Registered charity number: 1177609 


_Supporting tomorrow’s vocal stars_ 


## Annual Report and Financial Statements 

for the 12 months ended 

## 31 December 2025 

1 



## **CONTENTS** 

||**Page number**|
|---|---|
|Company informa�on|3|
|Trustees’ report|4|
|Independent examiner’s report|11|
|Statement of fnancial ac�vi�es|12|
|Balance sheet|13|



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## **COMPANY INFORMATION FOR THE 12 MONTHS ENDED 31 DECEMBER 2025** 

|**President**|Sir Simon Keenlyside|
|---|---|
|**Trustees**|Joy Atkinson|
||Andrew Foot (treasurer)|
||Michael Hart (chair of trustees)|
||Jefrey Sutherland-Kay|
|**Company Secretary**|Jefrey Sutherland-Kay (appointed 01 January 2025)|
|**Management Commitee**|Joy Atkinson|
||Lynton Atkinson|
||Andrew Foot|
||Michael Hart (chair)|
||Kaarina Manzur|
||Jefrey Sutherland-Kay|
||Juliet Telford|
||Jean Woodall|
|**Company Address**|113 Middlehill Road|
||Colehill|
||Wimborne|
||Dorset|
||BH21 2HL|
||www.hurncourtopera.org|
|**Company Number**|CE013575 Charitable Incorporated Organisa�on|
|**Charity Number**|1177609|
|**Independent Examiner**|David Ordman B.Eng MBA FCA|



3 



## **TRUSTEES’ REPORT FOR THE 12 MONTHS ENDED 31 DECEMBER 2025** 

have adopted the provisions of Accoun�ng and Repor�ng by Chari�es: Statement of Recommended Prac�ce applicable to chari�es preparing their accounts in accordance with the Financial Repor�ng Standard applicable in the UK and Republic of Ireland (FRS 102 effec�ve 1[st] January 2019), Chari�es SORP (FRS102). 

## **1. COMPANY STATUS and MANAGEMENT** 

Hurn Court Opera (HCO) is a Charitable Incorporated Organisa�on and a charity registered in England with the Charity Commission. 

Our governing document is our Cons�tu�on, as updated during 2025 and approved and adopted at the 2026 Annual General Mee�ng. In the event of HCO being wound up, the trustee/members have no liability to contribute to its assets and no personal responsibility for setling its debts and liabili�es. 

As exis�ng trustees, we elect new trustees in accordance with the Cons�tu�on. On appointment, all new trustees receive a copy of the Cons�tu�on and induc�on informa�on, which includes the latest Trustees Annual Report and Financial Statements and the Charity Commission booklet ‘Essen�al Trustee’. Training is made available to all trustees as required. As trustees we meet with the nontrustee members of the management commitee on a regular basis to set strategy and business plans and to monitor performance. 

the trustees. The trustees and other volunteer members of the Management Commitee bring a wide range of skills to the charity, including: 

- Director-level business management 

- Opera produc�on 

- Ar�s�c direc�on 

- Vocal coaching 

- Governance and policy 

- Strategic and business planning 

- Financial management 

- Fundraising 

- Marke�ng and PR 

- Risk planning and management 

- Project planning and management 

In addi�on, approximately £60,000 is provided in kind by volunteers towards the cost of producing and presen�ng our annual opera. 

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HCO has no employees. A part-�me freelance marke�ng communica�ons professional is contracted, however, to create and manage our marke�ng communica�ons and social media ac�vi�es, as these are key to promo�ng our events. 

## **2. OBJECTS AND ACTIVITIES** 

HCO’s mission is to support the vocal stars of tomorrow, which mission the company pursues through its Object. 

HCO’s Object is to advance, improve, develop and maintain public apprecia�on of the art and science of music in any way that the trustees see fit, including through public concerts, opera�c performances, recitals, masterclasses and compe��ons. 

The focus for this Object is two-fold: 

- To provide performance opportuni�es for young singers who are about to embark on, or who have recently embarked on, their professional careers. 

- To perform in areas/towns that have limited or no exposure to professional opera performance, offering �ckets at affordable prices. 

## **3. TRUSTEES’ RESPONSIBILITIES IN RELATION TO THE FINANCIAL STATEMENS** 

give a true and fair view of the state of affairs and of the incoming resources and applica�on of resources of the company for that period. In preparing those financial statements we are required to: 

- Select suitable accoun�ng policies and apply them consistently 

- Observe the methods and principles in the Charity Commission’s Statement of Recommended Prac�ce (SORP) 

- Make judgements and es�mates that are reasonable and prudent 

- that the company will con�nue to operate. 

As trustees we are responsible for keeping proper accoun�ng records, which disclose with reasonable accuracy at any �me the financial posi�on of the company and also for ensuring that the financial statements comply with relevant legisla�on. We are responsible for safeguarding the assets of the company and thus for taking reasonable steps for the preven�on and detec�on of fraud and other irregulari�es. 

## **4. FINANCIAL PERFORMANCE AND RESERVES** 

Income in 2025 totalled £86,650.16, compared with £89,865.43 in 2024. HCO’s principal sources of funding in 2025 were: 

- Ticket income 

- Patrons and Friends subscrip�ons 

- Dona�ons and sponsorships from private individuals 

- HMRC Gi� Aid 

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£20,300 in sponsorships and dona�ons, with the vast majority of these contribu�ons atrac�ng Gi� Aid. The number of Patrons and Friends con�nues to increase each year. Ticke�ng income was £29,717 and an increase in �cket income will be a par�cular area of focus in 2026. 

Expenditure in 2025 totalled £105,894.71, compared with £81,054.93 in 2024. £12,264 of expenditure in 2025, however, refers to the opera presenta�on in 2026. This is made up of HCO’s contribu�on to the new collabora�on with Arts University Bournemouth on the design and crea�on of costumes (see page 8) and prepayment of AirBnB accommoda�on for the singers. 

with a surplus of £8,810.50 in 2024. Whilst any deficit is of concern, the trustees believe that fluctua�ons from year to year are inevitable. In addi�on, HCO has retained a freelance marke�ng and PR professional for 2026 to expand our marke�ng communica�ons and social media presence and develop �cket income. 

At 31[st] December 2025, HCO held funds amoun�ng to £65,849.19, of which £11,250 were funds restricted to the opera produc�on in 2026. 

for Opera�ng Reserves has been set aside. 

event of cancella�on or disappoin�ng �cket sales. Addi�onally, HCO will not plan to make a loss on any ac�vity which could not be covered from reserves or fundraising. 

This Reserves Policy is enabled by the unpaid work of the trustees and other volunteers. Whilst there is no specific reserve set, the trustees ensure that funds held are sufficient to cover any poten�al loss. At 31[st] December 2025, HCO held funds of £30,000 in a fixed term deposit account with Lloyds Bank, which are deemed to include sufficient cover for any poten�al loss. In addi�on, HCO carries a modest level of cancella�on insurance. 

HCO does not make grants to other organisa�ons and does not invest in any social programmes. 

## **5. INVESTMENT POLICY** 

As there is a rela�vely low level of funds available for investment, we consider bank deposits to be a sa�sfactory vehicle for HCO’s needs. In the year to 31[st] December 2025 these have been short term deposits with HCO’s banker. 

## **6. RISK MANAGEMENT** 

As a small organisa�on with no employees and no premises, HCO takes a propor�onate and appropriate approach to risk, whilst bearing mind that we carry risk across a wide range of areas. HCO currently addresses risk through assessments for each ac�vity and venue, which are prepared in advance and reviewed on the date of an ac�vity. 

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ensure that an organisa�on understands its overall risk exposure and acts accordingly. To address this, HCO is developing a detailed risk taxonomy for adop�on during 2026, covering the four pillars of business and strategic risks, funding and P&L risks, opera�onal risks and regulatory risks. 

## **7. GOVERNANCE** 

HCO con�nues to develop and improve its governance, across the three areas of organisa�onal governance, board governance and policy. 

- The Ar�cles of Associa�on, the HCO’s lead governance document, has been reviewed and revised and will be presented for adop�on at the 2026 Annual General Mee�ng. The Ar�cles include the company’s rules on trustees and their appointment 

- meets six �mes a year, with formalised agendas, detailed minutes and an ac�ve ac�ons log 

- With no employees, organisa�onal governance is rela�vely straigh�orward. To support the Management Commitee, we have improved the storage and accessibility of documents. In addi�on, improvements to risk management are underway (see above) 

- The policy suite has been further expanded and now covers all the necessary areas. Each policy is reviewed in accordance with the review period set in the policy 

## **8. ACHIEVEMENTS AND BENEFITS** 

Our performance programme for 2025 followed a similar patern to previous years, with an opera presenta�on in April, a Masterclass in June, recitals in September and December and HCO’s Singer of the Year compe��on in November. 

## _Opera – La Cenerentola by Rossini_ 

Three fully-staged, professional performances of this Cinderella story were given in April in Winchester (Hampshire), Blandford Forum (Dorset) and Christchurch (Dorset), all areas with limited exposure to professional opera performance. 

The opera provided eighteen opportuni�es for emerging professional singers through seven solo roles, eight chorus roles and three addi�onal cover roles for the female leads. The singers were selected either through the HCO Singer of the Year compe��ons or by audi�on, the roles having been adver�sed on Audi�on Oracle. The singers were supported by an orchestra of fourteen professional players. 

The performances advanced and maintained public apprecia�on of music, and opera in par�cular, in the following ways: 

- 880 people atended across the three venues, with Winchester Theatre Royal sold out. The venues are located where there is litle opportunity for live opera, let alone professionally staged opera. The performances drew in local people, some new to the art form 

7 



- students, making high quality opera accessible to a wide group of people 

- By contrac�ng, and fairly remunera�ng, singers in the early stages of their careers, the performances provided opportuni�es for young ar�sts to develop their careers and helped to deliver a pipeline of talent for the future 


In a new venture for HCO, we partnered with the BA (Hons) Costume course at Arts University Bournemouth (AUB) for the design and crea�on of four gowns for the principal female roles. Three of the gowns can be seen in the photograph at the front of this report, whilst the photograph to the le� shows Leila Zanete as Angelina (Cinderella) wearing her stunning ballgown. 

Following the success of this new venture, we have agreed a further year’s partnership with AUB for the design and crea�on of costumes for both the female and male leads in our 2026 opera La Traviata, to include wigs and hairpieces. This is a sustainable partnership, with all the costumes returning to AUB to be added to their hire store, with the rental income going to support AUB coursework. 

Summing up our opera presenta�on, cri�c David Truslove wri�ng in Opera Today said: "Sparkling performances from Hurn Court Opera’s _La Cenerentola_ … an entertaining evening of astute comedy and accomplished singing". 

£69,465 to put on. But our annual produc�on fulfils our core objec�ves of: presen�ng opera at reasonable prices in areas which have few opportuni�es to hear such music; and suppor�ng young talent. In addi�on, more than 25% of the cost of La Cenerentola was covered by sponsorships and dona�ons from our Patrons, Friends and other supporters, including a grant of £6,160 from Idlewild Trust received in December 2024. 

## _John Seldon Masterclass_ 

We were delighted to welcome interna�onally acclaimed, Bri�sh soprano Patricia Rozario OBE to Merley House in Wimborne on 8[th] June to lead the masterclass sponsored by our Patron John Seldon. An audience of 40, made up of regular supporters, people new to Hurn Court Opera and volunteers, heard three young singers give short recitals, who were then coached by Patrica. 

Our annual masterclass is very much part of our objec�ve to give young singers an opportunity to perform and, with coaching from such an experienced ar�st, also assists in their professional development. It is open to the public and free to under 18s and full-�me students. In addi�on, the masterclass brought highquality performance to an area where such events are unusual, helping to advance public apprecia�on of vocal music. 

## _Recitals_ 

A pair of recitals featuring Lily Mo Browne and Stephen Whi�ord, two prizewinners from our 2024 Singer of the Year compe��on, were held in September, in Winchester and Wimborne. Accompanied by Hamish Brown, rising stars Lily Mo and Stephen cap�vated enthusias�c audiences with a varied programme of song, including Buterworth’s Shropshire Lad, songs by Hahn, Fauré and Amy Woodford-Finden, duets by 

8 



couple at the Winchester performance commented “Just fabulous”. 

In December, HCO’s annual Box of Delights Christmas concert in Wimborne was a sell-out. Not only was our objec�ve to provide performance opportuni�es fulfilled but the audience of Patrons, Friends and other supporters, both old and new, were able to hear and meet Caroline Taylor, who will be singing the lead role of Violeta in HCO’s presenta�on of Verdi’s ever popular opera La Traviata in April 2026. Through promo�ng La Traviata at the recital, we generated an addi�onal £3,000 in dona�ons and new Friends’ memberships. 

## _Singer of the Year_ 

HCO has been holding a Singer of the Year compe��on since 2018. It provides an important pla�orm for young vocal talent, with selected prizewinners performing in future HCO recitals and opera. For the last few years, the compe��on has been supported by The Grange Fes�val, the Hampshire-based opera fes�val that runs annually during June and July, and we are very grateful to them for offering a contract to sing in the chorus as part of the compe��on’s first prize, provided that a suitable standard has been reached. 

For this year’s compe��on, we received 55 applica�ons from emerging singers aged between 20 and 29 from across the UK. The preliminary round was judged online, making entry available to as wide a group as possible. Videos of a 10-minute performance of opera�c aria and song were judged by our trustee and opera director Joy Atkinson and composer Philip Curran. They considered many different aspects of vocal performance, including vocal technique, musicality and stage presence, and looked for those who, in their opinion, were ready, or nearly ready, for life in the professional world. As usual the standard was very high and ten singers were chosen to perform in the semi-final on 1[st] November in Harvey Hall, part of the arts centre at St Swithun’s School in Winchester. They competed for £6, 800 in prize money, all sponsored by HCO Patrons. 

interna�onal soprano Patrica Rozario OBE (jury chair), CEO of The Grange Fes�val Tyler Stoops and conductor David Gibson, selected four singers to go through to the final, where a further 20-minute programme was performed. 

The high quality of the singing meant judging the winner was not an easy task but baritone George Reynolds took first prize, made up of £2,500 and the offer of a contract with The Grange Fes�val to sing in the chorus in their 2026 season. Audience favourite countertenor Will Prior was awarded second prize, tenor Quito Clothier third prize and soprano Erin Rossington fourth prize. 

This photo shows winner George Reynolds, accompanied by Hamish Brown. 


9 



the delivery of our core objec�ve, benefi�ng both tomorrow’s vocal stars and the general public. It is open to the public, with free admission for under 18s and full-�me students. The singers’ programmes and the judges’ adjudica�ons increase the audience’s understanding of vocal repertoire and the quali�es required of a successful performer, whilst the compe��on itself is a key to advancement for young singers. 

## **9. FUTURE PLANS** 

HCO’s programme of ac�vi�es in 2026 will be very similar to 2025, with our opera presenta�on (Verdi’s La Traviata) in Christchurch, Blandford Forum and Winchester in April, a Masterclass in June to be led by our ar�s�c director Lynton Atkinson and our opera producer Joy Robinson, recitals in Winchester and Wimborne in September, the Singer of the Year compe��on in Winchester in October and the Christmas recital in Wimborne in December. The key focus of our marke�ng ac�vity around these events will be to increase �cket income. 

Opera requires a good deal of forward planning and work towards our presenta�on of Benjamin Britens’s Albert Herring in April 2027 was already underway before the end of 2025. 

As with any charity, a review of HCO’s strategy should be undertaken every few years. Members of the management commitee and a selec�on of Patrons atended an away day in January 2026 to consider what should shape HCO’s future and the feedback from this will inform our strategic review later in the year. 

## **10. PUBLIC BENEFIT** 

charitable ac�vi�es during the year is set out above in the “Objects and Ac�vi�es” and “Achievements and Benefits” sec�ons above and these explain how as a charity we have delivered public benefit. 

HCO has no involvement in environmental or social projects. 

## **11. INDEPENDENT EXAMINER** 

David Ordman FCA MBA was appointed as Hurn Court Opera’s independent examiner on 3[rd] March 2026. 


For and on behalf of the trustees Michael Hart Chair of Trustees 

1[st] June 2026 

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## **INDEPENDENT EXAMINER’S REPORT TO THE MEMBERS OF HURN COURT OPERA** 

I report on the accounts of the company for the 12 months ended 31[st] December 2025, which are set out on pages 12 and 13. 

## **RespecXve responsibiliXes of trustees and examiner** 

The trustees are responsible for the preparaDon of the accounts. The trustees consider that an audit is not required for this year under secDon 144(2) of the ChariDes Act 2011 (the 2011 Act) and that an independent examinaDon is appropriate. 

independent examinaDon, it is my responsibility to: 

- examine the accounts under secDon 145 of the 2011 Act: 

- follow the procedures laid down in the General DirecDons given by the Charity Commission under secDon 145(5)(b) of the 2011 Act; and 

- state whether parDcular mabers have come to my abenDon. 

## **Basis of independent examiner's report** 

My examinaDon was carried out in accordance with the General DirecDons given by the Charity Commission. An examinaDon includes a review of the accounDng records kept by the charity and a comparison of the accounts presented with those records. It also includes consideraDon of any unusual items or disclosures in the accounts and seeking explanaDons from the trustees concerning any such mabers. The procedures undertaken do not provide all the evidence that would be required in an audit and consequently no opinion is given as to whether the accounts present a 'true and fair view'. The report is limited to those mabers set out in the statement below. 

## **Independent examiner's statement** 

In connecDon with my examinaDon, no maber has come to my abenDon: 

- (1) which gives me reasonable cause to believe that in any material respect the requirements: 

   - To keep accounDng records in accordance with secDon 137 of the ChariDes Act 2011; and 

   - • To prepare accounts which accord with the accounDng records, comply with the accounDng requirements of secDon 133 of the ChariDes Act 2011 and with the methods and principles of the Statement of Recommended PracDce: AccounDng and ReporDng by ChariDes 

have not been met; or 

- (2)  to which, in my opinion, abenDon should be drawn in order to enable a proper understanding of the accounts to be reached. 

David Ordman B.Eng MBA FCA Barthomley, Catherine Rd, Bowdon, Cheshire, WA142TD 

21 April 2026 

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## **STATEMENT OF FINANCIAL ACTIVITIES 12 MONTHS ENDED 31[st ] DECEMBER 2025** 

|||**Unrestricted**|**Restricted**||**Total**|**Total**|
|---|---|---|---|---|---|---|
||**Notes**|**funds**|**funds**||**2025**|**2024**|
|**INCOME**|||||||
|Charitable activities|1|-|32,303.36<br>||32,303.36|29,885.21|
|Subscriptions, donations and grants|2|21,811.00|20,450.00<br>||42,261.00<br>|51,052.48|
|Gift Aid||10,458.80|-||10,458.80<br>|8,578.70|
|Bank interest||1,627.00|-||1,627.00|349.04|
|**Total**||**33,896.80**|**52,753.36**||**86,650.16**<br>|**89,865.43**<br>|
|**EXPENDITURE**|||||||
|Charitable activities|1|51,118.98|47,643.36||98,762.34<br>|77,475.61<br>|
|Promotion of charitable activities||4,220.65|-||4,220.65|2,547.02|
|Central expenses|3|2,911.82|-||2,911.82<br>|1,032.30|
|**Total**||**58,251.45**<br>|**47,643.36**<br>||**105,894.81**|**81,054.93**<br>|
|**SURPLUS / DEFICIT**||||**-**|**19,244.65**<br>|**8,810.50**|



## Notes 

1. Charitable activities are focused on meeting the charity's public good objectives through the provision of performance opportunities for young professional singers in areas which have limited access to live opera and operatic recitals 

2. Friends and Patrons' subscriptions plus general donations 

- (unrestricted funds) represent 52% of the total; donations towards specific performances and funds from grant-making bodies (restricted funds) represent 48% 3. Insurance, PRS and general admin costs 

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## **BALANCE SHEET** 

## **31[st] DECEMBER 2025** 

||||**31 December 2025**|||**31 December 2024**||
|---|---|---|---|---|---|---|---|
||**Notes**|||||||
|||**Unrestricted**|**Restricted**|**Total**|**Unrestricted**|**Restricted**|**Total**|
|||**funds**|**funds**|**funds**|**funds**|**funds**|**funds**|
|**FIXED ASSETS**||||||||
|None|1|-|-|-|-|-|-|
|**CURRENT ASSETS**||||||||
|Debtors||9,737.75||9,737.75|10,400.00|-|10,400.00|
|Cash at bank||54,599.19|11,250.00|65,849.19|78,933.84|6,160.00|85,093.80|
|**NET CURRENT ASSETS**||64,336.94|11,250.00|75,586.94|89,333.84|6,160.00|95,493.80|
|**CREDITORS**||||||||
|Amounts falling due within one year||-|-|-|-|-|-|
|**TOTAL ASSETS LESS CURRENT**<br>**LIABILITIES**||**64,336.94**|**11,250.00**<br>|**75,586.94**|**89,333.84**|**6,160.00**<br>|**95,493.80**|



Notes 

1. The charity has no premises and no other tangible assets 

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