Ansvar, an insurer specialising in the charity, not-for-profit, and faith sectors, is calling for charities and donors in Edinburgh to manage the risks associated with cashless giving.
The advice comes in response to findings from the Charities Aid Foundation, which highlighted significant shifts in donation trends, particularly towards online and cashless methods.
According to the Foundation’s 2024 annual UK Giving Report [1], British citizens contributed an estimated £13.9 billion to charitable causes in 2023, with an estimated 60% of Edinburgh residents having donated during the year. [2] This total represents an increase from £12.7 billion in 2022.
The typical donation remained at £20, demonstrating the continued generosity of the public. However, the COVID-19 pandemic has reshaped the landscape of charitable giving, with a marked decline in cash donations.
In 2019, 51% of donations were made in cash compared to 2021 when it dropped to 29%. In 2022, four in ten people who donated did so via direct debit. [3]
Martyn Fletcher, Deputy Managing Director at Ansvar, emphasised the importance of adapting to changing donation habits while managing associated risks.
Martyn said: “The shift towards cashless giving presents both opportunities and challenges for charities and donors alike. While it provides greater convenience and accessibility for donors, it does mean new challenges for charities in protecting against emerging risks.
“As cashless giving becomes increasingly prevalent, it is vital for charities to prioritise cybersecurity, implementing stringent protocols to safeguard data and donations.”
In light of these developments, Ansvar recommends implementing robust cybersecurity measures to safeguard donor information and financial transactions.
This includes regularly updating security protocols, investing in secure payment gateways, ensuring organisations have relevant insurance protection, and providing staff with cybersecurity training.
Additionally, Ansvar advises donors to exercise vigilance when contributing to charitable causes online, emphasising the importance of verifying the legitimacy of donation platforms and ensuring the confidentiality of personal and financial information.
While acknowledging the inherent risks, Ansvar underscores the numerous benefits of cashless giving, including the ability to make and receive instant donations and the expansion of fundraising channels. With options ranging from handheld card readers to QR codes and text-to-donate services, cashless giving offers convenience and flexibility for both charities and donors.
Martyn Fletcher added: “As the trend towards cashless giving continues to grow, it’s vital for charities and donors to work together to mitigate risks and maximise the impact of charitable contributions.”
Charities and donors are encouraged to follow Ansvar’s guidance to ensure the safe and effective management of cashless donations.
MEDICAL RESEARCH SCOTLAND ENGAGES ALMOST 1,400 PUPILS FROM 47 SCHOOLS THROUGH INSPIRING VIRTUAL LEARNING EVENTS
Medical Research Scotland, Scotland’s largest independent medical research charity, has ignited young people’s passion for science, education and careers with the return of its Medical Research Scotland Academy, linking secondary school pupils with industry experts.
For 2024, the Medical Research Scotland Academy reached 1,400 pupils from 47 secondary schools spanning from Aberdeen, across the Central Belt to the Scottish Borders. This free to access program successfully engaged S4, S5 and S6 pupils with a keen interest in STEM subjects. The innovative academy was delivered virtually allowing sessions to be utilised within the usual teaching schedules.
Throughout the online academy, pupils from schools across Scotland participated eagerly in live-streamed interactive lessons every Friday morning for the month of March. These sessions – directly broadcasted to science classrooms – allowed students to learn from the comfort of their familiar learning environments.
Led by scientists, industry leaders, and PhD students, whose research is funded by Medical Research Scotland, students were treated to a series of inspiring and insightful presentations.
This year, the academy introduced “Live from the Lab”, a new route which allowed pupils to look inside loa PhD researcher’s working environment and the interesting research they too could be conducting post-secondary school.
Kilgraston School in Perth is one of the many schools that have seen the benefits of these online sessions.
Through the weekly series, pupils had the unique opportunity to delve into topics including: How medical research can change the world, The power of data in research, Making medicines and The future in medical research.
These sessions were presented by esteemed scientists from leading Scottish universities including the Universities of Aberdeen, St Andrews, Edinburgh and Strathclyde as well as organisations including Generation Scotland and Edinburgh Clinical Research Facility.
Gerry Young, Director of Science at Kilgraston School, said: “It has been great to see the return of the Medical Research Scotland Academy for 2024.
“The online webinars have had a huge impact on our pupils that have shown a keen interested in STEM related subjects and a medical path post-secondary school.
“Throughout this virtual academy, our students have gained a priceless understanding of medical research by interacting with top experts in the field, enhancing their understanding of scientific principles.
“Experiencing real-world medical research has sparked a passion for science in our students. We appreciate this invaluable opportunity, which has empowered them to pursue careers in the medical research field.”
Professor Heather Wallace, Chair of Medical Research Scotland, said: “As Chair of Medical Research Scotland, I’m proud of Scotland’s legacy in producing top-tier research scientists helping to drive global health breakthroughs.
“The 2024 Medical Research Scotland Academy continues our mission, fostering connections between aspiring medical professionals and esteemed academics. Witnessing the enthusiasm among students from schools across the country reaffirms the academy’s value.”
Medical Research Scotland is dedicated to advancing health in Scotland and beyond through the support of cutting-edge research aimed at enhancing the diagnosis, treatment, and prevention of diseases.
To join us in our mission, please visit our website at:
The next major phase for the replacement Liberton High School has been marked by a special groundbreaking event on the site yesterday (Tuesday 30 April).
Head Teacher Alison Humphreys was joined by current high school pupils and primary school pupils who will be educated at the new school. They were joined by Education Convener Cllr Joan Griffiths, Jenny Gilruth, Cabinet Secretary for Education and Skills at the Scottish Government, and Hector MacAulay, from contractors Balfour Beatty as Managing Director of their regional business in Scotland.
The construction of the school is due to be completed by early 2026 and has been funded from the Scottish Government’s Learning Estate Investment Programme and the City of Edinburgh Council.
Once pupils and staff have moved into the new building, the second phase will be the demolition of the old school which is due to be completed within a year.
The plans for the school, which will have capacity for 1,200 pupils, will consist of a variety of inspirational and inclusive spaces for learning. Classrooms, studios, workshops and science labs will connect and work with shared collaborative areas and breakout spaces, providing learners with more personalisation and choice over their learning environment.
Sports facilities include a floodlit multi use games area, basketball court and athletics facilities. The current tennis and beach volleyball courts and mountain bike trail will be retained as will the sports block.
A new fitness suite and dance studio will be provided to complement the existing sports facilities. There will also be outdoor learning spaces and a grassed amphitheatre.
A key part of the new school will be the community campus features as it will include non-educational facilities such as a café, library and flexible workspaces.
The school will also be constructed to Passivhaus standards designed to meet the city-wide aspirations for our schools to be as energy efficient as possible in response to the climate emergency and net zero targets.
The building has been designed to be energy efficient and will utilise high-performance windows and doors, and mechanical ventilation with heat recovery to reduce carbon emissions, improve indoor air quality and decrease heating bills.
Councillor Joan Griffiths, Education, Children and Families Convener at the City of Edinburgh Council, said: “It was great to join pupils at the groundbreaking event for the replacement Liberton High School yesterday.
“Our new school campuses are innovatively and sustainably designed so they are inspirational places for learning for the next generation of young people creating a vibrant and thriving learning environment.
“The Liberton Community Campus is a really exciting project which provides an amazing opportunity to create a community lifelong learning and sports hub to replace the existing school. This means public services can be co-located with links to active travel networks, green infrastructure and public transport networks.
“Our Community Hub vision for the building to be ‘more than a school’ aligns with our 20 Minute Neighbourhood Strategy – to localise and co-locate services, making them more accessible for communities and to improve the experiences and outcomes for everyone.
“This is all part of the Council’s plan to support the wellbeing of everyone and end poverty and isolation in Edinburgh.”
Jenny Gilruth, Cabinet Secretary for Education and Skills, said: “The Liberton Community Campus is another example of the Scottish Government working together with local authorities to provide learning environments which are both modern and state-of-the art.
“The Scottish Government will invest over £21 million in the Campus and I am grateful to the Council for providing me with the opportunity to get a glimpse of how our support will be of significant benefit to pupils and their families in the local area.
“Right across the country, we are continuing to invest in Scotland’s schools through the £2 billion Learning Estate Investment Programme. Thanks to direct investment from the Scottish Government, the quality of our school estate has improved from 61% of schools in good or satisfactory condition in 2007, to 90.7% in 2023.
“We will continue to work with local authorities, who own school buildings, to drive improvements across the school estate.”
“Many of our future pupils are currently at these primary schools, so it was very important to us that they played a part in the special event yesterday to celebrate the work on the site.”
Alison Humphreys, Headteacher at Liberton High School, said: The Liberton High School community, and our wider learning community including Craigour Park, Gilmerton, Liberton and Prestonfield Primary Schools, are very excited about the creation of our new Liberton Community Campus.
“Many of our future pupils are currently at these primary schools, so it was very important to us that they played a part in the special event yesterday to celebrate the work on the site.
“In addition to a new secondary school with state-of-the-art facilities for learning, the building will also include a community library, community cafe, partner agency spaces and community fitness facilities.
“This is something that we are really looking forward to as it will bring so many opportunities for the wider public to use the space as a hub for accessing supports, learning, and fitness, and for socialising too.”
Hector MacAulay MBE, Managing Director of Balfour Beatty’s regional business in Scotland, said: “It was an honour to join with colleagues and pupils from Liberton High School today to mark this important occasion.
“As we embark on the next phase of the project with construction now underway, we remain committed to delivering a modern, safe and sustainable learning estate that will enhance and support communities and improve the lives of families in the local area.”
Edinburgh Dance Academy (EDA) performer Charlie Waller is about to follow in the footsteps of his elder sister after being offered a place at one of the world’s leading ballet training institutions, The Royal Ballet School in London.
The P6 pupil from Blackhall celebrates his 11th birthday later this month. From September, he will enter Year 7 at the Royal Ballet’s Lower School at White Lodge, in London’s Richmond Park.
With around 1400 people applying to join The Royal Ballet School every year, Charlie has secured one of only 10-12 places available to new Year 7 boys. He will become the only Scottish male currently at the School joining his 12-year-old sister Emily, who was invited to attend last year. The pair will also become the only Scottish siblings amongst the international student ranks.
Admission to The Royal Ballet School, which attracts the highest calibre young dancers from across the globe, is based purely on talent and potential. Its alumni include Margot Fonteyn, Anthony Dowell, Antoinette Sibley, Wayne Sleep, and Darcey Bussell. Along with a daily routine of classical ballet training, the Lower School also provides a strong focus on academic qualifications with its students studying core GCSE subjects.
A pupil of the highly-regarded EDA since the age of three, Charlie currently attends 14 classes with the Edinburgh-based school every week participating in ballet and other styles of dance. He is also a Junior Associate with Scottish Ballet and was recently cast as Young Cinders in its production of Cinders.
Commenting on his forthcoming move to London to take up his place at The Royal Ballet School, Charlie said: “I’m so excited to be going to such a great school with so many other boys and girls who love dancing.
“I’ll miss my mum and dad and especially my little brother, Arty (3), but I’m looking forward to being at school with Emily, doing ballet in a class full of boys every day and hopefully getting to perform with The Royal Ballet company at some point.”
Charlie’s mum, Morag, said: “We’re so pleased that Charlie has been given this opportunity to follow his dream of becoming a professional dancer.
“Since he was a toddler, he has always loved dance and EDA has been crucial in helping him progress to this current level. Joining The Royal Ballet School will now enable Charlie to further develop and maximise his talent.
“While it will feel very strange not having him here under our roof and we will, of course, miss him terribly, we know how much this means to him. We’re also reassured that he and Emily will be together in London.”
Julie Mitchell, Principal and Founder at EDA, said: “Charlie is a lovely boy who has been with EDA for most of his young life.
“He’s got incredible drive and real talent as a dancer so we couldn’t be more pleased about him securing a place at The Royal Ballet School.
“We are very proud of his progress to date and we look forward to seeing him further develop his dance skills through this new and exciting chapter.”
International school feeding charity launches Sponsor A School initiative with entrepreneur and TV star
Entrepreneur and Dragons’ Den investor, Deborah Meaden, is backing international school feeding charity Mary’s Meals’ Sponsor A School project.
Mary’s Meals started by feeding 200 children in school in Malawi in 2002 and now is providing school meals to more than 2.4 million hungry children every day in 18 of the world’s poorest countries. The promise of a nutritious meal at school attracts these children into the classroom, where they can gain an education which can be their ladder out of poverty.
The Sponsor A School initiative invites people or groups to fundraise to provide school meals to an entire school. Supporters can simply choose the size of school they wish to sponsor, and they will be allocated a school in either Malawi or Zambia. Supporters can choose to make their donation upfront, or in stages, or begin to fundraise within their community.
Deborah says: “Helping the next generation in an increasingly difficult world is something I am deeply passionate about, and Mary’s Meals is doing incredible work in attracting vulnerable children into education with a daily school meal.
“By sponsoring a school with Mary’s Meals, you can ensure that every child in an entire school receives a daily meal, which will give them energy to learn and thrive in education and beyond. Sponsor A School is a rare opportunity to truly change the lives of hundreds of children.”
Sponsoring a school will help children like Dorophy from Malawi reach their full potential. The introduction of Mary’s Meals at her school has improved her daily life and given her the power to dream of a brighter future.
Dorophy says: “I am very happy to be here at this school. I like it here because of Mary’s Meals. I have developed a hardworking spirit. My life is changing for the better.”
Matt Barlow, Executive Director of Mary’s Meals, says: “I am delighted that Deborah is backing Sponsor A School.
“It is an incredibly important initiative that helps Mary’s Meals reach so many hungry children awaiting our support. This has a huge impact, not only for the children, but for their families and wider communities.
“Supporters who sponsor a school have a real sense of connection to their chosen school and to the children who eat our nutritious school meals. There are so many ways to get involved with Sponsor A School, whether as a group or an individual.”
To find out more about Mary’s Meals and Sponsor A School, please visit:
Demand for access to Edinburgh Leisure top-class sporting facilities from talented athletes is growing year on year, as participants look to get to their peak fitness in the hope of representing their county or country at major sporting events, including the Olympic Games.
The Edinburgh Talented Athlete Support Scheme (E TASS) is a City of Edinburgh Council and Edinburgh Leisure funded programme that represents a strong and unique partnership between talented athletes, National Governing Bodies of Sport (NGB’s) and the Scottish Institute of Sport Network (SISN).
E TASS aims to provide free access to Edinburgh Leisure’s gym, swimming pool and track venues, to support talented athletes to achieve more, develop to their full potential and accomplish world class performance levels.
Gary Hocknull, Sports Development Manager at Ediburgh Leisure explains: “Being able to deliver the E TASS programme supports Edinburgh Leisure’s values of providing opportunities and support to athletes to participate, progress and achieve in sport and makes a clear statement that we invest in athletes and sport at all levels.
“All athletes accepted onto E TASS enjoy free access to Edinburgh Leisure gyms, swimming pools, and athletics tracks for recovery, rehabilitation, strength and conditioning, and endurance training.
“Access is made available for athletes’ own individual training requirements and does not apply to club or National Governing Body squad training. Competition is tough with demand growing year on year. For 2024/2025, we received applications from 158 new, and 108 from existing athletes.”
With only 150 spaces available on ETASS, Edinburgh Leisure works closely with NGB’s and sportscotland to ensure our support reaches the right athletes.
Consideration is given to applicants in postcode areas identified through the Scottish Index of Multiple Deprivation (SMID). The performance levels of these athletes range from those beginning their elite sporting journey to those that have achieved success at international events.
Scottish number one at target shooting, Seonaid McIntosh, is supported by the E-TASS scheme and is hoping to medal in Paris. Seonaid said: “Having the support of the ETASS scheme has been fundamental to my success in shooting as it complements my rifle training and improves my fitness with the ability to use Edinburgh Leisure’s fantastic sporting facilities across the city.”
Seonaid McIntosh became the World Champion at the 2018 ISSF World Shooting Championships in the 50m Prone Rifle event. In 2019 she became Britain’s most successful female rifle shooter of all time, winning five World Cup medals (including the first World Cup Gold to be won by a British Woman).
She also became the first British Woman to rank World #1 for the 50m Rifle Three Position event and became European Champion in the 300m Rifle Prone event with an equal World Record score.
Rory Brogan, a talented athlete and rugby player explained why E TASS has been crucial for his training: “The membership went really well in the way that it gave me a place to go for Strength and Conditioning.As a young person at school, I don’t have a lot of money to spend on gym memberships, so having this Athlete scheme massively helped boost that.
“Furthermore, the Edinburgh Leisure gym I went to at Meadowbank is great for athletes, as it has space for plyos, plenty of squat racks, etc. I made the Scotland U20 relay team, and we set the record when we competed down in Cardiff in August 2023. Furthermore, I got into the wider Scotland U18 rugby team.”
To qualify for E TASS athletes must be resident in Edinburgh and a member of an Edinburgh constituted sports club. The athlete must also represent their sport at any of the following standards:
Scottish Institute of Sport (SISN)
Scottish/British/European/World Championship Title Holder
Aldi donated almost 12,000 meals to good causes in Edinburgh and the Lothians during the recent Easter school holidays.
Britain’s fourth-largest supermarket pairs its UK stores with local charities, community groups, and food banks to collect unsold fresh and chilled food year-round.
Around 500,000 meals were donated throughout the UK during the recent school holidays, with 34 causes in Edinburgh and the Lothians benefitting from the initiative in total.
The food donations are part of Aldi’s successful partnership with Neighbourly, a community giving platform that links businesses to charitable organisations.
Liz Fox, National Sustainability Director at Aldi UK, said:“We know that the school holidays can be a particularly challenging time for families, and food banks regularly see heightened demand.
“By working with such amazing charities in Edinburgh and the Lothians through our partnership Neighbourly, we are able to give back by providing donations to those who need it most.”
Steve Butterworth, CEO of Neighbourly, said:“The ongoing cost-of-living crisis has increased the demand on food banks, particularly during the school holidays.
“Aldi’s contributions serve as a lifeline for many, providing essential support to enable these causes to continue their vital work within local communities.”
Since the partnership began in 2019, Aldi has donated more than 44 million meals to good causes across the UK.
Aldi also recently partnered with Neighbourly to launch a new “Spring” fund to provide additional help for families in need across the UK.
Eligible charities across the Neighbourly network, such as baby banks and children’s centres, will be able to access microgrants of £500 to help them provide immediate support to struggling families.
World Premiere of Mark-Anthony Turnage’s opera Festen
Eight new opera productions across two stages including: Eugene Onegin, The Tales of Hoffmann, Die Walküre, Semele, The Sound Voice Project and a Bernstein double bill
European Premiere of Wayne McGregor’s MaddAddam
Eight works new to The Royal Ballet by choreographers including Christopher Wheeldon, Joseph Toonga and Pam Tanowitz
40 years of breaking down barriers with our pioneering learning programmes
11 productions shown in 1,500 cinemas across the globe
Tickets available from £3 – on sale from Wednesday 10 July
The Royal Ballet and Opera has announced its 2024/25 Season.
Opening on Monday 2 September 2024 under a new and combined organisational name, the Season features a programme of bold new productions, alongside returning audience favourites, thrilling debuts and bright new voices.
Alex Beard, Chief Executive of the Royal Ballet and Opera, said: “Today we announce a Season of extraordinary breadth and ambition – to audiences old and new, in schools and cinemas across the UK, and through streaming and digital media, right across the world.
“Bringing ballet into our name is long overdue – The Royal Ballet and The Royal Opera have performed under the same roof since 1946 – and both companies now enjoy the prominence that they rightfully deserve.
“The whole of the Royal Ballet and Opera is far more than the sum of our parts. We may perform at the Royal Opera House, but three quarters of what we do is experienced by people outside this building and, as we mark 40 years of our Learning programme, the impact and influence of the Royal Ballet and Opera can be felt in every corner of the country.”
The evolution of its name, the Royal Ballet and Opera, celebrates the institution in its entirety, recognising the whole, not just one of its parts. Together, the Royal Ballet and Opera will continue to perform at Covent Garden’s Royal Opera House, with performances shown in cinemas around the world, marking an exciting new era for the two companies as they enter a thrilling 2024/25 Season.
The Royal Opera 2024/25 Season
In an ambitious Season, eight new productions spanning three centuries are spread across the Main Stage and the Linbury Theatre, including the world premiere of Festen. Based on Academy Award-winning filmmaker Thomas Vinterberg’s 1998 cult film of the same name, Festen is composed by Mark-Anthony Turnage (Greek, Anna Nicole, Coraline) with a libretto by Lee Hall (Billy Elliot) and will be directed by Richard Jones. Previously a hit West End play, this darkest of comedy-dramas delves into the disturbing subject of abuse and generational trauma, with a cast including Allan Clayton, Stéphane Degout, Gerald Finley, Eva-Maria Westbroek, Natalya Romaniw and more, with Edward Gardner conducting.
Director of The Royal Opera, Oliver Mears, said: “2024/25 is set to be a thrilling Season for opera here at the Royal Opera House.
“With the world premiere of Festen, a brand-new commission by Mark-Anthony Turnage, we reaffirm our commitment to new opera; some of the greatest singers of our time perform alongside the most exciting voices of the future; and phenomenal creative teams bring unforgettable stories to life with eight new productions across both our stages.
“And as ever, our world-class Orchestra and Chorus will offer exactly the kind of intense, rich experiences that audiences are craving.”
In a year that has seen Leonard Bernstein celebrated in mainstream cinema with the success of film biopic Maestro, his two major opera works will be staged at Covent Garden for the first time. The Linbury Theatre opera season opens with two of his semi-autobiographical operatic masterpieces, Trouble in Tahiti and A Quiet Place, directed by Oliver Mears and conducted by Nicholas Chalmers.
In the autumn, Ted Huffman (4.48: Psychosis) will make his Main Stage debut directing a new staging of Tchaikovsky’s Eugene Onegin. Henrik Nánási conducts Gordon Bintner in the title role, with Kristina Mkhitaryan (Tatyana), Liparit Avetisyan (Lensky), and Avery Amereau (Olga).
After the success of Cavalleria rusticana/Pagliacci and Carmen, Damiano Michieletto returns to Covent Garden to direct Offenbach’s last and greatest work, The Tales of Hoffmann. Conducted by Antonello Manacorda, Juan Diego Flórez and Leonardo Caimi share the title role and are joined by Alex Esposito, Julie Boulianne and Olga Pudova, Marina Costa-Jackson, and Ermonela Jaho in the three soprano roles.
Following the glittering triumph of Das Rheingold, Barrie Kosky delves back into Wagner’s mythic universe with the second instalment of the Ring cycle, Die Walküre. With Antonio Pappano leading from the podium, Christopher Maltman reprises the role of Wotan, alongside Elisabet Strid (Brünnhilde), Lise Davidsen (Sieglinde), and Stanislas de Barbeyrac (Siegmund).
Premiered in 1774, Semeleis the latest in our Handel series of operas and oratorios that were first performed at Covent Garden. Darkly satirical, this new production from Oliver Mears considers class, privilege and degradation. Handel specialist Christian Curnyn conducts as Pretty Yende marks her return to Covent Garden in the title role, with Ben Bliss making his House debut as Jupiter.
Between Antonio Pappano’s departure as Music Director of The Royal Opera and Jakub Hruša’s arrival in September 2025, this Season hosts them both. Hruša conducts Corinne Winters, Karita Mattila, Thomas Atkins and Nicky Spence in the revival of Claus Guth’s Olivier Award-winning production of Jenůfa.
Other unmissable returning favourites include the first revivals of Tobias Kratzer’s Fidelio conducted by Alexander Soddy and Adele Thomas’Il trovatore conducted by Giacomo Sagripanti and Carlo Rizzi. Aigul Akhmetshina reprises the role of Carmen alongside Freddie De Tommaso, conducted by Mark Elder. Ariane Matiakh conducts the second cast.
Commemorating the centenary of Puccini’s death, Speranza Scappucci, Principal Guest Conductor Designate, leads her first Covent Garden stage production, Richard Jones’ La bohème. Also returning is Jonathan Kent’s Tosca starring Sonya Yoncheva, SeokJong Baek and Bryn Terfel, conducted by Eun Sun Kim in her House debut. Andrei Șerban’s Turandot is conducted by Rafael Payare and Francesco Ivan Ciampa with Sondra Radvanovsky and Ewa Płonka in the title role.
The Season opens with revivals of Richard Eyre’s La traviata and David McVicar’s The Marriage of Figaro which sees Julia Jones conducting rising stars Ying Fang and Huw Montague Rendall alongside Jacquelyn Stucker and Luca Micheletti. Completing the Season are David McVicar’s Faust with Stefan Pop, Erwin Schrottand Lisette Oropesa in the main roles and Robert Carsen’s Aida. For Christmas, Antony McDonald’s story-book production of Hansel and Gretel is conducted by Giedrė Šlekytė who makes her House debut.
In the autumn, the Linbury Theatre will present The Sound Voice Project. With music by Hannah Conway, this internationally award-winning opera-video installation features a libretto by Hazel Gould and performances by Roderick Williams and Lucy Crowe, raising questions about how we make ourselves heard, how we listen, and which voices are invited to the stage.
Continuing our Britten odyssey, impassioned opera meets dreamlike dance in a Royal Ballet and Opera double production of Phaedra + Minotaur, a collaboration with award-winning director Deborah Warner and choreographer Kim Brandstrup. Last performed as part of 4/4 (2020), the work sees Christine Rice reprise her Olivier award-nominated role – expertly harnessing Phaedra’s eroticism and despair.
The Jette Parker Artists programme welcomes seven talented newcomers who will perform on stage throughout the year, as well as bringing their talents to a lively new production of Telemann’s Pimpinone in the Linbury Theatre.
In the summer, the award-winning, interactive, multi-sensory opera for toddlers and babies Catch a Sea Star, will be staged in the Clore Studio. With music from J.S. Bach, children can step into an enchanting underworld realm of mermaids and sea monsters.
The Royal Ballet 2024/25 Season
In 2024/25 The Royal Ballet presents a diverse programme of works that celebrate the Company’s rich heritage while featuring groundbreaking creations by some of the world’s leading choreographers and creative teams.
Following the landmark success of Woolf Works and The Dante Project, Wayne McGregor returns with the European premiere of MaddAddam. Combining forces of contemporary dance, music, fashion and literary worlds, Margaret Atwood’s monumental trilogy of novels (Oryx and Crake, The Year of the Flood and MaddAddam) comes alive in this thrilling visceral three-act ballet. With a specially commissioned score by celebrated composer Max Richter and costume design by Gareth Pugh, it promises to be a spectacular experience.
In October, Encounters: Four Contemporary Ballets features the work of four distinctive choreographers championed by The Royal Ballet on the Main Stage. Experience a spectrum of human emotion beginning with Kyle Abraham’s gentle meditation on love, loss and memory in The Weathering.
Four characters battle for control in Crystal Pite’s gripping boardroom drama The Statement. Expanding Dispatch Duet, which received critical acclaim on its premiere in 2022, Pam Tanowitz employs her trademark style to turn the conventions of dance inside out. Joseph Toonga presents his second Main Stage work for the Company where the idioms of classical ballet and hip-hop converge.
Masses of dancers move as a mesmerising whole in Crystal Pite’s Light of Passage which receives its first revival in February. Grappling with themes of safe passage, displacement, community and mortality, this award-winning work is set to Gorecki’s affecting Symphony of Sorrowful Songs – a reminder of the power of human connection in our turbulent times.
Wonderland becomes wondrously real as the ballet Season opens with two Technicolor adaptations of Lewis Carroll’s popular children’s story, Alice’s Adventures in Wonderland – both of which will be part of our Schools’ Matinee roster. On the Main Stage, The Royal Ballet’s Artistic Associate Christopher Wheeldon’s interpretation partners with magical music by composer Joby Talbot and whimsical designs by Bob Crowley. Powerhouse storytellers ZooNation: The Kate Prince Company return to the Linbury Theatre with The Mad Hatter’s Tea Party, transforming Carroll’s Wonderland into a dysfunctional institution in this energetic hip-hop show featuring original music and family-friendly storytelling.
Christopher Wheeldon’s versatility as a choreographer is showcased in a new mixed programme – Ballet to Broadway – where sensuous contemporary ballet meets the energy of musical theatre. Luminescent and shimmering, Fool’s Paradise marked the first of his many collaborations with composer Joby Talbot. Three works follow, new to The Royal Ballet. Recognising Wheeldon’s extraordinary success in musical theatre, the Company performs the ballet from his Tony Award-winning musical An American in Paris, set to Gershwin’s jazzy melodies. Its zesty spirit is contrasted with two duets of intimacy and yearning. The wistful songs of Joni Mitchell set the scene for The Two of Us, while the music of Keaton Henson is used in the tender duet from Us that Wheeldon created for BalletBoyz in 2017.
When George Balanchine arrived on the shores of America, he changed the landscape of 20th-century ballet. Pushing the boundaries of the art form with extreme speed, dynamism and athleticism, he defined the American neoclassical style. With Balanchine: Three Signature Works, The Royal Ballet present a triptych of distinctive pieces in one programme. Serenade was the first ballet he created in America, and its ethereal beauty is contrasted with the avant-garde Prodigal Son, a parable of sin and redemption. Symphony in C with its symmetrical formations and crystalline placements will bring this programme to a majestic and exhilarating close.
The Royal Ballet brings Shakespeare’s young lovers vividly to life with the return of Kenneth MacMillan’s Romeo and Juliet, a modern classic that celebrates its 60th anniversary. Prokofiev’s glorious score feeds this epic tragedy, sweeping the ballet towards its inevitable and devastating conclusion.
Also marking 60 years since its creation, John Cranko’s 1965 take on Pushkin’s novel Oneginreturns to the Main Stage. Set to an arrangement of Tchaikovsky’s heartbreaking score, Cranko’s expressive choreography results in a sumptuous period ballet.
For Christmas, Cinderella continues to cast its spell. This enchanting work by The Royal Ballet’s Founding Choreographer Frederick Ashton, with evocative music by Prokofiev and some spectacular stagecraft, is a rich theatrical experience not to be missed. In the Linbury Theatre, nothing says Christmas like a Greek tragedy: Ben Duke and Lost Dog’s electric and darkly hilarious work of dance theatre set to live music, Ruination, returns, turning the classic Greek myth of Medea on its head.
In the Linbury Theatre, the Company continues its commitment to honing new and diverse choreographic and performing talent. In October, First Soloist of The Royal Ballet Joseph Sissens is the driving force behind Legacy, a celebration of Black and Brown dancers from all over the world.
In the spring, International Draft Works returns, gathering burgeoning choreographers from all over the world, revealing how the art form is ever changing and evolving. Closing the Season, celebrating both national and international talent, the Next Generation Festivalis a showcase for the diversity and range of global performing talent presented by a selection of junior companies and dance schools.
Across the Season, the Linbury Theatre welcomes returning guest companies including Northern Ballet, Acosta Danza and Ballet Black. The Ballet Black: Heroes mixed programme will include a new work, If at First, by Choreographer-in-Residence at Scottish Ballet Sophie Laplane, that explores the complexity of humanity, heroism and self-acceptance.
Director of The Royal Ballet, Kevin O’Hare, said: “An electrifying Season lies ahead as we stage thrilling works new to the Company, crafted by creatives at the forefront of choreographic innovation.
“The breadth of the Company’s artistry is highlighted in revivals of rich repertory favourites alongside a Linbury Season that welcomes guest collaborators and bright burgeoning talents. As ever, audiences will have the chance to witness world-class performances by our remarkable dancers. There really is something for everyone.”
Inspiring creativity across the UK
40 years at the forefront of arts education
Reaching more than 45,000 students across the UK
Seven Schools’ Matinees
In 2025, the Royal Ballet and Opera celebrates 40 years of pioneering learning programming as it unveils its biggest year of learning initiatives to date. Over the past year the schools programme has grown from 1,575 schools to 2,710, working with more than 46,000 students, 1500 teachers and 700 schools to inspire creativity and open access to the arts across the UK.
These programmes sit alongside on-going projects in communities up and down the country including regional partnerships with Bradford 2025, UK City of Culture, Rotherham, Children’s Capital of Culture 2025 and a new focused initiatives in the east of England.
Jillian Barker, Director of Learning and Participation, Royal Ballet and Opera explains: “Our vision is to work towards creativity for every child. At a time when arts education in schools is squeezed and specialist teachers are in decline, it is more important than ever to strive to reach more children and young people.
“We are redoubling efforts to offer high quality opportunities to any primary school in the country, inspiring children and building the creative confidence of teachers and opening the opportunity to discover ballet and opera.
“We are working to diversify young dancers and singers. And we want ROH to be a place of creative adventure, welcoming to all, particularly families.”
This Season, the Royal Ballet and Opera will continue to offer a range of programmes to enhance arts education, spark creativity, and improve access to the arts for all. These learning and community-based initiatives include:
Extending its flagship programme to reach more schools nationwide, offering free resources to help teachers and students be creatively confident in the classroom. This Season will also introduce new live streamed lessons into schools from the Companies and artists of the Royal Ballet and Opera.
The return of Create Day, a large single national school event, held in partnership with UNICEF RRSA UK (Rights Respecting Schools Alliance), bringing together 30,000 children in person and virtually in a celebration of everything they have learned.
Hosting seven Schools’ Matinees across the Season, giving children from across the UK the chance to experience a live production at the Royal Opera House with heavily discounted tickets and travel grants.
The Creative Exchange programme – partnerships with commonly underrepresented groups in the arts to create a collaborative performance piece representing different life experiences.
Growing the reach of its Chance to Dance programme, where the Royal Ballet and Opera partner with local dance and primary schools in areas with limited artistic provision to introduce young people to ballet.
The Youth Opera Company, where over 100 state school children have the chance to work with Royal Ballet and Opera artists, performing on the Main Stage in productions including Carmen and Hansel and Gretel.
The Royal Ballet and Opera also continues to invest in future talent and professional development through initiatives such as the specialist apprenticeship programme, which will see the number of participants double this Season.
Remaining one of the largest employers of artistic professionals in the UK, the apprentices join 1,044 full or part time staff, 2,060 contractors who are consistently employed, and freelancers or commissioned staff.
The fostering of talent and diversity is also seen in our second Overturecohort in partnership with Black Lives in Music, beginning in Autumn 2024. The year-long mentorship by players in the Orchestra of the Royal Opera House is available to young musicians aged 18-25 from the global majority or other underrepresented backgrounds. The scheme provides support tailored to the participants’ individual needs, enhancing skill sets, insight and training in the classical music field.
The Royal Ballet and Opera also present 11 productions in 1500 cinemas across the globe next Season, including such beloved classics as Cinderella, The Nutcracker and The Marriage of Figaro and exciting new productions of The Tales of Hoffmann and Die Walküre.
The 2024/2025 Season’s ambitious work contributes to the enduring influence of the Royal Ballet and Opera, with a recent study finding it has one of the largest economic impacts on the ACE’s National Portfolio.
Whether it is welcoming audiences from across the globe to experience magic on its stages or inspiring creativity in classrooms across the UK, the Royal Ballet and Opera celebrates everything that the arts bring to UK society, looking boldly ahead to a new and exciting Season of world-class productions.
A consultation on replacing the UK Government’s Industrial Injuries Scheme in Scotland has been launched.
Views are sought on how the Scottish Government’s planned Employment Injury Assistance should be delivered and on the next steps for introducing this benefit.
The consultation is the first step in considering how the replacement benefit can better meet the needs of the modern workforce and be more reflective of occupational health and employment.
Cabinet Secretary for Social Justice Shirley-Anne Somerville said: “The Industrial Injuries Scheme was introduced in 1948 and it does not account for many of the injuries and diseases common in the modern workforce.
“We know that the outdated eligibility criteria for the Industrial Injuries Scheme does not account for the injuries and illnesses that are most likely to affect people today. This is especially true for women, young people, and people from an ethnic minority group.
“We want to hear a broad range of views on the approach we should take to delivering Employment Injury Assistance, and I would encourage individuals and stakeholders to respond to our consultation.”
The consultation will run for 8 weeks and will close on 24 June 2024.
The exhibition is the world’s largest interactive exhibition of the culture and history of video games, with 120 playable games spanning more than 50 years.
Game On will run at the National Museum of Scotland from 29 June to 3 November 2024. It will feature iconic characters from Space Invaders to Mario and highlight Scotland’s role as a pioneer and world leader in game development.
The exhibition will reveal the roots and development of Scottish gaming. From manufacturing the ZX Spectrum computer in Dundee in the 1980s to highlighting Scotland as home to some of the most innovative and influential game makers, including Rockstar North, creators of Grand Theft Auto.
Game On will showcase emerging Scottish talent such as Sad Owl Studios, whose game Viewfinder was awarded Best British Game at the Bafta Game Awards 2024. Visitors will also discover the important role Edinburgh studio 4J played in making Minecraft a global phenomenon.
Game On is curated and toured by Barbican Immersive. The exhibition examines the creative and technological advances that have established gaming as a new art form.
The National Museum of Scotland was the exhibition’s very first touring venue in 2002, and Game On has since been visited by over 5 million people of all ages in 25 cities around the world. Game On returns to Scotland in a landmark year for gaming that includes significant anniversaries such as 30 years since the release of the first PlayStation console and 40 years of the iconic puzzle game Tetris.
Patrick Moran, Game On Associate Curator, said: ““The gaming world has had an undeniable social, cultural, and technological impact. Games transcend the boundaries between art and technology, becoming part of popular culture.
“Game On presents the opportunity to not only see the evolution of video games and how they have changed over time but also to immerse yourself inside gaming worlds with over 100 playable games.
“The show features the largest playable collection in the world, including original arcades, hand-held consoles, and key games, including Pac-Man, Super Mario, Tetris, Sonic the Hedgehog, Just Dance and FIFA. The exhibition also explores new advances in the gaming world.
“Highly interactive, groundbreaking and popular, Game On is engaging for hardcore gamers and visitors new to gaming. Crucially, the show is suitable for players of all ages.”
Dr Geoff Belknap, Keeper of Science and Technology at National Museums Scotland, said: “It’s great to welcome Game On back to the National Museum of Scotland. As someone in charge of Scotland’s national science and technology collections, it’s exciting to explore the country’s incredible contribution to gaming, past and present.
“I’m delighted to bring Scottish independent games to a new audience, including The Longest Walk, a pioneering project exploring the experience of living with mental health issues and Highland Song, a beautiful adventure through the Scottish landscape.
“The exhibition has been continually updated at each new touring venue since the early 2000s and so we look forward to bringing the story of video gaming right up to date here in Scotland, where the industry today is so vibrant.”
The exhibition is organised in thematic sections, exploring hardware formats such as handheld to home consoles to arcade machines, as well as wider cultural aspects such as the links between music, film and gaming.
A programme of public events will support the exhibition, including a Museum Late and family-focused activities to inspire the next generation of game creators.
Book in *advance to save, general admission: Adult £12-£15, Over 65s £11-£14, Student, Young Scot, Disabled, Unemployed** £9-£12, Child 5-15† £8-£11, Under 5s free.
10% off when you book as a family‡
Discounts available for groups of 10 or more.
*Advance ticket prices are applicable up to 23:59:59 the day before.
**Valid ID required. Carers of disabled people free.
†Under 16s must be accompanied by an adult.
‡10% off when you buy up to three Child 5–15 tickets alongside up to any two Adult, Over 65s, Student, Young Scot, Disabled, Unemployed tickets, with a maximum of five tickets in total. Cannot be used in conjunction with National Museums Scotland Member tickets or any other discount or promotional offer.
