The English National Opera (ENO) is in the midst of a significant transition involving plans to establish a major presence in Manchester while maintaining operations in London. This development follows a directive from Arts Council England (ACE) in November 2022, which withdrew ENO’s core funding contingent on relocating to a city outside London. After a contentious period of debate and opposition, Manchester was confirmed in December 2023 as the chosen new base, with the city council designating it as the “main base” for the company by 2029.
ENO’s leadership, including music director designate André de Ridder and artistic director Annilese Miskimmon, emphasize that the relocation is not a simple move, and the company does not intend to abandon its London season at the London Coliseum. Instead, they describe the plan as an expansion aimed at building audiences in Manchester while retaining operations in the capital. Miskimmon underscored that the 2029 target reflects a long-term process, acknowledging that the full establishment of a presence in Manchester will take time and cannot be completed by that date alone.
De Ridder described Manchester as a “clean slate” and highlighted the need to develop local relationships organically rather than imposing the company on the city. Both leaders point to a series of innovative productions already staged or planned in Manchester, including Benjamin Britten’s *Albert Herring* at the Lowry, *Così fan tutte* at the Bridgewater Hall, and Du Yun’s *Angel’s Bone*, which premiered in Manchester before opening the season in London. The upcoming season also features Philip Glass’s site-specific *Einstein on the Beach* at Aviva Studios, representing ENO’s most ambitious Manchester project to date.
Despite the enthusiasm from ENO’s leadership, criticism remains about the impact of funding cuts and restructuring on the broader British opera landscape. While ENO’s relocation featured prominently in public debate, other major companies have faced substantial reductions. For example, Glyndebourne Touring Opera was closed and Welsh National Opera’s funding was significantly cut, leading to reduced programming in cities such as Liverpool and Birmingham. The ENO orchestra and chorus have faced shortened contracts and effectively part-time status, yet remain London-based, complicating the company’s move.
De Ridder highlighted the orchestra’s commercial work as a positive development, citing projects like recording Damon Albarn’s score for the film *Artificial*, a biopic about OpenAI founder Sam Altman, which he described as operatic in scope. The orchestra also performs regularly at Grange Park Opera’s *Ring* cycle, an expensive undertaking that ENO itself had abandoned midway through, raising debates about resource allocation. De Ridder expressed pride in the orchestra’s performances there, while acknowledging the prohibitive costs of producing such large-scale works independently at this time.
De Ridder, who assumed the music director designate role in September 2025 after his predecessor Martyn Brabbins resigned over cuts, is known for championing 20th-century and modernist repertory. His upcoming projects include a UK premiere of Kaija Saariaho’s *Adriana Mater* and a collaborative London Coliseum series with the post-punk band Black Country, New Road. Miskimmon, whose first full season opening production is *Tosca*, has expressed a commitment to artistic freedom amid increasing political pressures on artists globally, citing challenges faced by artists from Ukraine, Iran, and Afghanistan.
Both leaders acknowledge the sensitive nature of their public messaging about the relocation. De Ridder stressed their intention not to be dogmatic, stating his preference to let the opera speak for itself rather than imposing commentary. Together, they are steering ENO through a complex period, balancing financial constraints, geographic shifts, and artistic ambitions while navigating a transforming cultural landscape.