
I love leading a department that speaks so profoundly to ENO’s unique history and mission; to be the national opera company for everyone.

Nathan joined ENO in 2019 as the Head of Retail and Buying before becoming Head Of Commercial Ventures. Before this, he worked in several roles in the arts and events sector including heading up the Royal Albert Hall’s retail and merchandise teams and managing retail catering operations at the London 2012 Olympics.

What is your favourite ENO production?
Anthony Minghella’s Madam Butterfly I loved the contrast of the Bunraku puppet used to play the role of Sorrow and the minimalist set.

What has been your favourite ENO moment?
Watching our Drive and Live La Boheme at Alexandra Palace and hearing car horns instead of the normal applause.

How did you get started in your career?
Working the bar doing Christmas parties events for around 3,000 people every night. The music was always played in the same order so I still feel a compulsion to clear tables when I hear Frank Sinatra sing New York, New York.

What do you love most about working at ENO?
ENO is always changing, always evolving to fulfil its vision and mission so no two days are the same.

Stuart joined the ENO in Autumn 2019. He began his career within the arts and entertainment sector at the National Theatre before going on to work in several high-profile venues and large outdoor events in both Risk and General Management roles.

Stuart is responsible for Risk and Business Assurance at the ENO including Legal Services, Insurance, Health and Safety, Safeguarding and Licencing. Stuart leads on the ENO Environmental and Sustainability programme and ESG Risk. He also has oversight for IT services.

 What is your favourite ENO production?

The Marriage of Figaro. I was lucky enough to see one of the very few nights of the 2020 production of The Marriage of Figaro before theatres were closed due to the Pandemic. It was utterly brilliant, comic timing was hilarious, and singing and music was amazing.

What has been your favourite ENO moment?

Seeing ENO taking part BBC Comic Relief. Five comedians (Jayde Adams, Alex Brooker, Andi Osho, Caroline Quentin and Jennifer Saunders) were turned into Opera Singers in just 24hrs – it was brilliant and for such an amazing cause.

How did you get started in your career?

I was lucky enough to be accepted on a Health and Safety Trainee Apprenticeship at the National Theatre which in turn went on to open up serval educational training opportunities in specialising in Enterprise Risk and General Venue Management.

What do you love most about working at ENO?

The people who work here. Some of the most creative and passionate staff work in every department. The people who work here care deeply about what they do – it’s a big family.

Shuba joined us as Director of Audience Insight in August 2021. Prior to ENO, Shuba worked for City & Guilds Group leading in Customer Insight & Experience and before that worked for the BBC Trust as their Audience Insight and Consultation Adviser. She brings lots of experience on how to segment audiences, how to use insights to transform what we do and what we offer, and how to ensure that is embedded in a culture well.

What is your favourite ENO production?

In the short time I’ve been here I’ve seen Tosca at Crystal Palace Park, Satyagraha, The Valkyrie and La bohème all at the Coliseum, all completely different in style, storytelling, musically. And all extremely memorable in a good way! I’d say my favourite (so far!) would be Satyagraha.

I deliberately didn’t research it so I could come to it without any preconceptions and I was mesmerised. It was unlike anything I’ve ever seen before, immersive and moving. It also confounded my expectations about ‘opera’ which has enabled me to approach everything we do on stage with an open mind and heart.

What has been your favourite ENO moment?

My first day at ENO also coincided with the first ENO Day when the whole company was invited to come together after 18 months of lockdowns. There was such a buzz that day, and it was really touching to watch colleagues reunite in person with their friends and team mates after so long. I also got to meet so many people from across the company and got an extremely warm welcome from them all – a fantastic way to start my time here!

How did you get started in your career?

I’ve always been curious to discover more about people who live very different lives to me so it was probably at uni where I did my dissertation on overseas adoption. I met families who had adopted kids from Columbia and India, and it was such a privilege to meet people I would never have otherwise and listen to their stories. After that I wanted to find a career that enabled me to continue to listen, learn and impact change, and my first job in a research agency that specialised in social issues was the start of that.

What do you love most about working at ENO?

Sometimes when it’s quiet, I sit in the auditorium and look around me feeling very lucky to work somewhere so beautiful.

Bob joined ENO in 2005 as the Company Manager before becoming a Producer, the Programming Director and then moving to his current role, working alongside Annilese Miskimmon, the Artistic Director. He has over 20 yrs experience working for various international Opera Houses.

What is your favourite ENO production?
Akhnaten – from the first week of rehearsals we knew that something very special was being created. The show went on to win an Olivier Award as well as be performed in Los Angeles and have a future presentation in New York at the Metropolitan Opera.

What has been your favourite ENO moment?
It’s always the same moment, seeing a set on stage for the first time. After looking at it in a tiny model box for months and months and then walking into the auditorium and seeing the actual design on stage is always pretty special.

How did you get started in your career?
I started as an intern at Glyndebourne Festival Opera gaining a remarkable insight into the workings of a leading opera company and falling in love with the art form.

What do you love most about working at ENO?
Working with a whole range of incredible people who constantly strive to achieve the best possible work through a collective belief that what we do is important.

Nicholas joined ENO in 1983 as a Deputy Stage Manager and his first production was the first revival of Jonathan Miller’s Rigoletto. He was promoted to Stage Manager in 1986 and stage managed 72 productions including 9 world or UK premieres. In 1985 he took on his current role of Head of Planning.

What is your favourite ENO production?
Too many to choose just one but a short list of Rienzi, Rusalka, Rigoletto and The Mikado [I stage managed the first 112 performances] from my Stage Management days and, since then, Julietta, The Mastersingers of Nuremburg and Paul Bunyan.

What has been your favourite ENO moment?
The wonderful sound of the ENO chorus surrounding the audience in the Prologue of Paul Bunyan at the Alexandra Palace Theatre. The development of ENO Studio Live from a three week experiment in our West Hampstead rehearsal room in 2017 to sell out performances of Paul Bunyan at Wilton’s Music Hall and the subsequent revival at AP is something that I am very proud of.

How did you get started in your career?
I worked backstage at the Theatre Royal in Nottingham whilst still at college – three weeks of Ken Dodd twice nightly followed by two weeks of Danny La Rue twice nightly taught me all there was to learn about stagecraft and professionalism – and then I studied stage management at the Bristol Old Vic Theatre School.

What do you love most about working at ENO?
It’s a family of very diverse characters who are all passionate about what we do and how we do it.

Martin joined ENO as Head of Music in 2004.

What is your favourite ENO production?
That’s a tough one. I think it has to be Mastersingers but Jenůfa runs it close.

What has been your favourite ENO moment?
The chorus exclamation of ‘Grimes’ in the first night of the 2013 revival of Peter Grimes. It genuinely lifted the hairs on the back of my neck.

How did you get started in your career?
My first week on the Guildhall School Repetiteur Course was spent playing The Marriage of Figaro (Le Nozze di Figaro) for Steuart Bedford.  A baptism of fire but I  knew what I wanted to do.

What do you love most about working at ENO?
The extraordinary variety of work we do. From Charpentier to Chess!

Michelle joined ENO in 2016 and prior to this held a number of roles at Scottish Opera including: Head of Casting, Artists Manager, Tour Manager and Assistant Company Manager. She studied singing at the Guildhall School of Music and Drama and is a fellow of the Clore Leadership Programme.

What is your favourite ENO production?
I just can’t answer this question… I love many of the timeless classics that Jonathan Miller created, such as La bohème, The Barber of Seville and The Mikado, but then the ENO productions of Philip Glass by Phelim McDermott are incredible. I loved seeing the ENO Chorus in their element in Paul Bunyan with so many standout roles. I also love David Alden’s Lucia di Lammermoor and the list goes on and on…..

What has been your favourite ENO moment?
Putting the ensemble of Porgy and Bess together from around the world and seeing the amazing energy they created on stage was amazing. You don’t have to take my word for it as they won an Olivier Award and Southbank Sky Arts Award for Best Opera Production. However, musically the most incredible moment for me was when the ENO Chorus and Porgy Ensemble sang together in War Requiem, as there were some real spine tingling moments of singing.

How did you get started in your career?
At 18 I co-founded and was producer of MJ-UK Music and Arts, which produced musicals and operatic productions with children and young adults in Cirencester and Longborough Festival Opera. I also taught Singing, Recorder, Clarinet and Saxophone privately and in classrooms of junior schools around London.

What do you love most about working at ENO?
I love discovering new singers and following the Harewoods Artist’s Career’s as they develop.