REGISTERED CHARITY NUMBER: 1193375
TRUSTEES' REPORT AND
UNAUDITED FINANCIAL STATEMENTS FOR THE PERIOD 2 FEBRUARY 2021 TO 31 DECEMBER 2021
FOR
SCHERZO ENSEMBLE
Martin and Company 25 St Thomas Street Winchester Hampshire SO23 9HJ
SCHERZO ENSEMBLE
CONTENTS OF THE FINANCIAL STATEMENTS FOR THE PERIOD 2 FEBRUARY 2021 TO 31 DECEMBER 2021
| Page | |
|---|---|
| Reference and Administrative Details | 1 |
| Trustees' Report | 2 to 8 |
| Independent Examiner's Report | 9 |
| Statement of Financial Activities | 10 |
| Balance Sheet | 11 |
| Notes to the Financial Statements | 12 to 15 |
SCHERZO ENSEMBLE
REFERENCE AND ADMINISTRATIVE DETAILS FOR THE PERIOD 2 FEBRUARY 2021 TO 31 DECEMBER 2021
TRUSTEES P Nutting (appointed 2.2.21) N Thomas (appointed 2.2.21) H T W Janson (appointed 2.2.21) T Jones (appointed 2.2.21)
PRINCIPAL ADDRESS
PRINCIPAL ADDRESS Longhope Newton Valence Alton Hampshire GU34 3RB REGISTERED CHARITY 1193375 NUMBER INDEPENDENT EXAMINER Martin and Company 25 St Thomas Street Winchester Hampshire SO23 9HJ
INDEPENDENT EXAMINER
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SCHERZO ENSEMBLE
TRUSTEES' REPORT FOR THE PERIOD 2 FEBRUARY 2021 TO 31 DECEMBER 2021
The trustees present their report with the financial statements of the charity for the period 2 February 2021 to 31 December 2021. The trustees have adopted the provisions of Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (effective 1 January 2019).
Legal and administrative information set out on the information page forms part of this report.
OBJECTIVES AND ACTIVITIES
Objectives and aims
The charity's objectives are the advancement of the musical arts for the public benefit through training and such other opportunities and activities which the trustees deem suitable for the technical and professional development of the skills of emerging musical artists in delivering expert public performance.
Public benefit
The trustees confirm that they have complied with the duty in section 17 of the Charities Act 2011 and have taken account of the Charity Commission's general guidance on public benefit. The benefit to the public is in:
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bringing singers together to work collaboratively on suitable repertoire, developing ensemble skills and rehearsal communication techniques;
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offering opportunities to develop the necessary aural skills to perform with orchestras and conductors, often a barrier to excelling in early career breaks; and
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bringing singers inside the production and management process, seeking to instill artistic and managerial confidence when setting out to realise projects independently.
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SCHERZO ENSEMBLE
TRUSTEES' REPORT FOR THE PERIOD 2 FEBRUARY 2021 TO 31 DECEMBER 2021
ACHIEVEMENT AND PERFORMANCE Charitable activities
In 2021, despite significant set-backs caused by the Covid pandemic, Scherzo undertook two performance projects - Longhope Opera, and a St Matthew Passion project.
Longhope Opera
Longhope Opera is an ongoing project for which Scherzo assembles an entire opera company (performers, technical staff, orchestra, management etc) of young professionals under 30 years old. The central aim is to help young practitioners to gain professional experience and build confidence, with the associated aims of fostering deeper respect and understanding between theatrical departments and imparting a more holistic understanding of what goes into creating opera. Everyone involved is expected to help with some role outside of their specialism, enhancing team-spirit and, ultimately, insight into the artistic process.
Two public performances of Rossini's Il Turco in Italia were given at Longhope on 3rd and 4th July. Il Turco was the fifth production presented since 2016, each of which has represented a considerable step forward in ambition, quality and scale.
Il Turco was originally scheduled for July 2020 but was postponed by the pandemic. As planning stepped up at the start of 2021, just as the UK re-entered lockdown, it became clear this would not be a straightforward endeavour. We had raised £18,000 in grants by March 2021, and anticipated £36,000 in ticket sales. We were pleased to receive support from The Fenton Arts Trust, Thriplow Trust and The Nutting Charitable Trust. It became clear, after tickets went on sale, that we were contending with considerable reticence among our key demographics toward committing to large events - even outdoors. A revised budget and fundraising plan was adopted, and we applied for support from The Jerwood Foundation which awarded £20,000 for our 2021 programme.
Cast
Fiorilla - Galina Benevich Selim - Oscar Castellino Poeta - James Schouten Geronio - Geoff Williams Zaida - Arlene Miatto Albeldas Albazar - William Searle Narciso - Brenton Spiteri
Many young artists had to turn to other work in the pandemic to make ends meet. Performers lost financial security almost overnight, and many moved away from cities and artists' networks. A key objective for this project became facilitating pathways back into artistic employment for such individuals, whether financial, geographical, psychological, or through the opportunity to create new networks.
Our production was not immune from the instability in society at large. In the month before rehearsals began, we lost several principals and technical staff due to illness, economic necessity, and international travel restrictions. We began rehearsing in London 11th June. A new venue had to be found at the last moment after more Covid cancellations. We would like to thank Stockwell Park Estate Community Trust for hosting us at no charge. It would not have been possible without their generosity. During London rehearsals, three cast members and our repetiteur had to self-isolate, and our admiration goes out to director Charlotte Mckechnie and Assistant Director Monica Cox for their deft rescheduling.
In previous years, the village of Newton Valence has hosted members of the orchestra, but the plague made people think twice. By the beginning of June, down to just one host, it was clear an alternative plan was needed and so a camping village was hired and erected in a field next to the house, hosting the orchestra for 3 nights. Thanks go to the instrumentalists for their understanding and attitude.
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SCHERZO ENSEMBLE
TRUSTEES' REPORT FOR THE PERIOD 2 FEBRUARY 2021 TO 31 DECEMBER 2021
Weather is always a concern with al fresco performances in the UK, and while we were confident in our marquee arrangements, an unprecedented level of rain in June combined with a perfectly positioned cloudburst during our technical rehearsal on 1st June flooded the wings and pit. 24 hours later, after an extraordinary effort from the entire company, we were ready for our dress rehearsal.
We would like to thank the artists and staff who worked on Il Turco, for delivering a fantastic production under exceptionally difficult circumstances. We would also like to thank our trustee Hamish Janson, who hosts the opera in his garden and invested significantly in the re-landscaping of the auditorium area.
St Matthew Passion
For early-career singers, roughly half their income comes from one-off oratorio work, usually with choral societies. Singers will usually have never met the choir, other soloists or conductor before the afternoon before the concert. Rehearsal is usually minimal, sometimes non-existent. This is the context in which young artists need to cut their teeth and build their reputation. So, as part of our programme, we do an oratorio project which seeks to develop the performers' understanding of the music and gives them a chance to hone an interpretation with colleagues and 'sing it in' to their bodies with multiple performances.
From the outset we decided to undertake this project in collaboration with other organisations. Scherzo would be the commissioning body and provide the soloists and conductor and The Strand Consort would provide the chorus. The Strand Consort is a choir for young professional choral singers, and aligns with Scherzo's mission in many ways. Their singers are roughly 3-4 years behind ours, and so there was an aspirational element to this partnership. Bach scores the work for two distinct orchestras, which presented further opportunity for collaboration. One orchestra would be provided by an educational institution abroad, and the other would consist of graduates from London conservatoires. We hoped to achieve a cross-fertilisation of ideas and methods of working, to foment new international projects and to prove that Europe-wide collaboration was still very possible despite the pandemic and Britain's departure from the European Union. Mozaique, a group based at Salzburg's Mozarteum, agreed to take part and formed Orchestra One. Flora Fontanelli, baroque violinist and graduate from Royal College of Music, put together Orchestra two from recently graduated historical music specialists based in London.
Three public performances of Bach's St Matthew Passion were given at the end of October, in Winchester College Chapel, King's College London Chapel, and St Mark's Church Bromley, to combined audiences of 274. We also gave an outreach community performance at our rehearsal church in Stockwell. An open invitation was issued to the church community, and free tickets were distributed locally, through charities, residents' associations, schools, and churches. The resulting audience of 150 was remarkable in its diversity, half of which had come from the surrounding council estates, and most of which were not regular classical concert-goers.
When designing this project, we were very aware of how well-known and well-loved the Matthew Passion is, and the competition we would face from far larger and more established organisations. We knew we needed to offer something which would make our performances stand out and we also knew that most of our audiences will not have been to many live concerts in the preceding eighteen months. We developed the idea of an immersive performance which would pull the audience further into the experience and emphasise that a concert is a shared experience between performer and audience. A far cry from watching on the computer, here they were an indispensable part of the whole.
We invited audiences to join in the singing of the chorales, with a welcome, warm-up and rehearsal beforehand. Amateur choirs and choral societies were unlikely to have met and sung together for over a year, leaving many devoid of one of their greatest joys. We wanted to re-energise singers and encourage re-engagement with amateur groups coming out of hibernation. To cater for as many levels of proficiency as possible, audiences were welcome to sing any harmony line or the melody, with some in English.
Another immersive addition to our performances was the sequential display of a collection of artwork which was to create a visual narrative as counterpoint to Bach's music. We commissioned art historian Dr Imogen Tedbury (Royal Museums, Greenwich) to curate this. Displaying the artwork also facilitated the projection of surtitles, which drew out the dramatic, almost operatic, nature of the piece.
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SCHERZO ENSEMBLE
TRUSTEES' REPORT FOR THE PERIOD 2 FEBRUARY 2021 TO 31 DECEMBER 2021
Many of the arias in the Matthew Passion are chamber music, sometimes with as few as three performers. In order to better develop rehearsal techniques and cultivate a collaborative approach we decided to leave these groups to rehearse on their own without a conductor/director. In order to offer more of an opportunity to the soloists to develop their ensemble skills, they became Choir two where Bach wrote two independent choir parts.
Musicians
Soprano - Lauren Lodge-Campbell Alto - Maria Hegele Tenor - Richard Robbins Bass - Jack Comerford Jesus - Michael Ronan Evangelist - Ruairi Bowen Chorus - The Strand Consort Orchestra - Mozaique Baroque Ensemble with London-based Baroque players
We were delighted to receive funding from the Nicholas John Trust, The Mercers Members' Philanthropy Scheme, Thistle Trust, The Austrian Cultural Forum, and The Inner Wheel Club, as well as over £6k in donations from individual supporters which made this project possible.
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SCHERZO ENSEMBLE
TRUSTEES' REPORT FOR THE PERIOD 2 FEBRUARY 2021 TO 31 DECEMBER 2021
ACHIEVEMENT AND PERFORMANCE
We are pleased with the artistic quality of the performances given by Scherzo in 2021. Feedback from both projects shows our performances exceeding audiences expectations. Audience numbers were smaller than we had initially projected - something felt across the industry - but we were able to secure extra funds when necessary. We delivered two projects on budget, to a professional standard, and attracted enough attention to build our audiences in 2022.
Our Longhope opera expanded this year. Notable steps forward included the booking of a full-sized orchestra for the first time (34 players), and also the quality of the orchestra's leadership and training, largely thanks to our Concert Master Thomas Rowan-Young. Improvements in the quality and creativity of costume and lighting also garnered much positive feedback. Our operas are selected with the professional development of artists as the guiding principle - for example, on how well suited the roles are to young voices and how the ensemble might learn from one another. Il Turco has more to it than most Bel Canto buffas, affording singers plenty of opportunity for highly nuanced singing and acting. Audiences were delighted at the performances of our principals, particularly arias from Fiorilla and Narciso and interjections from the meta-character Poeta. But above all it was the ensemble cast which stole the show, with much feedback emphasising the interplay, blend and successful comic timing of the group.
Our St Matthew Passion was praised on Planet Hugill and in Musical Opinion (in appendix). Our idea to have the soloist quartet sing Chorus Two was successful musically, dramatically, and in terms of artist development . Being able to work with and learn from international colleagues was also a revelation, not only in musical style but also their approach to rehearsal. Coaching from Michael Chance and Adrian Butterfield was insightful and inspiring, as we must thank them for giving their time and energy.
However, the performance of our programme is not foremost measured in the quality of our musical performance, but in personal development of the individuals involved. For most performers, these were some of the first professional engagements since early 2020 - made especially meaningful to be with, and run by, their peers.
Our achievements and performance are best expressed in feedback from performers.
"Seeing an opera made by young musicians taking life from scratch and spending three days in the countryside bonding with great colleagues is a formative experience which I would recommend to other young musicians at the early stage of their careers. This year I worked as an orchestral manager for the first time in a production with Scherzo and it has been a really positive experience in which I have learnt how to solve problems in a calm and positive way and has given me much more confidence to take into future opportunities."
"I was glad to take part in this Scherzo production of Il Turco in Italia because the entire production and people involved were all talented, positive, and professional. I really enjoyed the fact that all members of staff, cast and orchestra were all made up by young people, because it allowed us to bond closely with everyone and this obviously brings a much different atmosphere both on and off stage. Having moved to the UK only very recently - and during the pandemic - it was very helpful to start creating a network."
"Being able to collaborate with a higher class of professional musician has been insightful and inspiring. Prior to working with Scherzo, I did not know how much I loved performing opera. I now know that I never wish to stop. The project improved many skills: adaptability, acting, movement on stage, cooperation. Being my first production out of lockdown, it was a saving grace for both my aspirations and mental health. I know other chorus members felt similarly. Scherzo has given me opportunities to perform with quality orchestras which has developed my musicianship. I am now working with Duchy Opera in Cornwall. Scherzo productions have given me the most fulfilling experiences of my life, truly. I hope Scherzo continues for a long time to come."
"I hadn't sung the St Matthew Passion before and had to learn it from scratch. I am very happy to have been introduced to this genius piece in a project of such a high standard, where chorus, orchestra and soloists were of outstanding commitment and quality. It all blended perfectly together, which of course had a great impact on how I could develop as an interpreter of Bach's music. The fact that we were able to perform it several times made me understand the piece a lot better and explore the challenge of new settings. I learnt a lot, met a bunch of utterly talented and great people, and had great experiences during the performances. It has also let to further work."
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SCHERZO ENSEMBLE
TRUSTEES' REPORT FOR THE PERIOD 2 FEBRUARY 2021 TO 31 DECEMBER 2021
FINANCIAL REVIEW
Reserves policy
As the charity is in its infancy, the focus is to ensure solvency is maintained whilst activities and financial resilience is built up. Commitments are continually reviewed against available resources with a view to ensuring an overall breakeven or better result can be achieved. The charity has minimal fixed or other overheads as almost all costs are production and performance costs. The Trustees will develop and adopt a formal reserves policy as the organisation develops. However the Trustees have considered the financial position of the charity in the light of plans for the 2022 year and have concluded that, taking into account the ability to vary production commitments, Scherzo Ensemble can continue to trade viably as a going concern for the next twelve months.
In 2021, charitable expenditure came to £94,971 incurred from our two productions, with £64,442 spent on Longhope Opera and £26,477 spent on our St Matthew Passion tour. Expenditure on fundraising totalled £1,485. Total income was £110,109, with ticket sales of £4,534, combined charitable grants of £50,543, donations of £48,872, commercial sponsorship of £4,190 and one performance fee of £1,970. The Charity's cash reserves at the end of the year totalled £589.
FUTURE PLANS Plans for 2022
In 2022, subject to appropriate fund raising, Scherzo Ensemble will develop its programme and organisation significantly. We have raised £6,000 to bring on a part-time an administrator. They will responsible for the day-to-day running of the charity, including book-keeping, marketing and performance management. This will free up additional time for the CEO to devote to developing the artistic programme and productions.
Our goal remains to deliver an eight-month programme with four performance projects and weekly classes/workshops. The 2022 programme will represent the next step along this road, three projects and two workshops.
STRUCTURE, GOVERNANCE AND MANAGEMENT
Governing document
The Scherzo Ensemble is a charitable incorporated organisation, established by constitution and registered at the Charity Commission on 2nd February 2021.
Risk management
The trustees have a duty to identify and review the risks to which the charity is exposed and to ensure appropriate controls are in place to provide reasonable assurance against fraud and error.
STATEMENT OF TRUSTEES' RESPONSIBILITIES
The trustees are responsible for preparing the Trustees' Report and the financial statements in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).
The law applicable to charities in England and Wales, the Charities Act 2011, Charity (Accounts and Reports) Regulations 2008 and the provisions of the trust deed requires the trustees to prepare financial statements for each financial year which give a true and fair view of the state of affairs of the charity and of the incoming resources and application of resources, including the income and expenditure, of the charity for that period. In preparing those financial statements, the trustees are required to
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select suitable accounting policies and then apply them consistently;
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observe the methods and principles in the Charity SORP;
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make judgements and estimates that are reasonable and prudent;
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prepare the financial statements on the going concern basis unless it is inappropriate to presume that the charity will continue in business.
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SCHERZO ENSEMBLE
TRUSTEES' REPORT
FOR THE PERIOD 2 FEBRUARY 2021 TO 31 DECEMBER 2021
STATEMENT OF TRUSTEES' RESPONSIBILITIES - continued
The trustees are responsible for keeping proper accounting records which disclose with reasonable accuracy at any time the financial position of the charity and to enable them to ensure that the financial statements comply with the Charities Act 2011, the Charity (Accounts and Reports) Regulations 2008 and the provisions of the trust deed. They are also responsible for safeguarding the assets of the charity and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.
Approved by order of the board of trustees on 18 March 2022 and signed on its behalf by:
P Nutting - Trustee
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INDEPENDENT EXAMINER'S REPORT TO THE TRUSTEES OF SCHERZO ENSEMBLE
Independent examiner's report to the trustees of Scherzo Ensemble
I report to the charity trustees on my examination of the accounts of Scherzo Ensemble (the Trust) for the period 2 February 2021 to 31 December 2021.
Responsibilities and basis of report
As the charity trustees of the Trust you are responsible for the preparation of the accounts in accordance with the requirements of the Charities Act 2011 ('the Act').
I report in respect of my examination of the Trust's accounts carried out under section 145 of the Act and in carrying out my examination I have followed all applicable Directions given by the Charity Commission under section 145(5)(b) of the Act.
Independent examiner's statement
I have completed my examination. I confirm that no material matters have come to my attention in connection with the examination giving me cause to believe that in any material respect:
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accounting records were not kept in respect of the Trust as required by section 130 of the Act; or
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the accounts do not accord with those records; or
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the accounts do not comply with the applicable requirements concerning the form and content of accounts set out in the Charities (Accounts and Reports) Regulations 2008 other than any requirement that the accounts give a true and fair view which is not a matter considered as part of an independent examination.
I have no concerns and have come across no other matters in connection with the examination to which attention should be drawn in this report in order to enable a proper understanding of the accounts to be reached.
Seamus McLaughlin Martin and Company 25 St Thomas Street Winchester Hampshire SO23 9HJ
Date: 18[th] March 2022
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SCHERZO ENSEMBLE
STATEMENT OF FINANCIAL ACTIVITIES FOR THE PERIOD 2 FEBRUARY 2021 TO 31 DECEMBER 2021
| Unrestricted funds Notes £ INCOME AND ENDOWMENTS FROM Donations and legacies 3 91,165 Charitable activities Concert Tour 4,534 Other trading activities 4 6,160 Total 101,859 EXPENDITURE ON Raising funds 1,485 Charitable activities 5 Longhope Opera 58,759 Concert Tour 26,477 Total 86,721 NET INCOME 15,138 TOTAL FUNDS CARRIED FORWARD 15,138 |
Restricted fund £ 8,250 - - 8,250 - 8,250 - 8,250 - - |
Total funds £ 99,415 4,534 6,160 110,109 1,485 67,009 26,477 94,971 15,138 15,138 |
|---|---|---|
The notes form part of these financial statements
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SCHERZO ENSEMBLE
BALANCE SHEET 31 DECEMBER 2021
| Unrestricted Restricted funds fund Notes £ £ FIXED ASSETS Tangible assets 10 14,549 - CURRENT ASSETS Cash at bank 589 - NET CURRENT ASSETS 589 - TOTAL ASSETS LESS CURRENT LIABILITIES 15,138 - NET ASSETS 15,138 - FUNDS 11 Unrestricted funds TOTAL FUNDS |
Total funds £ 14,549 589 589 15,138 15,138 15,138 15,138 |
|---|---|
The financial statements were approved by the Board of Trustees and authorised for issue on 18 March 2022 and were signed on its behalf by:
P Nutting - Trustee
The notes form part of these financial statements
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SCHERZO ENSEMBLE
NOTES TO THE FINANCIAL STATEMENTS FOR THE PERIOD 2 FEBRUARY 2021 TO 31 DECEMBER 2021
1. STATUTORY INFORMATION
Scherzo Ensemble is a charitable incorporated organisation registered in England and Wales. The charity's registered number and registered address can be found in the Trustees' Report.
2. ACCOUNTING POLICIES
Basis of preparing the financial statements
The financial statements of the charity, which is a public benefit entity under FRS 102, have been prepared in accordance with the Charities SORP (FRS 102) 'Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (effective 1 January 2019)', Financial Reporting Standard 102 'The Financial Reporting Standard applicable in the UK and Republic of Ireland' and the Charities Act 2011. The financial statements have been prepared under the historical cost convention.
The financial statements have been prepared to give a 'true and fair' view and have departed from the Charities (Accounts and Reports) Regulations 2008 only to the extent required to provide a 'true and fair' view. This departure has involved following Accounting and Reporting by Charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS102) issued in October 2019 rather than the Accounting and Reporting by Charities: Statement of Recommended practice effective from 1st April 2005 which has since been withdrawn.
The trustees consider that there are no material uncertainties about the Charity's ability to continue as a going concern.
Income
All income is recognised in the Statement of Financial Activities once the charity has entitlement to the funds, it is probable that the income will be received and the amount can be measured reliably.
Expenditure
Liabilities are recognised as expenditure as soon as there is a legal or constructive obligation committing the charity to that expenditure, it is probable that a transfer of economic benefits will be required in settlement and the amount of the obligation can be measured reliably. Expenditure is accounted for on an accruals basis and has been classified under headings that aggregate all cost related to the category. Where costs cannot be directly attributed to particular headings they have been allocated to activities on a basis consistent with the use of resources.
Tangible fixed assets
Depreciation is provided at the following annual rates in order to write off each asset over its estimated useful life.
Improvements to property
- 15% on reducing balance
Taxation
The charity is exempt from tax on its charitable activities.
Fund accounting
Unrestricted funds can be used in accordance with the charitable objectives at the discretion of the trustees.
Restricted funds can only be used for particular restricted purposes within the objects of the charity. Restrictions arise when specified by the donor or when funds are raised for particular restricted purposes.
Further explanation of the nature and purpose of each fund is included in the notes to the financial statements.
continued...
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SCHERZO ENSEMBLE
NOTES TO THE FINANCIAL STATEMENTS - continued FOR THE PERIOD 2 FEBRUARY 2021 TO 31 DECEMBER 2021
3. DONATIONS AND LEGACIES
| Unrestricted Restricted funds funds £ £ Donations 48,872 - Grants 42,293 8,250 91,165 8,250 4. OTHER TRADING ACTIVITIES Unrestricted Restricted funds funds £ £ Sponsorships 3,990 - Advertising 200 - Private Event 1,970 - 6,160 - 5. CHARITABLE ACTIVITIES COSTS Direct Support Costs (see costs (see note 6) note 7) £ £ Longhope Opera 64,442 2,567 Concert Tour 26,477 - 90,919 2,567 6. DIRECT COSTS OF CHARITABLE ACTIVITIES Marketing Artistic Staff Fees Production Staff Fees Instrumentalists Fees Production Costs Participant-Singers Chorus fees Logistics Music Costs Longhope Event Costs |
Total funds £ 48,872 50,543 99,415 Total funds £ 3,990 200 1,970 6,160 Totals £ 67,009 26,477 93,486 £ 1,478 5,650 3,150 18,452 4,271 11,250 9,680 10,298 1,633 25,057 90,919 |
|---|---|
continued...
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SCHERZO ENSEMBLE
NOTES TO THE FINANCIAL STATEMENTS - continued FOR THE PERIOD 2 FEBRUARY 2021 TO 31 DECEMBER 2021
| 7. | SUPPORT COSTS | |
|---|---|---|
| Management | ||
| £ | ||
| Longhope Opera | 2,567 | |
| Support costs, included in the above, are as follows: | ||
| Management | ||
| Longhope | ||
| Opera | ||
| £ | ||
| Depreciation of tangible and heritage assets | 2,567 | |
| 8. | TRUSTEES' REMUNERATION AND BENEFITS | |
| There were no trustees' remuneration or other benefits for the period ended 31 December 2021. | ||
| Trustees' expenses | ||
| There were no trustees' expenses paid for the period ended 31 December 2021. | ||
| 9. | STAFF COSTS | |
| There are no employees so consequently no staff costs have been incurred. | ||
| 10. | TANGIBLE FIXED ASSETS |
| Improvements | |
|---|---|
| to | |
| property | |
| £ | |
| COST | |
| Additions | 17,116 |
| DEPRECIATION | |
| Charge for year | 2,567 |
| NET BOOK VALUE | |
| At 31 December 2021 | 14,549 |
continued...
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SCHERZO ENSEMBLE
NOTES TO THE FINANCIAL STATEMENTS - continued FOR THE PERIOD 2 FEBRUARY 2021 TO 31 DECEMBER 2021
11. MOVEMENT IN FUNDS
| Unrestricted funds Longhope Opera Concert Tour Private Events TOTAL FUNDS Net movement in funds, included in the above are as follows: Unrestricted funds Longhope Opera Concert Tour Private Events Restricted funds Opera TOTAL FUNDS |
Net movement in funds £ 15,265 (612) 485 15,138 15,138 Incoming resources £ 74,024 25,865 1,970 101,859 8,250 110,109 |
Transfers between At funds 31.12.21 £ £ (612) 14,653 612 - - 485 - 15,138 - 15,138 Resources Movement expended in funds £ £ (58,759) 15,265 (26,477) (612) (1,485) 485 (86,721) 15,138 (8,250) - (94,971) 15,138 |
|---|---|---|
RESTRICTED FUNDS
Donations and grants received for specific artists or costs are allocated to the Restricted Fund. Expenditure on the specific artists and costs is allocated against this income.
12. RELATED PARTY DISCLOSURES
Expenditure on site improvements for the opera amounted to £17,116. H Janson (trustee) paid for these costs as a donation to the charity.
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