The process of bringing a performance into the Royal Opera House is an extremely complex matter involving a great many people and the person who has the ultimate responsibility for making the decisions about which operas to include is the Music Director.

There are however two other people who play an important part in the final decision making; the Director of Opera and the Director of Casting. The current Music Director of the Royal Opera House is Antonio Pappano. He not only determines the artistic direction of the ROH and decides upon the make up of the season’s programming, but also conducts many of the performances.

The Director of Opera is Elaine Padmore, and the Director of Casting, Peter Mario Katona. Their roles complement each other with Elaine having an overview of the complete programming, and Peter providing specific information about the best artists to involve. For both of them this requires quite a large amount of travelling, and Peter in particular, much like a football scout, must be aware of any new talent that may be emerging anywhere in the world.

Of the 20 or so operas that may be performed in a season there are a number of different criteria that have to be taken into account. Not only is it important to maintain a good and varied mix of repertoire including less well known operas alongside the popular favourites but one must also consider the inclusion of new works. In 2003 the new opera included in the programming was Nicholas Maw’s ‘Sophie’s Choice’, and in 2004 it is the ‘Tempest’ by Thomas Adès.

One must also consider the availability of artists, conductors, directors and designers, all of whom have commitments throughout the world, so at times negotiations have to take place with other opera companies in order to make sure that there are no diary clashes.

In order to accomplish all of this it is essential that plans are formulated well in advance and this can mean that the schedule has to be prepared 3-4 years in advance. This production of ‘Peter Grimes’ will be performed in July 2004, but the initial idea to include this in the ’03 - ’04 season of performances came in 2001.

After the schedule of performances as been decided this information, including rehearsal and technical sessions, will be passed down to the Planning Administrator, Judith Vickers, who will convene a meeting of a wide range of people from across the House all of whom will be included in these stage of the long term planning.

The people involved may include: The Royal Opera Company Manager, Director of Casting, Chorus Manager, Music Administrator, Contracts Administrator, Head of Staff Directors, Vilar Young Artists Programme Administrator and Senior Stage Manager; The Royal Ballet Company Manager, Assistant Administrator, Artistic Co-ordinator, Contracts Administrator and Senior Stage Manager; Assistant Orchestra Manager; Head of Production, Head of Technical, House Manager, and representatives of Education, ROH2, Development, Marketing and Press.