Just in: ENO chairman is finally unseated

Dr Harry Brunjes, who has presided over ten years of destruction at English National Opera, is stepping down. He has resisted that move valiantly for a very long time.

The good doctor may now enjoy a happy retirement attending whatever is left of ENO’s performances.

Here’s his bye-bye letter:

As the company prepares for the opening night of La bohème, I would like to take this opportunity to let you all know that the imminent 2024/25 programme will be my final season as Chair of English National Opera & the London Coliseum. By the festive period I will have completed a decade in this role and I simply cannot believe where these 10 years have gone.    
 
So many reflections during my time as Chair, and where to start? First and foremost, it has been my immense privilege to have seen the company produce and present hundreds of world class operas both at the London Coliseum and internationally over the past 10 years. Alongside this, the positive impact ENO makes well beyond our walls continues to inspire, through our engagement programmes in schools and hospitals across the country. I am particularly proud of ENO’s groundbreaking social-prescribing programme, ENO Breathe, which was launched as a response to the global pandemic and continues to support the NHS today.
 
Of course, a lasting memory will be the enormous response English National Opera received from you and many others at the time of the ACE funding decision in 2022.  The Company was literally inundated with tens of thousands of messages, not just nationally, but from around the world. It was both astonishing and uplifting. Clearly, English National Opera has been important to so many people over the generations and continues to be so. There is an overriding sense of warmth and collegiality which, in truth, is the foundation that underwrites the values, ethos, and reputation of this great Company.
 
In spite of all the challenging issues the organisation has faced over the past decade, I believe that the resilient nature of ENO has won through and the dedication, commitment, rigour, and professionalism remains undaunted.  It has been an honour  to be Chair of such an important Opera Company and my own enthusiasm and advocacy will continue in the years ahead. With the leadership of Jenny Mollica, Annilese Miskimmon, the ENO Board and the excellence of both the ENO Orchestra & Chorus and, indeed, the whole Company, the ENO moves into the next chapter with great optimism as it approaches its centenary in 2031.

Whatever will be left of ENO by 2031?

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