Louise Jeffreys to become Deputy Chair of ENO

5th September 2019 in Press

English National Opera (ENO) is pleased to announce that Louise Jeffreys is to become Deputy Chair of English National Opera and the London Coliseum.  She replaces Nicholas Allan.

Louise is currently Artistic Director of the Barbican where she leads the artistic marketing and media relation functions and is responsible for the formulation, implementation and delivery of the Barbican’s artistic programme and strategic vision. She was previously Head of Theatre and Arts Projects at the Centre, programming and leading Barbican International Theatre Events (BITE) which became one of London’s most innovative artistic programmes, presenting and co-commissioning leading international theatre, dance and opera.

Prior to the Barbican, her roles include Administrative Director at the Nottingham Playhouse, Head of Production at Bayerische Staatsoper, Munich, and Technical Director at the English National Opera.

Commenting on this appointment, ENO Chair, Dr Harry Brunjes says, “On behalf of all at ENO I was delighted when Louise Jeffreys accepted the role as Deputy Chair of English National Opera and the London Coliseum.   Louise is respected and admired throughout the artistic community.  The ENO will be enhanced by her knowledge, commitment and general common sense. ”

“At the same time Louise will become Chair of the Artistic Committee.  There is a certain resonance to this as Louise has spent a substantial part of her career at ENO.  Louise is a wonderful colleague to work with and we are lucky to have her.”

Louise Jeffreys adds, “It is a real privilege to take on this position. ENO is a company that has meant so much to me and I am excited to continue to play a role in this exciting and forward-thinking organisation, and supporting the wonderful executive team.”


Notes to Editors:

About English National Opera

English National Opera is the national opera company dedicated to one simple aim: making opera for everyone. We sing in English to be as accessible to the widest possible audience, as well as offering tickets for as little as ten pounds and we create opera that feels different, more theatrical and creatively daring. We’ve been doing this to an internationally recognised standard since being founded in 1931 as Sadler’s Wells Opera.

We are determined to open up the genre: nearly half of our audiences in 2018/19 were first-time bookers. Our learning and participation programme ENO Baylis last year touched the lives of more than 15,000 school children and community groups, and our talent development programme nurtures the careers of singers (the ENO Harewood Artist programme) and conductors (the Charles Mackerras Fellowship). We also give free tickets to Under 18s in our balcony for opening nights, Friday and Saturday performances.

Last year, the percentage of audience members under 44 increased by 13% year-on-year and the proportion of our audience with a black or minority ethnic background increased from 4% to 10%. In January of this year, we announced that we would be recruiting four new members of our Chorus from a BAME background, as well as four BAME Director Observerships.

Our ongoing support and development of British talent meant 80% of the cast in the 2017-18 season were British or British trained. That’s important to us and is fundamental to our ethos of giving new talent their break.

ENO is about opera for everyone.

ENO Board

As of 19 August 2019 and following this appointment, the ENO Board comprises

Dr Harry Brunjes, Chair

Louise Jeffreys, Deputy Chair

Nicholas Addyman

Sally Burgess

Patty Dimond

Phil Edgar-Jones

Huw Van Steenis

Lord Sumption

Patti White

Anthony Whitworth-Jones

Sally Osman

John Cooke (Board Secretary)