Tag: Opera

  • Harry Hyman: a Labour government will be a helpful ‘resetting of the clock’

    Christopher Jackson

     

    I meet the entrepreneur and publisher Harry Hyman in his offices on Haymarket. He is ensconced in a corner office surrounded by John Piper prints and art which speaks to his love of theatre.

    Hyman has had an interesting life, succeeding in both the healthcare and publishing sectors. I am keen to know how it all began and ask him about his upbringing: “My parents both came from an immigrant background,” he tells me. “My father’s family came from Eastern Europe between 1890 and 1900. One lot came from what was then Belarus and the other lot came from what is now Poland but both I think then were under the Soviet influence. They probably wanted to get to New York, but they ended up in London by mistake, or because they didn’t have enough money to get there.”

    And on his mother’s side? “She was Anglo-Indian – and that meant nobody liking you, neither the Indians nor the British. People didn’t have very much money and so I think they were both very keen for people to do well and education was a very important part of that. It was drilled into you that education was vital.” He laughs: “I still believe that one of the few things that Tony Blair actually said that was probably right is: ‘Education, education, education’.”

    And how was Hyman’s education? “I knuckled down and did very well. I went to Cambridge, and graduated there with a first class degree in geography. I stayed for one year to think about doing a PhD but felt that wasn’t for me: it was too specialist and not very exciting. It’s a weird thing that when you study geography the more you go into a particular area it becomes like another subject: so for a physical geographer you almost become a geologist; a bio geographer becomes almost a biologist; an economic geographer becomes almost an economist; and a historical geographer becomes almost a historian.”

    But the year was 1979 and Thatcher was on the rise. Hyman intuited the enormity of the shift, and decided to enter the business world at perhaps one of the most opportune times in history: “I went off to Price Waterhouse and followed this quite conventional route of becoming a chartered accountant which I did very well at and I enjoyed my three and a half years there,” he recalls.

    However things were about to change for Hyman – and as so often happen, due to his meeting the right person at the right time. “I met this really entrepreneurial dynamic financier called Michael Goddard who worked at a business called Baltic plc and I had 11 very enjoyable hard-working years where I learned a lot about finance and about business and about negotiation but it instilled in me a desire to do my own thing.” Around that time Hyman had also begun to take an interest in healthcare. “I got very interested in health, and was interested to take the techniques of asset finance and structured finance, which was what Baltic specialised in, and apply that to different parts of the public sector which had been starved of capital because the Treasury controlled the purse strings.” Hyman saw that Thatcher’s administration was serious about shaking things up: “Norman Lamont introduced the Private Finance Initiative and I thought that was quite an interesting turning point; it was an opportunity for the government to form partnerships with the private sector to invest in infrastructure.”

     

    It was to be a huge success. Hyman left Baltic in 1994 to start his own company Nexus. This business set up Primary Health Properties; Hyman would manage it for 27 years, and only stopped being CEO in April 2023.

    When Hyman set up the healthcare business was he partnering with government from day one? “I got very interested in the fact that GPs, although they are independent contractors, have a contract with the NHS: as part of that they get their rent reimbursed to them by the NHS and of course the NHS is part of the British government. Therefore from an investor’s standpoint although your tenant is actually a group of GPs, the payor of the rent is actually the NHS which is the government: so you have a gilt-edged income stream even though your tenant is just a group of professionals.”

    For Hyman, this was a clear opportunity: “I saw that there was what I would call a yield and covenant arbitrage there and so set up the business to take advantage of that and to act as a funnel of capital back in, in order to modernise the NHS. Even today, 40 per cent of all primary care premises in the country are sub-standard and you are seeing a paradigm shift effectively away from an old-fashioned converted house where you had your polio jab on a sugar cube with a single handed GP giving it to you into a much more modern medical centre.” The beauty is that these centres are much more modern and contain ‘a raft of ancillary services’. This is, of course, also in the interests of the doctors. “They don’t want to take on the capital burden of providing a £9 or 10 million building: they are quite happy for a third party landlord like Primary Health Properties to be that partner and now our portfolio is around £2.8 billion: we have 514 centres, of which 21 are in Ireland and it’s a very interesting and safe and secure business model.”

    It sounds it, and the success of the venture has enabled Hyman to diversify into publishing. “Here at Nexus we publish B2B magazines and we run events around them. Our titles are Health Investor, Education Investor, Caring Times, Nursery Management, and today we have got a small publication called Nutrition Investor and we have Independent Schools Management. The theme of those is very much health and education. Property, health and education has been my raison d’etre for the past 30 years.”

    I say that publishing is a difficult sector compared with healthcare property. Why put himself through the stress? “The original reason is because I couldn’t find anything I wanted to read and so Health Investor is a B2B magazine focused on investors that are providing contracted out services to the NHS.   It’s basically an events business.  You obviously have to have content. I don’t think you can run the events without titles but as you know we’ve moved from a non-digital basis to a digital basis and people will pay for high quality content but it is quite hard on a lot of businesses who have really struggled with that.”

     

    And what does Hyman think of the prospect of a Labour government? “I think there’ll be a resetting of the clock, and that will allow someone to have a slightly longer timescale. I think Covid and the political contortions of late have given governments quite a short term time horizon which is not very good in terms of ensuring that infrastructure goes in to the built environment.”

    But that doesn’t mean that Hyman agrees with Labour, especially when it comes to its commitment to impose VAT on private school fees. “Will that apply to early years? Will it apply to all sorts of education? Will it apply to university tuition? Is it going to be five, eight, ten, or 20 per cent? How is that going to work? It sounds like a great manifesto commitment but I wouldn’t be at all surprised if it never got legislated for because it will push much more demand back into the state sector which is hard pressed anyway. In France everyone goes to a state school as I understand it. You are then talking about a wholesale system change.”

    Hyman’s success has allowed him time for his passions, chiefly opera. He founded the International Opera Awards in 2012, with a view to helping the sector. What was it that drew him to classical music? “They are quite profound stories. The topics in Shakespeare are enduring and unfortunately people think it’s all DJ toffs walking round Glyndebourne. Most opera houses go out of their way to try and encourage a younger generation of opera goers otherwise the whole audience will be dead in 10 or 15 years’ time.”

    The problem is that television has encroached on the economics of live performance, so it’s not an easy sector in which to pay the bills. “My shtick is to try and encourage younger people to make the grade from music college through to a proper career in opera whether they be singers, directors, musicians, or conductors – but it’s tough. Last year we gave out £100,000 worth of bursaries to 20 people: it’s not that enormous a sum of money but can make the difference between someone stopping their career and carrying on.”

    The plight of even the most talented musicians is an extremely difficult one. “You go to music school and then you get your music qualification – but then you have to make it as an artist and that will require you to sing in a chorus or hope to get spotted and get a supporting role. That in itself is difficult – and if you are not from a less well-off background or if you are an overseas person, it’s even harder. We have supported some Ukrainian people who have the right to be here as a student but they don’t have the right to work.”

    This interest brings him full circle back to his parents. “They were very interested in opera.  I first went in 1984, and it has been a journey since. I like Wagner: his music is absolutely sensational and the stories he writes about are primeval almost. The Ring is very profound isn’t it?  It’s about man’s quest for money and power and ends in disaster.  They all end up regretting having it but it’s this lust that drives them.”  And with that, I head back out onto Haymarket, reflecting that it’s not often you talk about Wagner and the private finance initiative in the same conversation – but Hyman is an interesting man with a broad frame of reference.

     

    To learn more about the International Opera Awards go to http://operaawards.org

     

  • Q & A: Grange Park Opera CEO Wasfi Kani

    Q & A: Grange Park Opera CEO Wasfi Kani

    Can you tell us about your reaction to the Covid-19 pandemic at Grange Park opera and how you sought to navigate the last year?

    Exactly a year ago (and a week beforethe Government announced a belated lockdown) we cancelled the 2020 Season. When I’d finished faffing around doing refunds, it immediately struck me that people were allowed to go to work, if they couldn’t work from home and why shouldn’t we create new performances . . . but film them. Thus, we created the Found Season involving 108 artists in 15 new events, eight filmed from the stage of the Theatre in the Woods. Other appearances included Bryn Terfel, Roderick Williams performing Schumann, piano virtuoso Pavel Kolesnikov playing Chopin and Beethoven and a pas de deux from English National Ballet.

    Covid-19 has actually given us a unique opportunity to share the magic of great musical experiences – which are original, stimulating and food for the soul – with as many people as possible around the world. After the Found Season, we have created the Interim Season – employing more artists.

    How many people do you employ at Grange Park? 

    During the season we employ 350-400. The core team is only 14. Well, it was 14 until all this happened.

    Did you take advantage of the government furlough scheme?

    Yes

    Did you benefit at all from the DCMS’ funds for charities? 

    No, we didn’t apply for it! This was because I thought smaller charities with less access to London wealth should get the money. Little did I realise that it was a free for all. Some classical music agents applied for money and got it! Yet a singer who has earned £55k pa has no access to any money.

    Overall, do you feel the Government response was satisfactory?

    If you mean the Government response to the pandemic overall, I would say it was catastrophic (a) locking down so late in March (b) not having any checks on arrivals in the UK … there were 15k per day UNTESTED in any shape or form (c) eat out to help out (d) locking down in November . . . opening for two weeks partly . . . then allowing anyone to do anything over Xmas. I could go on and on.

    Questions must be asked why so many people have died in the UK. And it isn’t over.

    Tell us about your work with the Romanoff Foundation.

    This is a new collaboration. Normally there would have been fascinating talks about the two Russian operas in this year’s season (Ivan the Terrible, The Life and Death of Alexander Litvinenko) but uncertainty is limiting what we can do.

    Just how terrible was Ivan the Terrible?

    Well, he loved his son. And he was probably damaged by his own lack of a father figure – his father died when Ivan was 3. I’ve been studying a long history of Russia and it seems that what happened before Ivan was there were bunches of gangs going round Russia proclaiming ownership of territories. Ivan tried to unify the country but at a cost to its people and long-term economy.

    Has your audience become more global during the pandemic?

    Our extensive filmed output has had 120k views. Some are in far-flung corners. However, when they will be able to get on a plane and visit the Theatre in the Woods . . . who knows??

    Owen Wingrave sounds a fascinating project. Do you think you might continue to explore film as an avenue post-pandemic?

    On Saturday 20 March we launched another filmed opera: Ravel’sL’heure Espagnole – filmed in a clock shop in Kensington. I am already planning more for the autumn. It’s a great way to keep close to the Grange Park Opera family.

    What do you think we most miss about the live experience?

    Feelings. Having a collective emotional experience.

    Is there anything about the online music experience that is superior that you’ll want to keep once we’re all fully vaccinated?

    I’ve been listening to a lot of the oldies playing the piano – Michelangeli, Lipatti and so on. 

    People are fed up of looking at screens. They are flat. That says it all.

    It’s fascinating to see that you worked in the City designing computer systems – did you miss music during that time? Is there tension between the businesswoman and the artist in you?

    While I was in the City, I continued to have an active music life, playing the violin in orchestras and chamber music. I used to practice in the lunch break. I know some of my computer colleagues thought I was a bit nuts. 

    Do you have any mental health concerns about people in the arts? In what ways have you reached out to support artists, musicians and those in your sector affected by the pandemic?

    We have an Artist in Need fund and have distributed nearly 200k and our filmed projects are often the only performance work that an artist has been offered for a year. Even someone like Simon Keenlyside whose diary is absolutely full. Empty diary. One cancellation after another. What does it do to your mental health? Artists have to learn to live with rejection so some will be more resilient than others.

    What would be your Desert Island Discs?

    • Michelangeli playing something
    • Brahms string sextet – either of them
    • Rimsky Korsakov Scheherazade
    • Verdi Don Carlo
    • Wagner Tristan

    It’s a secret. I’m waiting for the phone call.

    Goethe, looking back on his life, made a good and bad column. Totting it all up, he decided that music was what made the difference and had made his life worth living. Is there a listening experience that really changed you?

    I love music – it gives my life another dimension. And I have a bond with people who feel similarly. Those that don’t . . . I want to open that door. The greatest gift of my life is being able to play a Mozart string quartet.

    Was there a music teacher who really had an impact on you?

    Probably my first piano teacher Gillian Stacey. She died about a year ago and I saw her in hospital the week before.

    What character traits do you particularly look for in young employees?

    Hard work. I don’t want to see them waiting for 5.30 and rushing out of the door.