## **FINANCIAL STATEMENTS**
## **FOR THE YEAR ENDED**
## **31st OCTOBER 2025**
**Charitable company limited by guarantee and not having a share capital Company number: 12981274 Charity number: 1194030**
## **INDEX**
**REFERENCE AND ADMINISTRATIVE INFORMATION.........................................................2 TRUSTEES' REPORT............................................................................................................. 3** Objectives of the Charity.................................................................................................... 3 Structure, governance and management...........................................................................3 Achievements and performances.......................................................................................3 Public benefit......................................................................................................................6 Fundraising activity.............................................................................................................7 Financial review..................................................................................................................8 Reserves............................................................................................................................ 8 Risk review.........................................................................................................................8 **TRUSTEES’ RESPONSIBILITIES...........................................................................................9 INDEPENDENT EXAMINER’S REPORT ON THE ACCOUNTS.......................................... 10 STATEMENT OF FINANCIAL ACTIVITIES FOR THE YEAR ENDED 31ST OCTOBER 2025..................................................................11 NOTES TO THE ACCOUNTS FOR THE YEAR ENDED 31ST OCTOBER 2025................................................................. 13**
1
## **REFERENCE AND ADMINISTRATIVE INFORMATION**
|**Charity Name**|Ensemble OrQuesta|
|---|---|
|**Trustees and Directors**|Sabrina Rodriguez_(Chairman appointed 26_
_July 2022)_
Dr Carolyn May
Hugh Philpott OBE_(Appointed 30 Jan_
_2026)_
Rachael Morgan_(Appointed 30 Jan 2026)_
Yehuda Shapiro_(Appointed 30 Jan 2026)_
Oliver Doyle_(Resigned 30 Jan 2026)_
Caryl Hosein_(Financial Officer)_|
|**Artistic Director**|Marcio da Silva|
|**Managing Director**|Helen May|
|**Registered Office**|59 Lower Park Road
Hastings
England
TN34 2LD|
|**Registered Company Number**|12981274|
|**Registered Charity Number**|1194030|
|**Solicitors**|Reed Smith
The Broadgate Tower
20 Primrose Street
London
EC2A 2RS|
|**Bankers**|Metro Bank
4-8 St John’s Road
Clapham
London
SW11 1PN|
|**Website**|www.ensembleorquesta.com|
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## **TRUSTEES' REPORT**
The Trustees, who are also the Directors for the purposes of company law, have pleasure in presenting the annual report together with the independently examined financial statements of Ensemble OrQuesta for the year ended 31st October 2025. These are also prepared to meet the requirement for a directors’ report and accounts for Companies Act purposes.
The financial statements comply with the Charities Act 2011, the Companies Act 2006 and are presented in accordance with the guidance of SORP 2019. The Trustees confirm that they have had regard to the Charity Commission Guidance in respect of Public Benefit when reviewing the Charity’s aims and objectives and planning future activities. In particular, they have considered how planned activities will contribute to the aims and objectives that have been set.
## **Objectives of the Charity**
The Charity’s objectives are:
- To promote art for the benefit of the public by the production and performance of early opera; and
- Locating, editing, adapting and publishing early music that is otherwise inaccessible to the general public.
## **Structure, governance and management**
The Artistic Director, Marcio da Silva, and General Manager, Helen May, who are not Trustees, run all aspects of the day – to – day business of the Charity and are responsible for business planning and fund-raising efforts.
The Board approves the annual business plan and monitors the performance of the Charity against the Plan during the year. It also approves any strategic decisions, financial commitments and monitors any significant risks facing the Charity.
## **Achievements and performances**
## **Ensemble OrQuesta 2024-5 Season (November 1 2024 - October 31 2025)**
The 2024-25 season marked a period of continued strategic execution for Ensemble OrQuesta, consolidating the charity’s shift towards more widely recognised 18th-century repertoire, strengthening key venue partnerships, and achieving significant growth in audience reach and ticket revenue.
We opened the season with a return to The Cockpit, which remains a core London base for the company and a key platform for developing a loyal and repeat audience. This included performances of **Mozart’s Don Giovanni** in March, **Handel’s Teseo** in May 2025, followed by a double bill of **Dido and Aeneas** and **Acis and Galatea** in June 2025. These
3
productions continued our established minimalist staging approach, enabling artistic quality while maintaining cost discipline. Across these performances, attendance remained steady, reinforcing The Cockpit’s role as a reliable venue for audience retention and experimentation with repertoire.
A major highlight of the season was our return to the Grimeborn Festival at Arcola Theatre in August-September 2025 with a production of **Mozart’s Don Giovanni** . Building on the success of **Le Nozze di Figaro** in the previous season, this production delivered our strongest box office performance to date. Across five performances, we achieved approximately 776 ticket sales, generating c.£22,700 in revenue, with an average audience of over 150 attendees per night. This represents a significant step change in scale and demonstrates the continued success of our strategy to programme well-known operatic works within high-profile festival settings.
In addition to our London-based activity, Ensemble OrQuesta continued to expand its regional reach. A performance of **Don Giovanni** at Christ Church St Leonards-on-Sea, demonstrated particularly strong single-performance yield, with approximately 136 tickets sold and revenues of c.£3,700. This reinforces the viability of targeted regional performances as a complementary revenue stream and an effective way to engage new audiences outside London.
Overall, Ensemble OrQuesta delivered approximately 1,400+ ticket sales during the reporting period, generating total ticket revenues in excess of £35,000, representing a healthy Y/Y increase on the prior year. Growth was primarily driven by the success of the Grimeborn Festival run, supplemented by stable performance at The Cockpit and strong regional engagement.
From a strategic perspective, the season validates several key priorities set by the Board:
- **Programming** recognisable repertoire (notably Mozart) continues to drive materially higher audience numbers and revenue.
- **Festival partnerships** , particularly with the Arcola Theatre, are critical to scaling visibility and ticket sales.
- **Regional and one-off performances** offer strong revenue efficiency and audience development opportunities.
- **Minimalist production model** allows the organisation to continue to balance artistic ambition with financial sustainability.
While audience engagement and ticket sales showed steady growth, the Board notes that there remains an opportunity to further increase critical visibility and media coverage, particularly around flagship productions. Building on the success of this season, a more proactive press and reviews strategy will be a focus going forward.
In summary, the 2024–25 season represents Ensemble OrQuesta’s strongest commercial performance to date, demonstrating clear progress against its strategic objectives of audience growth, financial resilience, and increased public profile.
4
## **EO Academy**
Alongside its public performance programme, Ensemble OrQuesta continued to deliver its EO Opera Academy, maintaining its commitment to supporting early-career professional singers through high-quality, practice-based training. During the 2024-25 season, Academy activity was embedded within the company’s core production model, with participants involved in rehearsal processes and performance preparation across repertoire including Handel’s Teseo, the double bill of Purcell’s Dido and Aeneas and Handel’s Acis and Galatea, and Mozart’s Così fan tutte. In addition, Academy participants were given opportunities to observe and engage with the development of the company’s major festival production of Mozart’s Don Giovanni at the Arcola Theatre as part of the Grimeborn Festival.
The Academy continued to focus on providing a structured bridge between training and the professional opera sector, offering singers hands-on experience within a fully staged production environment at The Cockpit and in regional settings. This included practical exposure to audition-standard repertoire, ensemble performance, and historically informed stylistic coaching, as well as insight into the operational and production frameworks of a touring opera company. Building on insights from previous seasons, the organisation further aligned Academy repertoire with more widely recognised works, particularly Mozart, to maximise both participant development and audience engagement.
Through this integrated model, the EO Opera Academy remains a core delivery mechanism for the charity’s public benefit objectives, supporting the development of emerging artists while contributing directly to the sustainability and artistic output of Ensemble OrQuesta’s wider programme.
## **EO Conducting Courses**
The 2024-25 season also marked the launch and initial development of Ensemble OrQuesta’s Conducting Courses, expanding the organisation’s training offer to include early-career conductors alongside singers. Designed as an intensive, practice-led programme, the courses provide participants with the opportunity to work on fully staged opera productions under the guidance of Artistic Director Marcio da Silva, in collaboration with the Hastings Philharmonic Orchestra. The programme focuses on developing core conducting technique, stylistic understanding of baroque and classical repertoire, and rehearsal leadership skills within a live production context. A distinctive feature of the courses is the opportunity for participants to conduct sections of performances themselves, supported by professional musicians, with additional experience gained as assistant conductors across multiple performances. Rehearsals and performances are delivered across both regional and London venues, including Christ Church St Leonards-on-Sea and The Cockpit, reinforcing the organisation’s integrated model of training and public performance.
As a newly established strand of activity, the Conducting Courses represent a natural extension of Ensemble OrQuesta’s charitable mission, broadening its impact within the classical music sector by supporting the development of the next generation of opera
5
conductors, while further strengthening the organisation’s production pipeline and artistic capability.
## **Cephale et Procris Recording**
We had the success in securing a grant from the Continuo Foundation to support the Audio recording of Cephale et Procris, which was based on our 2023 stage production. This recording took place at the St Clements Church in London in September 2025, and marks EO’s first professional recording. We have now made plans to develop this project into a FIlm featuring the 2023 production which will be a new exciting project for our next season.
## **Board Leadership**
While not necessarily falling into the reporting period of the 2024-5 financial year, it is important to note that in January 2026 Ensemble OrQuesta secured three additional Trustees to the Board, bringing additional expertise across fundraising, marketing, education, and strategic development, with the appointments of Hugh Philpott OBE, Rachael Morgan and Yehuda Shapiro. These appointments complement the existing leadership in marketing, arts fundraising, academic research, and education, providing a robust foundation for the charity to deliver against its short and long-term goals, including audience development, income diversification, and strategic partnerships, while ensuring strong governance and financial oversight in line with the charity’s responsibilities across England and Wales.
## **Public benefit**
The Trustees consider that Ensemble OrQuesta’s activities during the 2024–25 season delivered strongly against our strategic and charitable objectives, including:
- **Delivering a programme of fully staged opera productions** across London and the South East, including Handel’s Teseo, a double bill of Purcell’s Dido and Aeneas and Handel’s Acis and Galatea, and Mozart’s Don Giovanni, alongside continued development work on Così fan tutte for the following season;
- **Presenting an innovative revival of Mozart’s Don Giovanni** at the Grimeborn Festival at Arcola Theatre, which achieved the company’s strongest box office results to date and significantly expanded audience reach and visibility within a leading UK fringe opera festival context;
- **Delivering a regional performance** at Christ Church St Leonards-on-Sea, further strengthening the company’s presence in East Sussex and demonstrating continued success in engaging audiences outside London through high-impact, single-performance presentations;
- **Continuing to develop early-career professional musicians** through the EO Opera Academy, which is embedded within the company’s production and rehearsal processes, providing structured, practice-based training and performance opportunities within a professional opera environment;
- **Launching Ensemble OrQuesta’s Conducting Courses** , extending the organisation’s training provision to early-career musicians and conductors through
6
- intensive, practice-led programmes integrated into live productions, thereby broadening the charity’s impact across multiple areas of the operatic profession;
- **Participating in fringe festival activity** during the season, including the Grimeborn Festival and regional outreach activity in Hastings, reinforcing the organisation’s dual strategy of London-based festival visibility combined with targeted community and regional engagement.
In addition, the organisation has continued its commitment to fair pay for artists, ensuring that singers were remunerated for all performances during the period. In the context of ongoing economic pressures within the performing arts sector, this represents a significant achievement and reflects the strength of Ensemble OrQuesta’s operating model. The Trustees recognise that this would not be possible without the commitment and professionalism of the company’s performers and creative teams, whose contribution provides a strong foundation for the organisation’s continued development.
## **Fundraising activity**
Our last report acknowledged that Ensemble OrQuesta tended to be reliant on grants for publication of rarely performed works. Recognising Ensemble OrQuesta’s need to diversify our sources of funding, we have been circumspect in preparing thorough applications to send to a range of other trusts and foundations, leveraging additional voluntary resource and AI tools to bolster and scale our application efforts. We target organisations supporting young professionals and a schedule of targeted grants was built for 2024-25. We generally look to secure between £2-5k per project-based grant, however our preference is always to secure core funding which would allow us more flexibility. These are of course more challenging to secure, with many applications rejected from organisations with less than £50k turnover. To date, we see an approximate 30% rejection rate.
The Board is under the impression that many of these foundations, particularly the Arts Council, prefer larger community-based projects with less ‘obscure’ music (e.g. French baroque) and larger sponsorship, hence the pivot in our strategy in terms of expanding our repertoire to include more popular 18th century operas e.g. Mozart.
## **Core Funding**
Unfortunately we were not able to secure any grant towards our core funding however, we covered part of those expenses through the CAF donations we received during the year, which added up to £4627.92.
We were however able to secure a £5,000 Grant from the Chalkcliffe Trust towards our production of Don Giovanni, and a £4,000 Grant from the Continuo Foundation towards our Cephale et Procris Recording.
## **Individual donations**
We receive regular individual donations of £325.62 through CAF online, however this presents us with the opportunity to develop a more robust approach to encouraging individual regular donations.
We are diligent in our efforts to seek to increase donations from individuals, soliciting regular support from our audiences, supporters of early music and other connections of the Board.
7
Ensemble OrQuesta continues to review its data management procedures and privacy policy to ensure compliance with the GDPR regulations, as both its general mailing list and membership increase. Ensemble OrQuesta does not carry out, or commission, telephone fundraising campaigns.
## **Financial review**
This year reflects a profit for the year of £589, and our reserves therefore remained positive at the year end and totalled £2,690.
We benefited from grants from new sources, and our total income from Grants increased year on year, with a total income for the year increasing from £7,000 to £9,000.
Our first production of the year, at The Cockpit Theatre was performed at a net profit of £1,182. Our production at The Arcola was performed at a net profit of £1,752.
Our expenditure is almost entirely directly related to our performances; the Charity currently has no administration or fund-raising costs.
Deposits from EO Opera Academy participants are treated as income when the performances take place.
The Trustees consider the financial position of the Charity to be satisfactory for an early-stage charity, with an increased focus on a robust fundraising strategy.
## **Reserves**
Until a pattern of income and expenditure has been established, it is not practicable for the Charity to adopt a reserve policy. Our immediate goal is to diversify our sources of income. While we remain at this stage, the Trustees will remain vigilant in minimising overheads and ensuring that no commitments are made to future performances unless we clearly have the funds to meet our obligations.
## **Risk review**
The Trustees have identified financial risk and late cancellation of performances as the biggest risks facing the Charity. To mitigate these risks, the Trustees are active in seeking new sources of grant, as well as monitoring the effectiveness of decisions taken in the year to achieve income diversification. They will also ensure that overheads are kept to a minimum and that performance commitments do not incur obligations in the event of cancellation.
8
## **TRUSTEES’ RESPONSIBILITIES**
Trustees are required to prepare financial statements for each financial year which give a true and fair view of the state of affairs of Ensemble OrQuesta and of its income and
expenditure for that period. In preparing those financial statements, Trustees are required to:
- select suitable accounting policies and then apply them consistently;
- make judgements and estimates that are reasonable and prudent;
- state whether applicable accounting standards have been followed, subject to any material departures disclosed and explained in the financial statements; and
- prepare the financial statements on the going concern basis unless it is inappropriate to presume that Ensemble OrQuesta will continue to operate.
Trustees are responsible for keeping proper accounting records which disclose with reasonable accuracy at any time the financial position of Ensemble OrQuesta and to enable them to ensure that the financial statements comply with the Charities Act 2011.
The Trustees are also responsible for safeguarding the assets of the organisation and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.
This report has been prepared in accordance with the provisions of Part 15 of the Companies Act 2006 relating to small companies.
## **By order of the Trustees**
**Sabrina Rodriguez** (Chairman) **Caryl Hosein** (Financial Officer)
17th May 2026
9
## **INDEPENDENT EXAMINER’S REPORT ON THE ACCOUNTS**
I report to the Trustees on my examination of the accounts of the above charity (“the Trust”) for the year ended 31st October 2025.
As the charity’s trustees, 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 2011 Act and in carrying out my examination I have followed all the applicable Directions given by the Charity Commission under section 145 (5) (b) of the Act.
I have completed my examination. I confirm that no material matters have come to my attention in connection with the examination which gives me cause to believe that, in any material respect:
- the accounting records were not kept in accordance with section 130 of the Charities Act; or
- the accounts did not accord with the accounting records; or
- the accounts did 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.
## **Carl W Read FCCA ACA**
17th May 2026
10
## **STATEMENT OF FINANCIAL ACTIVITIES FOR THE YEAR ENDED 31ST OCTOBER 2025**
## **FOR THE YEAR ENDED 31ST OCTOBER 2025**
|**FOR THE YEAR ENDED 31ST OCTOBER 2025**|**FOR THE YEAR ENDED 31ST OCTOBER 2025**|**FOR THE YEAR ENDED 31ST OCTOBER 2025**|**FOR THE YEAR ENDED 31ST OCTOBER 2025**|**FOR THE YEAR ENDED 31ST OCTOBER 2025**|**FOR THE YEAR ENDED 31ST OCTOBER 2025**|
|---|---|---|---|---|---|
||**Note**|**Unrestricted**
**Funds**
£|**Restricted**
**Funds**
£|**Total**
**October**
**2025**
£|**Total**
**October**
**2024**
£|
|**Income from**||||||
|Grants and donations|2|14,157|-|14,157|10,362|
|Charitable activities|3|53,413|-|53,413|48,392|
|**Total income**||**67,570**|**-**|**67,570**|**58,754**|
|||||||
|**Expenditure on**||||||
|Charitable Activities|4|68,159|-|68,159|58,513|
|**Total Expenditure**||**68,159**|**-**|**68,159**|**58,513**|
|||||||
|Net Income/(Expenditure) and
Net Movement in Funds||(589)|-|(589)|241|
|Total Funds Brought Forward||3,279|-|3,279|3,038|
|**Total Funds Carried**
**Forward**||**2,690**|**-**|**2,690**|**3,279**|
|All the activities above are continuing operations||||||
All the activities above are continuing operations
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## **BALANCE SHEET**
## **AS AT 31ST OCTOBER 2025**
|**BALANCE SHEET**
**AS AT 31ST OCTOBER 2025**|**BALANCE SHEET**
**AS AT 31ST OCTOBER 2025**|**BALANCE SHEET**
**AS AT 31ST OCTOBER 2025**|**BALANCE SHEET**
**AS AT 31ST OCTOBER 2025**|
|---|---|---|---|
||**Note**|**Total October**
**2025**
£|**Total October**
**2024**
£|
|**CURRENT ASSETS**||||
|Debtors|5|700|849|
|Cash at Bank||6,190|6,923|
|||**6,890**|**7,772**|
|||||
|Creditors|6|(4,200)|(4,493)|
|**NET CURRENT ASSETS**
**and**
**TOTAL ASSETS LESS CURRENT**
**LIABILITIES**||**2,690**|**3,279**|
|||||
|**FUNDS**|7|||
|Restricted Funds||-|-|
|General Fund||2,690|3,279|
|||**2,690**|**3,279**|
- For the year ended 31st October 2025 the company was entitled to exemption under Section 477 of the Companies Act 2006 relating to small companies.
- The members have not required the company to obtain an audit in accordance with Section 476 of the Companies Act 2006.
- The directors acknowledge their responsibilities for complying with the requirements of the Companies Act 2006 with respect to accounting records and the preparation of the accounts.
- The financial statements have been prepared in accordance with the provisions applicable to companies subject to the small companies’ regime.
These accounts were approved by the Board of Trustees on 17th May 2026 and signed on its behalf by:
## **Sabrina Rodriguez** (Chairman)
17th May 2026
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**NOTES TO THE ACCOUNTS FOR THE YEAR ENDED 31ST OCTOBER 2025**
## **1) ACCOUNTING POLICIES**
## **a) Basis of Preparation and Assessment of going concern**
The accounts have been prepared under the historical cost convention. The financial statements have been prepared in accordance with the Statement of Recommended Practice: Accounting and Reporting by Charities preparing their accounts in accordance with the Financial Reporting Standards applicable in the UK and Republic of Ireland (FRS 102) (update effective 2019) and the Financial Reporting Standard applicable in the United Kingdom and Republic of Ireland (FRS 102) and the Companies Act 2006.
The Charity constitutes a public benefit entity as defined by FRS 102.
The Charity is in its infancy and has yet to establish a predictable pattern of fund-raising. The Charity has negligible outgoings and the Trustees will only commit to future performances if adequate funding commitments have been secured. The Trustees consider that there are no material uncertainties about the Charity’s ability to continue as a going concern, as future funding is expected to exceed expenditure.
The functional and presentational currency is £ sterling.
## **b) Funds**
General funds represent the funds of the Charity that are not subject to any restrictions regarding their use and are available for application to the general purposes of the Charity. Funds designated for a particular purpose by the Charity are unrestricted. Restricted Funds are funds which are used in accordance with specific restrictions imposed by donors, or which have been raised by the Charity for a particular purpose.
## **c) Income**
All income is recognised once the charity has entitlement to the income, it is probable that the income will be received and the amount of income receivable can be measured reliably.
## **d) 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 settlement will be required and the amount of the obligation can be measured reliably. All expenditure is accounted for on an accruals basis. All expenses, including support and governance costs, are allocated or apportioned to the applicable expenditure headings.
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## **2) GRANTS & DONATIONS**
||**Unrestricted**
£|**Restricted**
£|**October**
**2025**
£|**October**
**2024**
£|
|---|---|---|---|---|
|Grants:|||||
|Continuo grant|4,000|-|4,000||
|Chalk Cliff Trust|5,000|-|5,000||
||||||
|**Total grants**|**9,000**|**-**|**9,000**|**7,000**|
|Donations|5,157|-|5,157|3,362|
||||**14,157**|**10,362**|
|Donations include gift aid claimed where applicable|||||
||||||
## **3) CHARITABLE ACTIVITIES**
||**Unrestricted**
£|**Restricted**
£|**October**
**2025**
£|**October**
**2024**
£|
|---|---|---|---|---|
|Performance income|53,413|-|53,413|48,392|
||**53,413**|**-**|**53,413**|**48,392**|
## **4) CHARITABLE EXPENDITURE**
||**Activities**
**Undertaken**
**Directly**
£|**Support**
**Costs**
£|**October**
**2025**
£|**October**
**2024**
£|
|---|---|---|---|---|
|Performance costs|68,160|-|68,160|58,513|
||**68,160**|**-**|**68,160**|**58,513**|
Key Management Personnel comprise the Artistic Director, Managing Director, Financial Officer and the Trustees. Salaries for the Artistic Director and Managing Director are paid monthly to cover administration and organising for the charity, but should funds not be available these payments are not to be made, in agreement with the Board. The Musical
14
Director was paid £1,500 during the year, and the Manager Director was paid £1,000 during the year, giving the total of £2,500 classified as ‘salary’ in the accounts. The total ‘staff’ costs to cover members of the Ensemble OrQuesta and Ensemble OrQuesta Academy came to £55,209. The Trustees receive no remuneration.
## **5) DEBTORS**
||**October**
**2025**
£|**October**
**2024**
£|
|---|---|---|
|Prepayments|700|849|
||**700**|**849**|
## **6) CREDITORS**
||**October**
**2025**
£|**October**
**2024**
£|
|---|---|---|
|Deferred income|4,200|4,493|
||**4,200**|**4,493**|
## **7) RESTRICTED AND UNRESTRICTED FUNDS**
Net assets are allocated between Funds as follows:
|Net assets are allocated between Funds as follows:|Net assets are allocated between Funds as follows:|Net assets are allocated between Funds as follows:|Net assets are allocated between Funds as follows:|
|---|---|---|---|
||**Restricted**
£|**Unrestricted**
£|**Total**
£|
|Fixed Assets|-|-|-|
|Net Current Assets|-|2,690|2,690|
||**-**|**2,690**|**2,690**|
## **8) RELATED PARTY TRANSACTIONS**
Small, regular individual donations were made by trustees Keith Wallace (resigned from the Board on 31st December 2022), Sabrina Rodriguez and Carolyn May through CAF online. No Grants were provided by related parties in this financial year.
15
CHARITY COMMISSION
FOR ENGLAND AND WALES
Independent examiner's report on the
accounts
Secllon A
Independent Examlner's Report
Report to the Iruslees
O r
On accounts for the yoar
ended
31 OCE0b 2ozS
Charlty no
(If any)
119fr030
Set out on pages
I report to the truslees on my examination ol the accounts of the above
charity (Ihe Trusv,) for the year ended
Responsibilltle8 and
basis of report
As the charivs tnjstees, you are responsible for the preparalion of the
accounts in accordance with the requirements of the Charities Act 2011
{llhe Acf,).
I report in respect of my examination of the Trusys accounts carried out
under section 145 of the 2011 Act and in carrying out my examination, I
have followed all the applicable Directions given by the Charity Commission
under section 145(5)(b) of Ihe Act.
Independent I have completed my examination. I confirm that no material matters have
examlner's statement come lo my attention in Connection with the examination which gives me
cause to believe that in, any material respec1=
the accounting records were not kept in accordance with section 130
of the Charities Act., or
the accounts did not accord wlh the accounting records., or
the accounts did not comply w(Ih the applicable requirements
conceming the fomi 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 examinalion.
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.
Slgn8d:
Date:
Name:
rfR£ L)iw44 /èA
Relevant professlonal
qualificatlon(s) or body
(it any):
Address:
3L kLs, C
JL&JJcx
IER
Oct 2018
Seclion B
Disclosure
On5y complete il the exafflinei needs to highlight material tnatlers ol concern
(see CC32, Independent examination of charity accounts: diredions and
guidance for examiners).
Give here brfef detalls of
any items that Ihe
examiner wlshes to
dlsclose.
IER
Oct 2018