English National Opera (ENO) has announced a daring 2026/27 Season, marking a pivotal chapter in its history as it cements its new “dual-centre” identity between London and Greater Manchester.
The season features nine operas, including six new productions and four works by contemporary female composers. However, the programming arrives against a backdrop of one of the most turbulent periods in the company’s nearly 100-year history. Following the 2022 Arts Council England (ACE) decision to cut the ENO from its National Portfolio—a move that sparked international polemic and accusations of “cultural vandalism”—the company has been forced to navigate a precarious move away from being a purely London-based institution.
A season of resistance
The 2026/27 Season is curated around themes of “resistance and freedom,” a choice that reflects not only the global political climate but perhaps the company’s own fight for survival.
A major highlight is the first UK performance in 15 years of Philip Glass and Robert Wilson’s Einstein on the Beach. Directed by Phelim McDermott, the production will premiere in June 2027 at Manchester’s Aviva Studios, serving as the flagship for the company’s northern expansion.
At the London Coliseum, Artistic Director Annilese Miskimmon will helm two thematically linked productions: Puccini’s Tosca and Kaija Saariaho’s Adriana Mater. The two works are intended to be experienced as a “prequel and sequel,” exploring art and war in unidentified European states.
Highlights of the new season
- Breaking the Waves: The London operatic premiere of Missy Mazzoli’s adaptation of the Lars von Trier film, directed by Tinuke Craig.
- Iphigénie en Tauride: Gluck’s masterpiece enters the ENO repertoire in a new production by Lyndsey Turner, conducted by David Bates.
- Trial by Jury & The Zoo: A riotous Sullivan double bill reimagined as a 1980s TV game show.
- Angel’s Bone: The London transfer of Du Yun’s Pulitzer Prize-winning opera following its Manchester premiere.
Navigation of the “London vs. North” divide
The move to Greater Manchester remains a sensitive topic within the industry. While the ENO has successfully secured transitional funding to establish a base in the North West by 2029, critics originally feared the “levelling up” mandate would dilute the company’s identity or lead to the abandonment of its home at the Coliseum.
Jenny Mollica, Chief Executive of the ENO, addressed this transition directly, noting that the season sees the company further embrace its role as a national opera company with two centres. Through pioneering creative partnerships and collaborations, the ENO aims to enable more opportunities for people of all ages to experience the power of opera.
Development and accessibility
The company continues to lean into its reputation for accessibility. The Under 21s Free ticket scheme will remain a fixture at both the London Coliseum and partnering venues in Greater Manchester.
In terms of leadership, the season marks the continued influence of Music Director Designate André de Ridder, who announced Spanish conductor Néstor Bayona as the new Mackerras Fellow.
As the ENO approaches its centenary, this season serves as a litmus test for whether a “dual-centre” model can satisfy both the historical expectations of London audiences and the fresh demands of a national mandate.
More info here.
This article was produced by the Moto Perpetuo editorial team.
Subscribe to our newsletter