Management Team

Chief Executive Officer
Stuart Murphy

Artistic Director
Annilese Miskimmon

Music Director
Martyn Brabbins

Chief Operating Officer

Karen Watson

Karen joined ENO in April 2019. Karen has a passion and forte for bringing together creative and commercial strategies and teams; providing frameworks that enable strong business results. Karen is skilled in financial planning & management, strategy & business development and customer analytics & insight.

What is your favourite ENO production?
I brought my eldest son to see La bohème at the ENO. It was his first opera. I wondered how a teenage boy would react and he spent the first half shuffling a bit in his seat. By the end of the performance we were both in tears and we shared a big hug. It was a beautiful shared moment and one both of us will remember.

What has been your favourite ENO moment?
At the dress rehearsal of The Merry Widow, Stuart came on stage and welcomed each of the primary schools, who were sitting in the balcony, by name. The children cheered as their names were called and the people sitting around me in the dress circle all looked up and smiled and there was a great warmth. And I thought of the great future that the ENO and opera has. It felt like we were doing something important.

How did you get started in your career?
I started on a very traditional finance route at one of the Big 4 accountancy firms but my career then went on to cover many aspects of strategy, business development and operational management. I have worked in many industries including retail and telecoms and beer and TV. I have also travelled extensively with my work to South Africa, USA, Colombia, Russia and all across Europe.

What do you love most about working at ENO?
I love the passion, the sound and the energy. I love that we are creating something that gives special moments to other people. It’s amazing to be part of an organisation that captures people’s imagination and emotions. I also love the diversity – both the people and the challenges we face – it helps to create new ideas and new ways of solving problems.


Associate Artistic Director

Bob Holland

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 Daniel Kramer, 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.


Director of Marketing and Audience Engagement

Carolyn Sims

Carolyn joined ENO in February 2016 from Time Out and is responsible for the Marketing, Box Office and Communications teams. A chartered marketer, Carolyn brings a wealth of experience into the company, along with a passion for the arts.

What is your favourite ENO production?
Akhnaten – it was just such a stunning production that matched stylish performance with amazing music.

What has been your favourite ENO moment?
Putting sold out on the website for performances of Iolanthe, Paul Bunyan and Akhnaten

How did you get started in your career?
I started as a runner for a theatre in Liverpool, assigned to the marketing and technical departments and then joined the marketing department after doing my post grad in marketing.

What do you love most about working at ENO?
I love the people (my team especially), the opportunity to be part of some the best opera in the world and share that love of great entertainment with audiences and friends.


Communications Director

Olivia Pay

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.


Development Director

Andrew Given

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.


Director of People

Vinita Suryanarayanan

Vinita joined ENO in January 2018 as Head of HR after 14 years experience in the Retail and Leisure Industry. She was designated Director of People in June 2018. Vinita is responsible for all people related functions and issues, and does so with the support of her colleagues.

What’s your favourite ENO production?
… I loved the music, and completed related to the story!

What has been your favourite ENO moment?
Every time a staff member feels that the people team has helped them. I feel a sense of satisfaction and having achieved a goal.

How did you get started in your career?
I started out as a Management Trainee in HR with ESSAR in Mumbai, India.

What do you love most about working in ENO?
I love the passion of the people who work here, and the commitment of my team – they can be counted on.


Director of Facilities Management

Neil Lagden

Neil joined the company in 2016 as the Head of Facilities before becoming the Director of Facilities.  He is responsible for the buildings and infrastructure of our estate and manages the Building Maintenance team, Housekeeping and Security teams.

Favourite ENO Production?
I think this is Aida, this was the first Opera that I had seen, and left at the end of the performance immensely proud of all of my colleagues.  Chorus, Orchestra, Stage Teams, Wigs and Make up.  It was the realisation of how world class we are.

Favourite ENO Moment?
Every time I walk in to the Auditorium, I feel nothing but pride to be a custodian of this wonderful theatre.

How did you get started?
I am a qualified electrician who diversified in to Facilities Management.  I have been very fortunate in my career to work in some of the more iconic buildings in London including the London Coliseum.

What do I love most about working at ENO?
The buildings and their history, the people who work at ENO, the productions everyone works so hard to deliver. What’s not to love about being part of ENO!


Director - Music

Richard Meads

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.


Director of Baylis

Jenny Mollica

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

As Director of Baylis, Jenny is responsible for leading the strategic direction of ENO’s learning and participation work, both in London and nationally.

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 Baylis, 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.


Senior Producer

Nicholas Roberts

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.


Head of Music

Martin Fitzpatrick

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!


Head of Casting

Michelle Williams

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.


Nathan Lamb

Head of Commercial Ventures

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.