| REGISTERED COMPANY NUMBER: |
| REGISTERED CHARITY NUMBER: |
| REPORT OF THE TRUSTEES AND |
| FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 SEPTEMBER 2024 |
| FOR |
| CAMERATINA LTD |
| REGISTERED COMPANY NUMBER: |
| REGISTERED CHARITY NUMBER: |
| REPORT OF THE TRUSTEES AND |
| FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 SEPTEMBER 2024 |
| FOR |
| CAMERATINA LTD |
| CAMERATINA LTD |
| CONTENTS OF THE FINANCIAL STATEMENTS |
| FOR THE YEAR ENDED 30 SEPTEMBER 2024 |
| Page |
| Reference and Administrative Details | 1 |
| Report of the Trustees | 2 | to | 9 |
| Statement of Financial Activities | 10 |
| Balance Sheet | 11 | to | 12 |
| Notes to the Financial Statements | 13 | to | 16 |
| CAMERATINA LTD |
| REFERENCE AND ADMINISTRATIVE DETAILS |
| FOR THE YEAR ENDED 30 SEPTEMBER 2024 |
| TRUSTEES |
| COMPANY SECRETARY |
| REGISTERED OFFICE |
| REGISTERED COMPANY NUMBER |
| REGISTERED CHARITY NUMBER |
| BANKERS | NatWest Bank, |
| Shaftesbury (D) Branch, |
| The Commons, |
| Shaftesbury, |
| Dorset SP7 8JY |
| CAMERATINA LTD (REGISTERED NUMBER: 14462887) |
| REPORT OF THE TRUSTEES |
| FOR THE YEAR ENDED 30 SEPTEMBER 2024 |
| The trustees who are also directors of the charity for the purposes of the Companies Act 2006, present their report with the financial statements of the charity for the year ended 30 September 2024. The trustees have adopted the provisions of Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (effective 1 January 2019). |
| OBJECTIVES AND ACTIVITIES |
| Objectives and aims |
| Our charity's purposes, as set out in the objects contained in the Cameratina Limited's Memorandum and Articles of Association, are: |
| "For the public benefit, to advance public education and appreciation of the art of opera in particular but not exclusively by |
| (1) Promoting public operatic performances, recitals and workshops; and |
| (2) The provision of training and workshops to performers/artists, and particularly young performers/artists to enable them to create works of artistic excellence." |
| Ensuring our work delivers our objectives |
| This report covers our annual operating cycle of setting our aims for the year, our success in achieving those aims, and the benefits they have brought to those groups of people we are set up to help. The report looks at the year to 30 September 2024. |
| The report also helps us ensure our aims, objectives and activities remain focused on our stated purposes. We have referred to the guidance contained in the Charity Commission's general guidance on public benefit when reviewing our aims and objectives and in planning our future activities. In particular, the Directors consider how planned activities will contribute to the aims and objectives they have set. |
| The aims of our work |
| Our main aims for this period of operations were: |
| (i) to organise a weekend of an opera, a recital and a workshop for the general public in North Dorset, working with young and emerging opera singers; |
| (ii) to continue to encourage the support of Cameratina Limited by the regular donors who had previously supported Cameratina when it operated on an informal basis, as well as to seek new donors; and |
| (iii) to establish the infrastructure of Cameratina Limited's operations so that its processes are robust and meet the governance and regulatory requirements for a charity of our scale and purpose. |
| These aims were confirmed by the Directors as being for the public benefit. The first aim clearly serves the charity's purposes set out in the Memorandum and Articles of Association as described above. The second aim creates a firm and sustainable financial base. The third aim is a necessary foundation for any charity wishing to achieve its objectives and hence serve the public benefit in the long term. |
| CAMERATINA LTD (REGISTERED NUMBER: 14462887) |
| REPORT OF THE TRUSTEES |
| FOR THE YEAR ENDED 30 SEPTEMBER 2024 |
| OBJECTIVES AND ACTIVITIES |
| Significant activities |
| (A) Organising a weekend of Opera and Vocal Music |
| For this financial period, the primary focus for Cameratina Limited has been the organisation of its annual opera weekend, which was held on 20th and 21st April 2024. The opera weekend was titled "From Darkness into Light: the many shades of Puccini" and centred on Il Tabarro, one of Puccini's less well-known pieces, but one which Sir John had himself appeared in as a young singer. |
| The event was held in the North Dorset village of Oborne and consisted of |
| (i) an opera, Il Tabarro, an opera composed by Giacomo Puccini and directed by Sir John Tomlinson. The opera was performed by seven emerging professional singers and was accompanied on the piano by Susanna Stranders, our Artistic Director; |
| (ii) a workshop in which Sir John Tomlinson and Susanna Stranders mentored the seven young professional singers on their performance of music performed later at the recital; and |
| (iii) a recital performed by Sir John Tomlinson and the seven young singers and accompanied on piano by Susanna Stranders. |
| Each of the events were open to the general public, and a total of 238 tickets were sold across the three performances. The tickets were sold at heavily subsidised prices to encourage members of the public unfamiliar with opera or who have with limited access to opera to attend. It has been estimated that tickets which were sold for £40 a head would otherwise have cost approximately £150. |
| The seven emerging singers that were performing and being mentored were: |
| Isabel Garcia Araujó |
| Victoria Armillotta |
| Dominick Felix |
| Eugene Dillon Hooper |
| Felix Kemp |
| Elizabeth Lynch |
| Rhys Meilyr |
| The singers were selected through an open audition by Susanna Stranders and Sir John Tomlinson for their potential, with additional experience, to perform leading roles in major productions. |
| (B) Encouraging the Support of Regular Donors |
| The financial success of Cameratina Limited is dependent on attracting and retaining a sufficient number of donors to fund the event. The Directors prepared and endorsed a prospectus for potential donors that set out the aims of the company in organising the event, the nature of the event and the obligations on the potential donors if they committed to supporting the event. This was to give clarity to potential donors. This document was well received and a similar prospectus in respect of the 2025 event will be prepared. |
| In addition, an informal lunchtime recital to promote Cameratina Limited to potential donors was organised in London at which Susanna Stranders and two of the emerging singers presented a short programme of works by Puccini and those who influenced him. The costs of this event were met directly by existing donors not by the Charity. |
| (C) Establishing the Infrastructure of Cameratina Limited |
| A further focus of work since the outset of Cameratina Limited has been establishing the governance and regulatory foundations of the company. The initial Board of Directors has been set up with Alison Munro as chair. The Board has divided its time between the three aims for the reporting period noted above. |
| It is currently working on developing policies in the following areas: |
| -Safeguarding and Vulnerable People, |
| -Privacy and Data Protection, |
| -Risk Management, |
| -Financial Controls, and |
| -Conflicts of Interest. |
| These areas are discussed in the section on Governance below. |
| CAMERATINA LTD (REGISTERED NUMBER: 14462887) |
| REPORT OF THE TRUSTEES |
| FOR THE YEAR ENDED 30 SEPTEMBER 2024 |
| OBJECTIVES AND ACTIVITIES |
| Additionally, a working group of current donors and the directors, led by the Chair, has been developing draft policies for expanding formal membership of the charity and electing and recruiting directors to the Board. |
| (D) Who used and benefited from our charity? |
| There are two classes of beneficiaries from our activities, the general public who have the opportunity to attend the opera performances that we organise, and those emerging singers who are mentored before and during the opera performances that we organise. |
| This accords with our two objectives. |
| - The general public having the opportunity to attend the performances |
| The events of the Puccini weekend were publicised to the general public through: |
| - an email circulation to approximately 500 people, primarily in the local area, who had previously expressed an interest in opera; |
| - an email circulation to people, again mainly from the local area, who had previously attended opera events at The Grange Hotel, Oborne; |
| - an email circulation to regular guests to The Grange Hotel, Oborne: |
| - a paid advertorial in the local free magazine, The Sherborne Times; two interviews on local radio; and- the distribution of 750 leaflets to local shops, churches and homes in Sherborne and the local area. |
| 238 tickets were sold for performances during the Puccini event. Of these 82 were to attend the opera, 81 were to attend the recital and 75 were to attend the open workshop. |
| (ii) The emerging singers who receive free mentoring while preparing for the performances |
| As noted above, seven emerging singers were engaged to take part in the Puccini event. The emerging singers are paid a market fee for their performances and are not charged for the mentoring that they receive. |
| Feedback from each of the seven performers is sought and shared with the Directors, and also, on an anonymous basis, with the Artistic Director and the Guest Artist. |
| Amongst the many positive comments to be received from the artists, the following are a selection: |
| In answer to the question "What went well and what went badly/not so well and how it can be improved?" |
| "I loved the weekend in Oborne and the sessions prior. The quality of both coaching and directing were of course excellent and I felt there was always a nice atmosphere when rehearsing. |
| I definitely think a couple more rehearsals would help in the future and a separate tech/dress (which was planned but didn't go ahead due to being behind with blocking.)" |
| "I really enjoyed my weekend with Cameratina. I really enjoyed the rehearsal process with Susie and John, and I was grateful for the chance to learn a new role and a work which I hadn't yet been able to work on and may not have had for a while in my career. I would have loved more rehearsal time with the team in order to really delve deeper into the work and finesse our performance with greater detail and polish, but I was under no illusions of a lengthy rehearsal period when Susie offered me the project. I also would have loved a longer working vocal session with John either as part of the masterclass or otherwise, but I also understood the time restraints. I would have also loved a second performance." |
| "The weekend was brilliant and I wouldn't change a thing. In terms of rehearsals, it was very exciting to rehearse at the Royal Opera House." |
| In answer to the question "Did we achieve our goal of strengthening your career in the medium to long-term?" |
| "Definitely yes. Had the performance taken place in a bigger venue with more audience capacity, comps would have been very useful as I wanted to invite a couple of agents but wasn't able to." |
| "The career and artistic benefits that I took away from the weekend were more centred around personal and vocal development, rather than networking or future work per se. Singing a first Puccini role with proper bel-canto vocal style is a skill in itself, and it was wonderful to work on this and learn under the guidance of both John and Susie's expertise. Putting a production together in such a short time is also a brilliant learning experience, requiring a fast-pace rehearsal process, and deep preparation which was a beneficially and brilliant experience to go through. |
| CAMERATINA LTD (REGISTERED NUMBER: 14462887) |
| REPORT OF THE TRUSTEES |
| FOR THE YEAR ENDED 30 SEPTEMBER 2024 |
| OBJECTIVES AND ACTIVITIES |
| Personally, I was also feeling a bit lost in my own performing career so simply the opportunity to get back on stage and do the job with lovely colleagues and an inspiring team of leaders was hugely beneficially to my confidence, and a reminder of why I still keep chipping away. I took so much away from hearing about John's career in the coffee morning and picking his brain about repertoire and career trajectory more informally, and not to mention the invaluable vocal wisdom he imparted both during the masterclass and the rehearsal period. I definitely grew as an artist and felt inspired for my next steps as a direct result of my weekend with Cameratina, so thank you for having me, and I'd be delighted to join you again if you would have me." |
| "It was great to put a realistic role down on the CV. I think the networking was superb, the chance to work with such professionals was an honour. On top of that, to make new friends within the industry. Opera Cameratina is a fantastic stepping stone to the industry. Thank you so much." |
| In answer to the question "Did the safeguarding aspects work for you? Did you feel harassed or stressed in any way? We know that every performance is stressful but was there anything that was out of the ordinary, either in a professional sense or on a personal level?" |
| "Nothing negative to report on this front. My colleagues were all delightful, respectful and a joy to work with. However, as someone who has had a very negative experience in the past with a former male lead, I think it's extremely important to put guidelines in place in rehearsals especially in romantic/sexual scenes. No matter how small the company, it is - in my opinion - not enough to hope people will be "nice and professional". I'm aware of the low budget and staff restrictions but strongly feel this could be implemented in the future to improve the wellbeing of performers." |
| "I had no safe-guarding concerns at all, everyone was very welcoming and lovely to be around." |
| In answer to the question "Any other feedback that you think will help us to provide a better experience for the emerging performers that go through the process next year?" |
| "No. It was a really special weekend and I felt extremely welcome and well looked after, as Susie had anticipated." |
| "It was an absolute thrill to work with Sir John - a real legend." |
| "I wanted to thank you for the opportunity of being part of the Opera Cameratina this year. It was an honour." |
| Public benefit |
| Our main activity, the annual weekend of opera and music, described below, delivered on both our objectives for the public benefit. |
| Regarding the first objective "Promoting public operatic performances, recitals and workshops, the events of the weekend were open to the general public at heavily subsidised ticket prices, which allowed members of the public who have not experienced opera before or who do not usually have the resources to attend opera, to enjoy performances of a high professional standard. |
| Further, the weekend event in 2024 was held in a part of the country that has no local permanent opera venue and where there are limited opportunities to attend live performances by professional opera singers. Thus the event provided an opportunity to the general public to enjoy live opera and vocal music without needing to travel significant distances. This convenience encourages those members of the general public who are not familiar with live opera to try the experience. |
| Regarding our second objective "The provision of training and workshops to performers/artist", the weekend event was centred around giving emerging opera singers the opportunity to rehearse with and be mentored by our Artistic Director, Susanna Stranders, and our Guest Artist, Sir John Tomlinson, both of whom have significant experience in preparing and delivering operatic performances and recitals. The rehearsals took place in London ahead of the weekend and in Dorset during the event. There was also a workshop, which was open to the general public, during which the Guest Artist and the Artistic Director mentored the young singers on their performance skills. The experience gained by the emerging singers was much appreciated by them. |
| The Directors confirm that they have had regard to the guidance issued by The Charity Commission on public benefit. |
| Volunteers |
| Cameratina Limited is most grateful to the 11 volunteers of Opera in Oborne who provided the production crew for "From Darkness into Light", the event discussed below, and provided some of the board and lodging on an unpaid basis. |
| CAMERATINA LTD (REGISTERED NUMBER: 14462887) |
| REPORT OF THE TRUSTEES |
| FOR THE YEAR ENDED 30 SEPTEMBER 2024 |
| FINANCIAL REVIEW |
| Financial position |
| At the end of its second period of operations, Cameratina Limited has achieved a satisfactory financial position. Its reserves as at 30 September 2024 are £3,160. This is the net result of raising £19,424 of income and incurring £19,278 of expenditure. Thus income and outgo are broadly in line with and slightly more positive than the cash flows budgeted at the start of the period. |
| The revenue is primarily proceeds of ticket sales to the performances making up the Puccini event (£7,693) and funding from donations (£9,000). The balance of the income (£2,730) is made up principally of advertising in the programme (£450) and accrued income of £2,160 in respect of Gift Aid for the financial period ending on 30 September 2024. |
| The outgo is primarily on fees to the performers and other direct costs (£17,017). The balance of the outgo is primarily the cost of administering the charity including insurance and accountancy fees. The accountancy fees are accrued as £500 and the balance of £163 from under accrual in the previous year. For the avoidance of doubt, the Directors receive no remuneration for their duties and there is no employee of Cameratina Limited. |
| The Directors are of the opinion that the funding model discussed below is sustainable for the immediate future and they will adopt the same approach for the forthcoming year. |
| Principal funding sources |
| The principal source of charitable funding for Cameratina Limited is a group of 20 to 25 donors who share the objectives of the charity. The donors agree to support the work of the charity on an annual basis. The Directors prepare each year a prospectus setting out their plans for the coming year and donors choose to sign up to support those plans. |
| If there are sufficient donors willing to support that year's event, the event will go ahead. The budgeting for the events is based on there being 20 donors prepared to support the plans. Each donor agrees to bear the same amount of excess cost, whatever that might turn out to be. If more than 20 donors come forward, the suggested donation to each donor is reduced proportionately. Were it to be the case that less than 20 donors are found, the proposal would be withdrawn and possibly reshaped to appeal to a wider group of potential donors. |
| In addition to the main charitable funding provided by this group of regular donors, the charity has accepted fixed donations from individuals who are unprepared to accept the open-ended commitment set out in the prospectus. |
| The charity will in the future seek grants from appropriate grant making bodies that are willing to support Cameratina Limited's Objectives. |
| The charitable funding, as described above, is collected in order to cover the necessary excess of the costs of putting on the weekend music event over the achievable revenue from the subsidised ticket sales. |
| Investment policy and objectives |
| To date, Cameratina Limited's reserves have not been sufficient to require investment. If the reserves reach the levels envisaged in the Reserves Policy described below, then the amounts will be invested based on 'prudent person' principles |
| CAMERATINA LTD (REGISTERED NUMBER: 14462887) |
| REPORT OF THE TRUSTEES |
| FOR THE YEAR ENDED 30 SEPTEMBER 2024 |
| FINANCIAL REVIEW |
| Reserves policy |
| The reserves of the charity arise out of agreed donations from donors exceeding the net outgoings for any particular event. As the donations from the principal group of donors are designed to cover the net outgoings from events, the contribution to reserves in any one year is expected to be small. Accordingly reserves are expected to grow only slowly. |
| The role of the reserves is firstly to support differences in cash flow timing between income from ticket sales and donations and outgoings such as fees to performers. The second role of the reserves is to cover the situation where the commitment of the donors as described in the Prospectus is substantially exceeded and donors are unprepared or unable to extend further their generosity. This situation is regarded as improbable and would arise only in the unlikely occurrence that sales of tickets for an event were very substantially below budgeted levels. |
| Given these roles for the reserves, the Directors are of the opinion that reserves of £10,000, representing the level of possible cash flow strain (£5,000) plus 80% of budgeted ticket sales (£5,000), would be an appropriate target level of reserves to work towards over a period of 7 to 10 years. |
| The main uncertainty surrounding the charity continuing as a going concern in the foreseeable future is the willingness of the principal group of donors to continue to underwrite each year's event. This uncertainty will be reduced by increasing the pool of regular donors. While there is no limit to the number of regular donors Cameratina Limited would consider, it is felt that increasing the number of donors to perhaps 30 to 40 would be ideal for the current scale of the charity. |
| FUTURE PLANS |
| Cameratina Limited plans to continue similar activities to those outlined above in the forthcoming year to 30 September 2025, subject to satisfactory funding arrangements being achieved. Its areas of focus will be: |
| (i) to organise an annual event for 2025. This is already in the planning phase. As noted below, it is a longer-term aim of the charity to take the annual event to areas of the country, other than North Dorset, where opera is not so readily available. As a first step, it is planned to move the performances away from North Dorset to another venue. An event in Suffolk is being considered. While Suffolk is better served for opera than many other areas, it is felt that this move will allow the charity the chance to develop its marketing skills in a relatively favourable location; |
| (ii) to attract further potential regular donors to increase the sustainability of the charity; |
| (iii) to continue to develop the governance and administrative structure of the charity to ensure it is both well run and effective; |
| (iv) to develop links with appropriate grant-making bodies that might be willing to support the Objectives of the charity; and |
| (v) to continue to build the charity's reserves towards its target level. |
| In the medium to long term, Cameratina Limited would like to expand its operations to be able to organise two or more operatic events each year and in a number of locations across Britain and Northern Ireland. However, this must be done slowly in line with the growth in the regular donor base. |
| STRUCTURE, GOVERNANCE AND MANAGEMENT |
| Governing document |
| The charity is controlled by its governing document, a deed of trust, and constitutes a limited company, limited by guarantee, as defined by the Companies Act 2006. |
| Cameratina Limited is a charitable company limited by guarantee, incorporated on 4 November 2022 and registered as a charity on 5 July 2023. The company was established under a Memorandum of Association which established the objects an powers of the charitable company and is governed under its Articles of Association. In the event of the company being wound up, each member is required to contribute an amount not exceeding £1. |
| CAMERATINA LTD (REGISTERED NUMBER: 14462887) |
| REPORT OF THE TRUSTEES |
| FOR THE YEAR ENDED 30 SEPTEMBER 2024 |
| STRUCTURE, GOVERNANCE AND MANAGEMENT |
| Recruitment and appointment of new trustees |
| The Directors of Cameratina Limited are also charity trustees for the purposes of charity law. Under the requirements of the Memorandum and Articles of Association, all the Directors must retire at the first annual general meeting and be subject to re-election. Thereafter, one third of the members of the Board of Directors retire each year in rotation and are subject to re-election. |
| The members of the Board of Directors are elected by the membership of the Charity. The initial members of the Charity are the subscribers to the Memorandum. The policy for extending the membership of the Charity will be developed in conjunction with the development of the policy for the recruitment of new Directors noted below. |
| All members of the Board of Directors give their time voluntarily and receive no benefit from the charity. No expense has been reclaimed from the charity. |
| As noted above, all the Directors, Ms Munro, Ms Fairless and Mr Masters retire at the first Annual General Meeting and, being eligible, offer themselves for re-election. |
| Given the recent creation of Cameratina Limited, it has not yet needed to consider its policy on the recruitment of new Directors. This policy will be developed in the coming year. |
| Artistic Director |
| Susanna Stranders, our Artistic Director, is a full-time member of the music staff of The Royal Ballet and Opera. Ms Stranders was retained on a contract for services to provide performances in and support for the Puccini event. The support included the preparation of the music programme, identification of suitable young singers, the mentoring and rehearsal of those singers and the identification and recruitment of a Principal Guest Artist, who was Sir John Tomlinson in 2024. Ms Stranders received a fee for this role. |
| Ms Stranders has been retained on a new contract for the music event in 2025. |
| Risk management |
| The trustees have a duty to identify and review the risks to which the charity is exposed and to ensure appropriate controls are in place to provide reasonable assurance against fraud and error. |
| It is proposed that a risk register be established and updated at least annually. |
| Where appropriate, procedures will be established to mitigate the risks the charity faces. |
| Significant external risks, such as the need for regular donors, will be considered in the development of a strategic plan in order to mitigate, diversify or accept the risks concerned. |
| Internal control risks are minimised by the implementation of procedures for authorisation of all transactions and projects, with support from appropriate external advisers as required. |
| Procedures are to be developed to ensure compliance with health and safety of volunteers, performers, donors and attendees at events. These procedures are periodically reviewed to ensure that they continue to meet the needs of the charity. |
| Where appropriate, risks are addressed by the purchase of insurance. Cameratina Limited carries insurance against third party liabilities and also covers its Directors and Officers for claims against them arising from them acting in fulfilling their duties to Cameratina Limited. |
| CAMERATINA LTD (REGISTERED NUMBER: 14462887) |
| REPORT OF THE TRUSTEES |
| FOR THE YEAR ENDED 30 SEPTEMBER 2024 |
| STRUCTURE, GOVERNANCE AND MANAGEMENT |
| Governance |
| (i) Safeguarding and Vulnerable People |
| A written policy is being developed. In the interim, the Directors required that the schoolgirl Lily Barrett was accompanied at all times by a parent while working on the opera production. This requirement was met. |
| Cameratina Limited's interaction with other vulnerable people is limited to those vulnerable people in the general public buying tickets. The main concern is to ensure disabled members of the public have full access to the productions and that facilities for the disabled are available at or near the venue. So far, we have had a number of wheelchair users attend and we also make available an area where comfortable seating is available. |
| (ii) Privacy and Data Protection |
| Cameratina Limited is exempt from many of the requirements of UK Data Protection as the only personal data held are contact details of potential donors and volunteers where relevant. These are held on a password protected database operated by a commercial concern. Cameratina Limited is registered with the Information Commissioners Office and will implement any additional requirements as requested. |
| (iii) Financial Controls |
| The financial controls are discussed in the Financial Review above. |
| (iv) Conflicts of Interest |
| A record of the directorships and other significant roles of the Directors is maintained. No significant conflict between these roles and the Directors responsibilities to Cameratina Limited has been identified. The possibility of any conflict is considered at each Board meeting. |
| (v) Risk Management policy |
| A written risk policy is to be developed. As noted above in the section on Risk Management, work on this and the implementation of this policy is a priority for the Board. It is planned for this to be completed in 2025. In the interim, risk management is carried out albeit without a formal structure. |
| Approved by order of the board of trustees on |
| CAMERATINA LTD |
| STATEMENT OF FINANCIAL ACTIVITIES |
| FOR THE YEAR ENDED 30 SEPTEMBER 2024 |
| Period |
| 4.11.22 |
| Year Ended | to |
| 30.9.24 | 30.9.23 |
| Unrestricted | Total |
| fund | funds |
| Notes | £ | £ |
| INCOME AND ENDOWMENTS FROM |
| Donations and legacies |
| Charitable activities |
| Other income |
| Total |
| EXPENDITURE ON |
| Charitable activities |
| Other |
| Total |
| NET INCOME |
| RECONCILIATION OF FUNDS |
| Total funds brought forward |
| TOTAL FUNDS CARRIED FORWARD | 3,014 |
| CAMERATINA LTD (REGISTERED NUMBER: 14462887) |
| BALANCE SHEET |
| 30 SEPTEMBER 2024 |
| 2024 | 2023 |
| Unrestricted | Total |
| fund | funds |
| Notes | £ | £ |
| CURRENT ASSETS |
| Debtors | 4 |
| Cash at bank |
| CREDITORS |
| Amounts falling due within one year | 5 | ( |
) | ( |
) |
| NET CURRENT ASSETS |
| TOTAL ASSETS LESS CURRENT LIABILITIES |
| NET ASSETS |
| FUNDS | 6 |
| Unrestricted funds | 3,014 |
| TOTAL FUNDS | 3,014 |
| The charitable company is entitled to exemption from audit under Section 477 of the Companies Act 2006 for the year ended 30 September 2024. |
| The members have not required the company to obtain an audit of its financial statements for the year ended 30 September 2024 in accordance with Section 476 of the Companies Act 2006. |
| The trustees acknowledge their responsibilities for |
| (a) | ensuring that the charitable company keeps accounting records that comply with Sections 386 and 387 of the Companies Act 2006 and |
| (b) | preparing financial statements which give a true and fair view of the state of affairs of the charitable company as at the end of each financial year and of its surplus or deficit for each financial year in accordance with the requirements of Sections 394 and 395 and which otherwise comply with the requirements of the Companies Act 2006 relating to financial statements, so far as applicable to the charitable company. |
| CAMERATINA LTD (REGISTERED NUMBER: 14462887) |
| BALANCE SHEET - continued |
| 30 SEPTEMBER 2024 |
| These financial statements have been prepared in accordance with the provisions applicable to charitable companies subject to the small companies regime. |
| The financial statements were approved by the Board of Trustees and authorised for issue on |
| CAMERATINA LTD |
| NOTES TO THE FINANCIAL STATEMENTS |
| FOR THE YEAR ENDED 30 SEPTEMBER 2024 |
| 1. | ACCOUNTING POLICIES |
| Basis of preparing the financial statements |
| The financial statements of the charitable company, which is a public benefit entity under FRS 102, have been prepared in accordance with the Charities SORP (FRS 102) 'Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (effective 1 January 2019)', Financial Reporting Standard 102 'The Financial Reporting Standard applicable in the UK and Republic of Ireland' and the Companies Act 2006. The financial statements have been prepared under the historical cost convention. |
| Income |
| All income is recognised in the Statement of Financial Activities once the charity has entitlement to the funds, it is probable that the income will be received and the amount can be measured reliably. |
| Expenditure |
| Liabilities are recognised as expenditure as soon as there is a legal or constructive obligation committing the charity to that expenditure, it is probable that a transfer of economic benefits will be required in settlement and the amount of the obligation can be measured reliably. Expenditure is accounted for on an accruals basis and has been classified under headings that aggregate all cost related to the category. Where costs cannot be directly attributed to particular headings they have been allocated to activities on a basis consistent with the use of resources. |
| Taxation |
| The charity is exempt from corporation tax on its charitable activities. |
| Fund accounting |
| Unrestricted funds can be used in accordance with the charitable objectives at the discretion of the trustees. |
| Restricted funds can only be used for particular restricted purposes within the objects of the charity. Restrictions arise when specified by the donor or when funds are raised for particular restricted purposes. |
| Further explanation of the nature and purpose of each fund is included in the notes to the financial statements. |
| 2. | TRUSTEES' REMUNERATION AND BENEFITS |
| There were no trustees' remuneration or other benefits for the year ended 30 September 2024 nor for the period ended 30 September 2023. |
| Trustees' expenses |
| There were no trustees' expenses paid for the year ended 30 September 2024 nor for the period ended 30 September 2023. |
| CAMERATINA LTD |
| NOTES TO THE FINANCIAL STATEMENTS - continued |
| FOR THE YEAR ENDED 30 SEPTEMBER 2024 |
| 3. | COMPARATIVES FOR THE STATEMENT OF FINANCIAL ACTIVITIES |
| Unrestricted |
| fund |
| £ |
| INCOME AND ENDOWMENTS FROM |
| Donations and legacies |
| Charitable activities |
| Other income |
| Total |
| EXPENDITURE ON |
| Charitable activities |
| Other |
| Total |
| NET INCOME |
| TOTAL FUNDS CARRIED FORWARD | 3,014 |
| 4. | DEBTORS: AMOUNTS FALLING DUE WITHIN ONE YEAR |
| 2024 | 2023 |
| £ | £ |
| Other debtors |
| CAMERATINA LTD |
| NOTES TO THE FINANCIAL STATEMENTS - continued |
| FOR THE YEAR ENDED 30 SEPTEMBER 2024 |
| 5. | CREDITORS: AMOUNTS FALLING DUE WITHIN ONE YEAR |
| 2024 | 2023 |
| £ | £ |
| Accrued expenses |
| 6. | MOVEMENT IN FUNDS |
| Net |
| At | movement | At |
| 1.10.23 | in funds | 30.9.24 |
| £ | £ | £ |
| Unrestricted funds |
| General fund | 3,014 | 146 | 3,160 |
| TOTAL FUNDS | 146 | 3,160 |
| Net movement in funds, included in the above are as follows: |
| Incoming | Resources | Movement |
| resources | expended | in funds |
| £ | £ | £ |
| Unrestricted funds |
| General fund | 19,424 | (19,278 | ) | 146 |
| TOTAL FUNDS | ( |
) | 146 |
| Comparatives for movement in funds |
| Net |
| movement | At |
| in funds | 30.9.23 |
| £ | £ |
| Unrestricted funds |
| General fund | 3,014 | 3,014 |
| TOTAL FUNDS | 3,014 | 3,014 |
| Comparative net movement in funds, included in the above are as follows: |
| Incoming | Resources | Movement |
| resources | expended | in funds |
| £ | £ | £ |
| Unrestricted funds |
| General fund | 18,570 | (15,556 | ) | 3,014 |
| TOTAL FUNDS | 18,570 | (15,556 | ) | 3,014 |
| CAMERATINA LTD |
| NOTES TO THE FINANCIAL STATEMENTS - continued |
| FOR THE YEAR ENDED 30 SEPTEMBER 2024 |
| 7. | RELATED PARTY DISCLOSURES |