Laidlaw Opera Trust

Quick Stats

• Annual Giving: £2,446,790 (FY 2024)
• Decision Time: Not applicable - invitation only
• Grant Types: Strategic partnerships & unrestricted small donations
• Geographic Focus: UK and Republic of Ireland (with international partnerships)
• Application Process: No public application process - trustee discretion

Contact Details

Email: welcome@businessofopera.com

Website: www.laidlawopera.org

Registered Charity Number: 1175245

Address: Registered in England and Wales

Overview

The Laidlaw Opera Trust was established to champion live music as a uniquely thrilling art form accessible to all. Funded solely by Lord Irvine Laidlaw (Chair), the Trust invests in opera companies and houses that believe opera should be part of everyone's cultural capital. Through strategic support and grants, the Trust aims to expand opera's reach and self-sufficiency. With total income of £5.26 million and charitable expenditure of £2.45 million in the year ending July 2024, the Trust operates through a lean structure of 2 employees and 6 trustees. The organization takes a highly targeted approach to funding, currently supporting 5 opera companies through major partnerships and providing unrestricted small donations to 12 additional companies annually. In October 2024, the Trust launched its first biennial “Business of Opera” conference, bringing together opera leaders internationally to tackle the sector's key challenges.

Funding Priorities

Grant Programs

Strategic Partnerships (amounts undisclosed)

• Major multi-year partnerships with selected opera organizations
• Focus on innovative programming and organizational development
• Support for specific initiatives aligned with Trust priorities

Unrestricted Small Donations (amounts undisclosed)

• Annual unrestricted donations to 12 opera companies
• Given “in recognition of the immense variety of work of the highest quality at every scale in all parts of the UK and Republic of Ireland”
• Recipients announced annually

Current Strategic Partners (as of 2024-2025)

The Trust's five major strategic partners are:

1. English Touring Opera - Supporting expansion of Learning & Participation programme to bring opera to more school children across England
2. Irish National Opera - Enabling new small-scale 'pocket operas' to venues across Ireland
3. Opera North - Strategic support (details undisclosed)
4. Pegasus Opera Company - Funding expansion of mentorship programme for singers of global majority heritage and supporting new opera commissions
5. The Grange Festival - Enabling better-resourced structure to build audiences, attract younger opera goers, and implement data systems

Unrestricted Small Donation Recipients (2025)

• Birmingham Opera Company
• Buxton International Festival
• Dorset Opera Festival
• If Opera
• Mid Wales Opera
• Northern Ireland Opera
• Opera Holland Park
• OperaUpClose
• Scottish Opera
• Shadwell Opera
• Welsh National Opera
• Wexford Festival Opera

The Trust has also supported major international opera houses including The Met, Royal Opera House, Glyndebourne, Savonlinna, and Opera Monaco.

Priority Areas

The Trust's strategic focus revolves around four key pillars:

• Bringing performances to new spaces and locations
• Attracting younger audiences
• Making opera accessible and inclusive

• Supporting innovative programming and productions
• Providing opportunities for artists of global majority heritage
• Commissioning new works

• Sustaining and retaining British opera singers
• Supporting mentorship programmes
• Creating opportunities for emerging artists

• Encouraging innovation and collaboration
• Helping opera organizations become more sustainable
• Supporting data-driven audience development

What They Don't Fund

The Trust does not accept unsolicited applications. Funding decisions are made by trustees based on strategic priorities rather than in response to external proposals.

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Governance and Leadership

Board of Trustees

• Lord Irvine Laidlaw - Chair and sole benefactor
• Susanna V. Kempe - Former CEO, now Trustee; also CEO of the Laidlaw Foundation
• The Rt. Hon. Sir Charles Haddon-Cave - President of Grange Festival
• Lady Amanda Haddon-Cave - Trustee
• Anne Marabini Young - General Director and Founder of Diva Opera
• Bryan Evans MBE - Trustee

Executive Leadership

• Kate Roberts - Chief Executive Officer (appointed August 2024). Kate has an exceptional track record in driving strategic change in global events businesses at Informa and The Economist, and launched the Business of Opera Summit.

The Trust operates with just 2 employees (one earning £100k-£110k), demonstrating a highly focused operational approach. No trustees receive remuneration.

Application Process and Timeline

How to Apply

The Laidlaw Opera Trust does not have a public application process. The Trust is not currently accepting applications for funding. According to their official statement: “Laidlaw Opera Trust is deeply committed to maximising the impact of our established programmes through targeted investment.”

Rather than responding to applications, the Trust proactively identifies organizations whose work aligns with its strategic priorities. Funding decisions are made at trustee discretion, with strategic partnerships developed through direct engagement by the Trust's leadership.

Getting on Their Radar

The Business of Opera Conference: The Trust hosts a biennial “Business of Opera” conference (first held October 2024), which brings together “the most influential leaders in the art form” to tackle opera's key challenges. This summit features market research, keynote addresses from leaders inside and outside opera, and working groups focused on problem-solving. Attendance at this event could provide networking opportunities with Trust leadership and demonstrate alignment with their strategic priorities.

Alignment with Strategic Focus: The Trust's current partnerships reveal clear priority areas: organizations bringing opera to new and underserved audiences, supporting diversity in opera talent, innovating in programming and delivery, and building sustainable organizational models. Organizations excelling in these areas may naturally come to the Trust's attention through sector visibility and reputation.

Sector Leadership: The Trust appears to identify partners who are demonstrating innovation and leadership in the opera sector, rather than those seeking funding. Their partners include both major national companies (Welsh National Opera, Scottish Opera) and smaller innovative organizations (OperaUpClose, If Opera).

Application Success Factors

As the Trust does not accept applications, traditional “success factors” do not apply. However, examining their funded partnerships reveals what the Trust values:

Innovation in Access: Every strategic partnership announced involves expanding opera's reach to new audiences. English Touring Opera's school programmes, Irish National Opera's “pocket operas” in new venues, and The Grange Festival's youth engagement all demonstrate this priority. The Trust appears to value practical innovation in making opera accessible rather than traditional programming.

Focus on Diversity and Inclusion: The Trust's support for Pegasus Opera Company's mentorship programme for singers of global majority heritage demonstrates commitment to increasing diversity in opera talent. Organizations with concrete programmes advancing representation appear aligned with Trust priorities.

Sustainable Innovation: Lord Laidlaw's stated aim to help opera “become more sustainable, encouraging innovation and collaboration” suggests the Trust seeks partners who are rethinking business models, not just seeking subsidies for traditional operations. The Grange Festival partnership, which includes implementing data systems for audience development, exemplifies this approach.

Scale and Quality: The Trust provides both major strategic partnerships and small unrestricted donations, supporting organizations “at every scale.” However, all recipients are noted for delivering “work of the highest quality,” suggesting artistic excellence is non-negotiable regardless of organizational size.

Strategic Alignment Over Need: The Trust describes its approach as “targeted investment” to “maximise impact of established programmes” rather than responsive grantmaking. This suggests they fund organizations where investment can create significant leverage or sector-wide impact, not simply those with greatest financial need.

Key Takeaways for Grant Writers

• No Public Application Process: This is not a funder you can apply to. Attempting to submit unsolicited proposals is unlikely to be productive given their explicit statement that they are not accepting applications.

• Sector Visibility Matters: The Trust identifies partners proactively. Building reputation for innovative, high-quality work in expanding opera's accessibility and sustainability may be the best way to come to their attention.

• Strategic Fit is Highly Specific: Current partnerships all demonstrate clear alignment with at least one of the Trust's four strategic pillars (New Audiences, Productions, Talent Development, Future Sustainability). Organizations should assess whether their work genuinely advances these priorities before attempting engagement.

• Consider the Business of Opera Summit: The biennial conference represents a rare opportunity for sector engagement with Trust leadership and may be the most appropriate context for making connections.

• Unrestricted Donations Exist: While strategic partnerships are invitation-only, the Trust does make annual unrestricted small donations to a dozen organizations. The selection criteria for these are not public, but recipients span the full geographic and scale range of UK and Irish opera.

• International Reach: While UK and Ireland focused, the Trust has supported major international opera houses and brings international perspectives through its conference, suggesting openness to global partnerships where strategic fit is strong.

• Data and Innovation: The emphasis on data systems, audience research (including commissioning major public perception research), and organizational sustainability suggests the Trust values evidence-based approaches and systematic innovation over traditional models.

References

1. Charity Commission Register of Charities - Laidlaw Opera Trust (Charity 1175245), https://register-of-charities.charitycommission.gov.uk/charity-details/?regid=1175245&subid=0

1. Laidlaw Opera Trust Official Website, https://www.laidlawopera.org/

1. “News and Events,” Laidlaw Opera Trust, https://www.laidlawopera.org/news-and-events

1. “The Business of Opera” Conference Information, https://events.laidlawfoundation.com/businessofopera

1. Charity Commission Financial Information for Laidlaw Opera Trust, Year Ending 31 July 2024