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OPERA AUSTRALIAANNUAL REPORT
2012
The Board of Directors of Opera Australia is also the Board of Directors of the Australian Opera and Ballet Orchestra
Limited, a wholly-owned subsidiary company of Opera Australia.
The Board of Directors delegates to the Chief Executive, and through him to the executive team, authority to manage,
within the parameters set by the Board, the Company’s activities.
The work of the Board is supported by:
The Audit and Risk Committee, which comprises all Directors. The Chief Executive and Finance Director attend its
meetings, and the Company’s Auditors meet with it regularly to report on their processes and findings. The Audit
and Risk Committee meets before each Board meeting, and otherwise as required, and is responsible for closely
scrutinising the Company’s management systems, financial processes, risk management practices and the financial
prudence of its strategies.
The Remuneration Sub-Committee, which consists of the Chairman of the Board, the Chairman of the Audit and
Risk Committee and one other Director. The Human Resources Director attends its meetings when required. The
Remuneration Sub-Committee meets as necessary, and is responsible for overseeing the Company’s remuneration
policy, including the remuneration of the Chief Executive and the executive team.
VISIONEnriching Australia’s cultural life with exceptional opera.
MISSIONTo present opera that excites audiences and sustains and develops the art form.
CORPORATE GOVERNANCEOpera Australia is a Company Limited by Guarantee. Its governance is the responsibility of its Board of Directors,
who are elected by its Members. The Board is responsible for the overall strategic direction of the Company and its
ongoing viability. The Company’s direction and activities are underpinned by its agreed Values:
Pursuit of excellence in everything we do
Respect for knowledge, imagination and creative ambition
Honesty and integrity in all our dealings
Fairness
Sustainability
Encouragement of professional development
Respect and compassion for people
Safe working environment
The Board of Directors of Opera Australia is also the Board of Directors of the Australian Opera and Ballet Orchestra
Limited, a wholly-owned subsidiary company of Opera Australia.
The Board of Directors delegates to the Chief Executive, and through him to the executive team, authority to manage,
within the parameters set by the Board, the Company’s activities.
The work of the Board is supported by:
The Audit and Risk Committee, which comprises all Directors. The Chief Executive and Finance Director attend its
meetings, and the Company’s Auditors meet with it regularly to report on their processes and findings. The Audit
and Risk Committee meets before each Board meeting, and otherwise as required, and is responsible for closely
scrutinising the Company’s management systems, financial processes, risk management practices and the financial
prudence of its strategies.
The Remuneration Sub-Committee, which consists of the Chairman of the Board, the Chairman of the Audit and
Risk Committee and one other Director. The Human Resources Director attends its meetings when required. The
Remuneration Sub-Committee meets as necessary, and is responsible for overseeing the Company’s remuneration
policy, including the remuneration of the Chief Executive and the executive team.
VISIONEnriching Australia’s cultural life with exceptional opera.
MISSIONTo present opera that excites audiences and sustains and develops the art form.
CORPORATE GOVERNANCEOpera Australia is a Company Limited by Guarantee. Its governance is the responsibility of its Board of Directors,
who are elected by its Members. The Board is responsible for the overall strategic direction of the Company and its
ongoing viability. The Company’s direction and activities are underpinned by its agreed Values:
Pursuit of excellence in everything we do
Respect for knowledge, imagination and creative ambition
Honesty and integrity in all our dealings
Fairness
Sustainability
Encouragement of professional development
Respect and compassion for people
Safe working environment
CONTENTS
Vision, Mission, Corporate Governance 2
Chairman's Report 5
General Manager and Artistic Director's Report 11
Our People 24
Artists - 2012 25
Australian Opera and Ballet Orchestra Report 27
Patron Program 30
Opera Australia Capital Fund 32
Opera Australia Capital Fund - Chairman's Report 33
Opera Australia Activities 36
Opera Australia Salutes its 2012 Partners 39
Photographs
Jeff Busby, Branco Gaica, Ben Symons and Lisa Tomasetti
CONTENTS
Vision, Mission, Corporate Governance 2
Chairman's Report 5
General Manager and Artistic Director's Report 11
Our People 24
Artists - 2012 25
Australian Opera and Ballet Orchestra Report 27
Patron Program 30
Opera Australia Capital Fund 32
Opera Australia Capital Fund - Chairman's Report 33
Opera Australia Activities 36
Opera Australia Salutes its 2012 Partners 39
Photographs
Jeff Busby, Branco Gaica, Ben Symons and Lisa Tomasetti
As the largest performing arts organisation in Australia supported by
substantial federal and state government funding, Opera Australia is
required to produce a five-year strategic plan and report against its
milestones as agreed with the Major Performing Arts Board, one of
seven boards within the Australia Council. This process is good corporate
governance which imposes certain disciplines upon the Company in terms
of financial decisions, pursuit of artistic vibrancy, risk management, and
measurement and benchmarking of key performance indicators. The late
management guru, Peter Drucker, always emphasised that ‘strategy is a
sense of direction around which you improvise', a definition tailor-made for
the arts. Our new business model remains such a work-in-progress.
Our latest report makes the following points. In the last two years Opera
Australia has undergone a major artistic and operational review which led
to significant growth in its activities. The Company has focused on creating
new content, broadening the audience for its work and, most importantly,
deepening the level of engagement with the Australian public.
In 2012, the first full year of the new business model, many initial milestones
have been met and there is growing confidence in the decision to expand
activities and diversify programming. The early successes of the first Handa
CHAIRMAN'S REPORTDr Ziggy Switkowski
Andrew Jones as PapagenoThe Magic Flute
5
Opera on Sydney Harbour, the national tour of South Pacific, our community
partnerships and the overwhelming interest in the 2013 Melbourne Ring
support our confidence in the validity of our strategy. During the flurry
of new activities, the Company's mainstage seasons in Melbourne and
Sydney have continued with new productions of The Magic Flute, The
Marriage of Figaro, Die tote Stadt, Lucia di Lammermoor and Salome. Oz
Opera commenced its biennual regional tour with a new production of Don
Giovanni and the Company has co-produced two presentations in Asia –
Madama Butterfly in Taipei and Don Pasquale in Tokyo.
The new business model reinforces that mainstage seasons are fundamental
to our role as the national opera company but forecasts that the broadening
of our activities will not diminish. Few dispute that Opera Australia is
already one of the busiest and most diversified opera companies in the
world with 227 mainstage performances in Melbourne and Sydney this past
year in addition to an outreach program which extends to schools, regional
centres and other communities without ready access to the high arts.
The Opera Australia family includes ensemble principal singers, choristers,
and orchestral musicians, in addition to specialist staff in technical, stage,
wardrobe and workshop, music and artistic support as well as marketing
and administration, requiring over 1000 full-time and casual staff
through the year.
The 2012 year saw our total income lift sharply by $31m to $100m.
Operating profits before consolidation of the Opera Australia Capital Fund
(OACF) returns were $665,000 continuing the recovery from the down
years post the Global Financial Crisis. With improvement in investment
markets and early contributions from a major fund-raising campaign, the
OACF produced a sharply higher return of $1.4m after the payment of a
$400k dividend to the opera company – consistent with prior years and
gratefully received. At calendar year end, OACF net assets stood at $10.5m.
CHAIRMAN'S REPORT CONTINUED
ANNUAL REPORT 2012
Our consolidated result saw a net profit of $2.07m. The operating results
is a satisfactory outcome for the first full year of our new business model
and the Board commends management for delivering good numbers in
this past year of immense change. Our year end cash position stood at
$8.5m – anomalously high and reflecting timing of cash flows associated
with advance ticket sales and donations especially for the Melbourne
Ring. The Company approaches 2013 with a sturdy balance sheet.
The executive architects of the strategy and business plan for Opera
Australia were the former CEO, Adrian Collette, the Artistic Director,
Lyndon Terracini, and the acting General Manager and former CFO,
Narelle Beattie. After 16 years leading Opera Australia, Adrian Collette
stepped down at the end of the year and returned to Melbourne. His
timing was unwelcome, understandable and exquisite. He has left the
Company in rude health, confident, and pointed at the stars. The Board
has thanked Adrian at a number of functions and I record our respect,
appreciation and affection for our former CEO again in this Report.
Following an international search, a new CEO has been appointed. Craig
Hassall, whose early career included service at our company, will return
from London to take up his role. In the meantime, Narelle Beattie and
Lyndon Terracini continue to lead the organisation with the assistance of
the strong executive team.
The Company continues to benefit from the steadfast support of the
federal government through the demanding economic cycle and we are
greatly appreciative of the funding they make available to the opera
company. We also value the quality of our relationship and interactions
with the minister and his staff. The main government agencies: Major
Performing Arts Board of the Australia Council, Arts NSW and Destination
NSW, Arts Victoria and Victorian Major Events Company, continue as
trusted and valued partners.
7
INCOME AND EXPENDITURE COMPONENTS 2012
INCOME
74% ($73.7 m) Box office, earned income and contributions
26% ($26.4 m) Government grants
EXPENDITURE
57% ($56.1 m) Staff and employment expenses
14% ($14.1 m) Venue, transport and travel costs
18% ($17.3 m) Depreciation, other production and overhead costs
11% ($11.2 m) Marketing and promotion
We’re always heartened and inspired by the support of our many
benefactors. Corporate sponsors provide critical financial grants while
injecting a necessary commercial discipline into our partnerships. Their
support has not wavered. Individuals have continued their extraordinary
philanthropy and the opera company is immensely grateful for their
generosity and personal engagement.
This past year has seen further changes to our board as part of our
succession planning process. Our colleague, Richard Owens OAM,
stepped down after serving 17 years on the OA Board. Few key
decisions or dramatic moments in our history weren't polished by
Richard's attention and commercial inputs and we are grateful for his
many contributions. Two new board members are joining us: David
Mortimer and Mary Waldron. They will strengthen our financial and risk
management processes while bringing experiences in the performing
arts, sponsorship and public policy. A lot has once again been asked of
the Company's board members. Boards typically do the following: hire or
fire the CEO, help shape the strategy, oversee management's execution
of an approved plan, and ensure compliance to the rules and values. In
2012, we endorsed a new strategy and began the (ultimately successful)
search for a new CEO. The other duties weren't neglected, however, but
made easier by a very capable management team. I am very grateful for
the efforts of all my colleagues on the Board, for their expert views and
collegial spirit, and shared enthusiasm for the job.
Under the chairmanship of Rupert Myer, the Opera Australia Capital
Fund embarked upon a significant capital raising campaign aimed
at strengthening the Company's capital base, a critical step as the
risk profile associated with our innovative plans inevitably increases.
Unsurprisingly, our patrons and benefactors have responded generously
and we expect to reach key targets in the year ahead. The Company is
fortunate to have a Capital Fund carefully structured by the late David
Clarke and led by a very committed group of Trustees and Governors.
Past annual reports have forewarned of seriously interesting years ahead.
Well, those times have arrived. This past year has revealed our intentions
and hinted at what's possible. Our former chief executive deserves much
credit but the future is now with a team of executives who have also
been on this journey for some time. The Board thanks Lyndon Terracini,
Narelle Beattie and all members of the OA family, and welcomes Craig
Hassall. We've taken careful artistic and commercial risks, and in a world
of opera companies seeking a viable path into the future, we hope to
have found the right one for Australia.
CHAIRMAN'S REPORT CONTINUED
9
In 2012 Opera Australia connected with more Australians and in more
places than ever before in its history. This watershed year is reflected in
a ream of statistics: record audience numbers, box office, employment
figures, performance numbers, private and public support, geographic
reach, and a forty-four percent growth in total turnover. Just as
importantly, within the Company itself there was a continued focus on
striving to present work of the highest quality to an audience of the
broadest reach across the many diverse activities that now make up our
annual program.
During the year Opera Australia played across a wide demographic
spectrum – from the Yarrabah community in far north Queensland to
mainstage audiences at Sydney Opera House, Arts Centre Melbourne and
Queensland Performing Arts Centre; from community choir groups in the
suburbs of Western Sydney to a South Pacific audience of over 150,000
patrons in Melbourne, Sydney and Brisbane; from regional audiences in
twenty-four centres across four states and territories to over 70,000
school children in metropolitan and regional Victoria and NSW.
In many ways the new performance season geographically closest to
our Surry Hills home had the greatest reach – Handa Opera on Sydney
Harbour: La Traviata played to an international and national audience
with a presence in New York Times Square and international cinemas.
GENERAL MANAGER AND ARTISTIC DIRECTOR'S REPORT
Narelle Beattie and Lyndon Terracini
Emma Matthews as Lucia di LammermoorLucia di Lammermoor
11
Tourists attended the event at Fleet Steps in their thousands and it put
Opera Australia firmly on the world opera stage; Handa Opera on Sydney
Harbour: La Traviata was named number one cultural event in the world
in March 2012 by The Guardian Online. The success of La Traviata, with
its iconic chandelier suspended above Sydney Harbour and with more
than 60% of its audience new to opera, has re-imagined what an opera
company can be in the twenty-first century.
As we head into 2013 the second season of Handa Opera on Sydney
Harbour is in full swing – a breathtaking fiery Carmen lighting up the
Sydney skyline. In Melbourne our other great undertaking for the year
has started to take shape with rehearsals commencing for The Ring
Cycle. Opera Australia’s first production of Wagner’s masterpiece will be
presented in Melbourne in November and December 2013. During 2013
we will also present a full mainstage program in Sydney and Melbourne;
deliver the second half of the Don Giovanni regional tour to Queensland,
Northern Territory and Western Australia; continue the South Pacific
tour to Brisbane, Sydney and Perth; and further expand our community
partnership activities in Alice Springs, Melbourne and Western Sydney.
Clearly the level and diversity of activity in 2012 was not a one-off –
while retaining the fundamental importance of its mainstage seasons the
Company has expanded and transformed to the production house model
of programming.
The first full year of our expanded business model was a successful
beginning to a planned period of sustained growth through diversity and
expansion of activities. In last year’s report we talked about our desire
to connect with as broad an audience as possible and seek an active
engagement with diverse communities. This ambition remains key to
the Company’s artistic programming and future plans. The following table
summarises the impact of 2012 activities compared with the previous year:
CHIEF EXECUTIVE'S REPORT CONTINUED
ANNUAL REPORT 2012GENERAL MANAGER REPORT CONTINUED
In the past year many opera companies have struggled and most
certainly no other company in the world has increased ticket sales to
the same extent as Opera Australia. The new diverse programming and
extent of activities is not without its risks but these are measured risks
that we will keep on taking in an effort to remain relevant and engaged
with our audience.
Mainstage Seasons
Underpinning highly successful mainstage seasons across three cities,
Sydney, Melbourne and Brisbane, was a new production of Mozart’s The
Magic Flute. This dazzling production features giant puppetry and beautiful
costumes and is based on the Julie Taymor production for Metropolitan
Opera New York. With a new English language translation and shorter
performance length this Magic Flute was billed as ‘family friendly’ and did
attract a large number of children as well as other new audience members.
The Sydney Winter season opened and closed with two important new
productions, Die tote Stadt and Salome. These productions, along with a
new Lucia di Lammermoor, The Magic Flute, and the musical South Pacific,
epitomise the diversity of programming and broad audience spectrum
Opera Australia is seeking to reach.
2012 saw the Australian première of Korngold’s Die tote Stadt. Directed
by Bruce Beresford and designed by John Stoddart, the piece was a
13
wonderfully innovative production which featured a very large orchestra
playing not in the pit but elsewhere at Sydney Opera House in the
Studio. The sound was piped in via 111 speakers strategically placed
throughout the Joan Sutherland Theatre so that the audience was able to
experience the full impact of the orchestral playing in cinematic surround
sound. The size of the pit is usually a constraint in our Sydney venue
but in this instance it led to a ground-breaking solution. The sensational
effect could not have been achieved without the hard work and support
of our colleagues at Sydney Opera House.
Towards the end of Sydney Winter we opened new productions of
Lucia di Lammermoor and Salome. The former is a co-production with
Teatro La Fenice and Houston Grand Opera and was directed by John
Doyle. It offered a fresh new interpretation of an opera well loved in
the Opera Australia repertoire. Equally, the new production of Salome,
a co-production with Opera Conference partners and directed by Gale
Edwards, lived up to the demands of Richard Strauss’ one-act opera.
Both Lucia and Salome transferred together with Madama Butterfly
to the Melbourne Spring season. For many, this final Opera Australia
mainstage season for 2012 featuring three powerful (but very
different) heroines, represented the Company’s greatest artistic
success in Melbourne for some time. The two new productions and
Moffatt Oxenbould’s iconic Butterfly sustained and enhanced the
very fine accomplishments of the performing company. Australian
and international artists came together to play to highly appreciative
Melbourne audiences.
South Pacific
Without doubt our new production of Rodgers and Hammerstein’s South
Pacific was one of the highlights of Opera Australia’s year. Based on the
highly acclaimed Lincoln Center Theater production, Opera Australia’s
South Pacific teamed the original New York creative team with an all-
Australian cast. This proved to be a winning combination with director
Bartlett Sher and audiences alike delighted with the Australian show.
South Pacific played to sell-out audiences in Sydney for four weeks, then
transferred to Melbourne’s Princess Theatre for ten weeks before seeing
in the new year at Brisbane’s QPAC for a five-week season. The show will
return to Sydney Opera House to complete its Sydney run in September
GENERAL MANAGER REPORT CONTINUED
Opposite above: Rachelle Durkin as ViolettaHanda Opera on Sydney Harbour La Traviata
Opposite: Emma Matthews as Violetta and Gianluca Terranova as AlfredoHanda Opera on Sydney Harbour La Traviata
15
2013 before transferring to Perth at the end of 2013. During the first
half of its run in Sydney more tickets were sold to South Pacific than
any other show in the history of Sydney Opera House. It was also the
first time a Rodgers and Hammerstein musical had been presented
there. We are thrilled with the audience response and equally pleased
with the very high artistic standards that have been maintained
throughout the 2012 run.
Handa Opera on Sydney Harbour: La Traviata
For many years 2012 will be remembered as the first year Opera
Australia presented Handa Opera on Sydney Harbour (HOSH). The
show captured the imagination of both Sydneysiders and visitors; over
half the 38,000 strong audience had never previously been to an opera
performance. The magnificent setting of Sydney Harbour combined
with the fabulous production of La Traviata so beautifully directed by
Francesca Zambello produced something very special. The Swarovski
crystal-encrusted Brian Thomson-designed chandelier became the
third icon of Sydney Harbour for the duration of the show’s season.
Images of the Chandelier, the Harbour Bridge and Sydney Opera House
were transmitted across the world. At the Australian Event Awards in
September 2012 Handa Opera on Sydney Harbour: La Traviata won the
Australian Event of the Year, surely a world first for an opera production.
The success of Handa Opera on Sydney Harbour was underpinned by
key private and public support. Firstly, one of the foundations run by
the Japanese philanthropist Dr Handa, the International Foundation for
Arts and Culture, provided funding which made the project viable in the
first instance. As our founding partner we are immeasurably grateful to
Dr Handa for his vision and support. Secondly, the NSW Government
through Destination NSW provided significant funding which enabled
the HOSH production and temporary venue site at Fleet Steps to be of a
standard that would entice visitors from around the world.
ANNUAL REPORT 2012GENERAL MANAGER REPORT CONTINUED
Community Partnerships, Education and Oz Opera
Access and engagement across a broad spectrum are highly valued at
Opera Australia; with our stated objective of reaching the broadest
possible audience it is important that we move beyond the mainstage
venues of traditional opera performance. For many years our consistently
successful Oz Opera regional tour has allowed us to play to audiences
across regional and remote Australia. So too our Oz Opera Schools Tours
in NSW and Victoria and various Education programs have provided access
and interaction with primary and high school students – both within their
schools, at The Opera Centre and in our performing venues. These activities
continued in 2012 with the first year of the Don Giovanni regional tour
playing at 24 venues across ACT, NSW, South Australia and Victoria. This
highly acclaimed production was directed by Michael Gow and designed
by Robert Kemp; it is rightly viewed as one of our most successful touring
productions. The regional tour continues to be supported by funding from
the Federal Government’s Playing Australia program, and both it and the
Schools Tours enjoyed significant support from Australia Post in 2012. The
Schools Tours played to 70,000 primary school students – The Magic Flute
in Victoria and Hansel and Gretel in NSW. Several additional Education
programs using digital technology to engage students in regional areas,
including a mentor program between regional conservatorium students and
AOBO musicians, were successfully completed during the year.
Additional to this swathe of activity, in 2012 Opera Australia commenced
a three-year program in Community Partnerships. This program was
partly funded by a significant grant from the Australia Council’s Creative
Communities Partnership Initiative as well as matching funding from
private philanthropists and foundations. Opera Australia is the first
major performing arts company to be the recipient of a CPPI grant. It has
certainly been a breakthrough moment for our company in terms of the
reach and depth of activities undertaken and is an important part of our
new audience development program.
17
GENERAL MANAGER REPORT CONTINUED In the first year of the new Community Partnerships program two
major projects were completed – Western Sydney Community
Choirs and Yarrabah! The Musical. The Choirs project is based around
the notion of an Opera Australia music director (in this case Simon
Kenway) working with community choir groups over several months.
The project culminated with a concert in the SOH Concert Hall –
400 singers supported by the AOBO and guest soloists. Most of the
singers and their supporters who filled the auditorium had never
before stepped foot in the Sydney Opera House. It was a most moving
event for everyone in the Concert Hall that Saturday afternoon and
it absolutely spoke to Opera Australia’s charter as national opera
company as much as any of our mainstage performances.
Yarrabah is an Indigenous community about an hour south of Cairns;
the aim of this project was to create a musical allowing the community
to tell its story. Director Rhoda Roberts was commissioned to listen to
the stories and write the script and a group of musicians led by Shenzo
Gregorio wrote and played the music. An Opera Australia production
team created a beautifully lit stage in the middle of the community park.
Yarrabah! The Musical played over two nights, first to the community
and then the second night was open to all with many travelling out from
Cairns for the show. Staging the show meant a great deal to the people
of Yarrabah – music was a wonderful means of communicating both
within the community and telling their story to the outside world.
The Yarrabah project would not have been possible without significant
philanthropic support from The Christensen Fund and Tim Fairfax
Family Foundation as well as private individuals. We are very grateful
for their generosity.
Co-presentations in Asia
In 2012 Opera Australia toured two productions to the Asia region –
Madama Butterfly to Taipei and Don Pasquale to Tokyo. The productions
were joint efforts with local partners National Chiang Kai-Shek Cultural
Center in Taipei and the Tokyo Art Foundation. Given the cost of touring
a full opera company, this co-presentation model continues to be a very
effective means of profiling Opera Australia productions offshore.Cheryl Barker as Salome and Thomas Hall as Jokanaan Salome
19
Digital Media
Another very effective way of significantly broadening the audience of
Opera Australia, both at home and overseas, is through the distribution of
recorded productions. 2012 saw a continuation of the recording program
which has been ongoing for several years. Don Giovanni, La bohème, Lakmé
and The Mikado were all broadcast nationally on ABC; and Handa Opera on
Sydney Harbour: La Traviata was broadcast on Studio. A suite of our operas
continues to be distributed worldwide through cinema, DVDs and on-line.
And in an Opera Australia first, a simulcast of a performance of Madama
Butterfly from Arts Centre Melbourne, with the assistance of QPAC
colleagues, was seen in eight regional Queensland centres – a true cross-
state collaboration funded by the Federal Government’s Office for the Arts.
Support
Opera Australia could not achieve this level of programming or reach the
number of people we have in 2012 without significant support. As well
as the specific support and funding mentioned above it is important to
acknowledge all of our corporate sponsors and individual patrons who
contribute so generously. In particular 2012 was the first year of Mazda
Australia’s commitment as Opera Australia’s Principal Partner. Mazda’s
generous sponsorship underpins two very significant events for the
Company – Mazda Opera in the Domain and Mazda Opera in the Bowl.
The three government agencies which provide our base funding – the
Australia Council’s Major Performing Arts Board, Arts NSW and Arts
Victoria provide stalwart support to the Company as we continue to
implement our new business model. Crucial government funding is also
provided to our Victorian performance partner Orchestra Victoria. We
wholeheartedly thank the agencies and their ministers and governments.
The Company
We want to acknowledge the work of all colleagues at Opera Australia.
2012 was a challenging year. The Company took on a lot and it was
ANNUAL REPORT 2012GENERAL MANAGER REPORT CONTINUED
CHIEF EXECUTIVE'S REPORT CONTINUED
absolutely reliant on all of its members working together to achieve
success. Everyone, from singers and musicians, to stage crew, to
workshop and wardrobe staff, to administrative staff, played their role
and contributed to the growth of activities and the increased audience
reach. We particularly recognise the significant contribution from all
members of the senior management team.
The Board of Opera Australia must be greatly thanked – it remained
steadfast in its support while at the same time providing wise counsel
and guidance. Our Chairman Ziggy Switkowski is due to retire at the
upcoming AGM after almost eight years on the Board and over four
years as the Chair. Ziggy has been a very fine chairman – considered,
thoughtful, tough when he needs to be, always supportive and good-
humoured. During his tenure the Company has come through difficult
times and is now set on a new path.
Finally, our long-serving CEO Adrian Collette left Opera Australia at
the end of 2012. It is difficult to quantify Adrian’s contribution to the
company he led for sixteen years – he oversaw periods of great change
and growth, saw some wonderful highs and a few lows, and outlasted
most of his artistic and music directors and chairmen. Through all this he
continued to love the Company and its work and to be challenged by its
potential. Opera Australia was very fortunate to have Adrian Collette at
its helm for so long and we wish him the very best.Overleaf - page 22 (clockwise):
Lorina Gore as Tytania and Tobias Cole as Oberon
A Midsummer Night's Dream
Milijana Nikolic as AmnerisAida
Hiromi Omura as Cio-Cio-SanMadama Butterfly
21
Peter Coleman-Wright in the leading role, Harry Joy, with members of the ensemble, Bliss
Peter Coleman-Wright in the leading role, Harry Joy, with members of the ensemble, Bliss
OUR PEOPLEEMPLOYEE NUMBERS, DECEMBER, 2012
Opera Australia employs around 400 permanent and seasonal staff, and over 1,000 people in total when guest artists and casual staff are included. Our staff includes singers, instrumentalists, repetiteurs, language coaches, directors, conductors, designers, electricians, mechanists, props technicians, dressers, make-up technicians and other production staff, stage managers, stores-persons, carpenters, welders, tailors, sewers, wig-makers, painters, writers, ticket sellers and administrators.
Opera Australia’s activities also depend on the contribution of a significant number of staff at its performance venues, in particular at the Sydney Opera House and the Arts Centre Melbourne. These include technical and backstage staff, ticket sellers, ushers, catering and facilities management staff. Smaller venues, such as those used for Oz Opera regional touring performances, also supply staff to support the Company’s activities.
Full Time Equivalents Ongoing Seasonal Casual TotalPrincipal singers 25 11 0 36Choristers 40 8 16 64Orchestral players 60 8 23 88Other performers 9 23 18 50Music staff 10 3 1 14 Artistic and Orchestra administration 16 0 2 18Oz Opera and tours administration 3 0 0 3Total Artistic 163 53 57 273
Stage management 8 10 0 18Stage staff 20 21 11 52Set and props workshop 12 3 5 20Wardrobe and wigs 21 10 4 35Stores 7 0 6 13Facilities 3 0 5 8Technical administration 5 1 0 6Total Technical 76 45 31 152
Marketing and sales 20 0 5 25Administration and management 38 0 0 38Total Administration 58 0 5 63TOTAL 297 98 93 488
Previous page - page 23 (clockwise):
Nicole Car as Léïla and Henry Choo as NadirThe Pearlfishers
Opera Australia Ladies ChorusTurandot
Stephen Smith as Ferrando and Samuel Dundas as GuglielmoCosì fan tutte
John Longmuir as Almaviva, José Carbó as Figaro and Sian Pendry as RosinaThe Barber of Seville
Amelia Farrugia as Hanna Glawari with members of the Opera Australia ChorusThe Merry Widow
OPERA AUSTRALIA
Artists 2012
Chorus Master Michael BlackAssistant Chorus Master Thomas Johnson
Italian Language Coach Renato Fresia-VerdinoGerman Language Coach Tanja BinggeliFrench Language Coach Marie-Claire Ch.Légion d’Honneur, Ch. Arts et Lettres
Christine AnuCheryl BarkerCarrie BarrZara BarrettAngela BrunDanielle CalderElizabeth CampbellNicole Car*Kate CeberanoJacqueline DarkRachelle DurkinJane EdeAmelia FarrugiaElvira FatykhovaTania FerrisTaryn FiebigSusan FosterLorina GoreAntoinette HalloranLisa Harper-BrownAnke HöppnerKiandra Howarth*
Christian BadeaBrian Castles-OnionJonathan DarlingtonJohannes Fritzsch
Deborah HumbleMilica IlicAdele JohnstonHyeseoung KwonTeresa La RoccaVictoria LambournLisa McCuneJacqueline MabardiDaria MasieroDominica MatthewsEmma MatthewsLatonia MooreMilijana NikolicHiromi OmuraEmma PearsonSian PendrySharon PreroSuzanne ShakespeareSarah SweetingElisa WilsonCelina YuenAnna Yun
Jonathan Abernethy* Richard AlexanderRichard AndersonJud ArthurCarlo BarricelliStephen BennettJonathan BigginsJoshua BloomJohn Bolton Wood AMKanen BreenAndrew BrunsdonGiorgio CaoduroJosé CarbóHenry ChooNick ChristoConal Coad Tobias ColePeter Coleman-WrightAndrew CollisTyler CoppinDavid CorcoranBradley Daley
Chorus
Stephen GrayAndrew GreeneSimon Hewett
Adrian Collette AM, Chief ExecutiveLyndon Terracini, Artistic DirectorAnthony Legge, Associate Music Director
Conductors
Repetiteurs Phoebe BriggsBrian Castles-OnionKate Golla
John Haddock Anthony HuntJennifer Marten-Smith
Tahu MathesonStephen Walter
Lighting Designers
Designers
Directors
Choreographers
Peter J AdamsBenedict AndrewsMatthew BarclayBruce BeresfordMichael CampbellCathy Dadd
Christopher Dawes John DoyleGale EdwardsJulie EdwardsonAndrew FrithGiles Havergal
Liz AscroftAlice BabidgeRussell CohenJohn ConklinTony David CrayMichael Curry
Peter EnglandKristian FredriksonDona GranataRoger KirkMic GruchyTim Gruchy
Robert BryanDamien CooperJane Cox
Oliver FenwickHoward Harrison
Paul KildeaAnthony LeggeAndrea Licata
Donald HolderNigel Levings
Matthew BarclayStephen Baynes
Baz LuhrmannTama MathesonElijah MoshinskyGraeme MurphyLuise Napier
Aldo Di ToroGennadi DubinskySamuel DundasJames EgglestoneChristopher FieldBlake FischerWarren FisherWarwick FyfeLuke GabbedyGyton GrantleyThomas HallDavid HamiltonChristopher HillierDavid HobsonAndrew Jones Daniel KoekRosario La SpinaMichael Lewis OAMJohn Longmuir*Shane LowrencevGraeme MacfarlaneDouglas McNicol
Scott LehrerJulie LynchBill MarronCatherine MartinClare MitchellRalph Myers
Dan PotraTess SchofieldJohn StoddartJulie TaymorBrian Thomson
Andrew MoranJohn O'MayJi-Min ParkDavid ParkinEddie PerfectJohn PickeringTeddy Tahu RhodesSam Roberts-Smith*Barry RyanStephen SmithJeremy StanfordJonathan SummersGianluca TerranovaJames ValentiStefan VinkeJason WasleyJohn WegnerPaul WhelanRowan WittJohn Xintavelonis
Belynda BuckJoshua Consandine
Moffatt OxenbouldAnn-Margret PetterssonRoger PressJohanna PuglisiNeil Rutherford
Benjamin NortheyRyusuke NumajiriGiovanni ReggioliVanessa Scammell
Guillaume TourniaireArvo VolmerTom Woods
Music Staff
Ben ClarkHannah DahlenburgJessica DeanLara de WitSamuel DundasJane EdeNaomi EdwardsLouise Fenbury
Chloris BathHelen BorthwickEmma CastelliAnnabelle Chaffey Lisa CooperRachael CunninghamJane DunstanDeirdre Elliott Mary-Ann Fraser
Vanessa LewisYolanda LorenzatoJodie McGurenMarjory McKay Ke-Lu MaLynette Murray Sandra Oldis Sharon Olde
Margaret PlummerLeah Thomas Katherine WilesDean BassettChristopher BathGregory BrownMartin BuckinghamBrad Cooper
Malcolm Ede Thomas HamiltonScott Hannigan Michael Honeyman Jin Tea KimAndrei LaptevNara Lee David Lewis
Jeffrey LockJonathan McCauleyKent McIntoshRobert MitchellClifford PlumptonBenjamin RasheedSitiveni Talei Adrian Tamburini
Rosetta CookAndrew Frith
Oz OperaStacey AlleaumeRobert BeasleyDon BemroseJennifer BonnerChristopher CartnerEmma CastelliAnnabelle ChaffeyPamela Christie
Luke GabbedyAshley GilesMichael GowDavid HiddenKiandra Howarth*Thomas JohnsonRobert KempEve Klein
Anthony MackeyTahu MathesonCameron MenziesEddie Muliaumaseali'iKathryn RadcliffeSam Roberts-Smith*Samuel Sakker
Jim SharmanBartlett SherJulie TaymorKim WalkerFrancesca Zambello
* Members of the Moffatt Oxenbould Young Artist Program, proudly sponsored by Australia Post. Program Coordinator: Andrew Greene
Lucy GuerinStuart Hopps
Gary MarderJohn Drummond Montgomery
Leslie TraversGeorge TsypinGabriela TylesovaMichael YearganCatherine Zuber
Matt ScottClarissa SpataAdrian TamburiniLeah Thomasjanet ToddBrett WeymarkKatherine Wiles
Graeme Murphy
John RaymentNick SchlieperBernie Tan-Hayes
David Denis Ayanda Dladla Tamaiah Dladla Michael Hart Natalie Herrera Jordan Holtam
South Pacific EnsembleNatalie Alexopoulos Marika Aubrey Jamal Sydney Bednarz Caitlin Berry Andrew Broadbent Andrew Conaghan
Erin James Nicholas Jones Lyndon Keenan Todd Keys Michael Lindner
Jasper Lloyd Elise Mccann Sam Marks Avigalle Mendoza Glen Oliver
Danielle O’Malley Nhlanhla Phewa Justine Puy Tod Strike Jeff Teale
The Australian Opera and Ballet Orchestra (AOBO) is the busiest of
all Australian orchestras, giving around 250 performances each year.
A wholly owned subsidiary of Opera Australia, the AOBO performs
for Opera Australia and The Australian Ballet during their respective
Sydney seasons.
With over forty years of performance history, the AOBO has earned a
reputation for warmth of sound and impressive flexibility in one of the
most challenging musical environments. The repertory performance
schedule of Opera Australia means that up to five different productions
are being performed and prepared at any one time, resulting in up
to eight performances per week. The confined space of the orchestra
pit presents occupational health and safety issues, mainly high noise
levels. Excellent seasonal and casual musicians provide respite for the
permanent musicians of the Orchestra.
Notable productions for Opera Australia in 2012 included: Handa Opera
on Sydney Harbour: La Traviata, which saw the orchestra playing on a
harbour stage in the acclaimed first season of this landmark Sydney
event; Die tote Stadt, a ground-breaking production conducted by
Christian Badea and directed by Bruce Beresford, which featured the
orchestra 'beamed' into the Sydney Opera House Joan Sutherland
Theatre from The Studio; and The Australian Ballet‘s wonderful season of
Prokofiev’s Romeo and Juliet directed by Graeme Murphy and conducted
by Nicolette Fraillon. The AOBO was intrinsic to the success of Opera
Australia’s iconic production of South Pacific, providing full orchestral
forces that are seldom to be heard in the world of music theatre.
The Orchestra also features on recent recordings of live performances
in the Sydney Opera House of The Marriage of Figaro, Rigoletto,
Der Rosenkavalier, La bohème and Swan Lake for cinema and
DVD release.
AUSTRALIAN OPERA AND BALLET ORCHESTRA REPORT
The Australian Opera and Ballet Orchestra and members of the Community Choirs Community Choirs Project
27
Lisa McCune as Nellie Forbush South Pacific
Orchestral Management
General Manager, Orchestra Gérard PataccaDeputy Orchestra Manager Emma In der MaurOrchestral Operations Manager Anna DodgshunAssistant Orchestra Manager Ella HowardOrchestra Coordinator Valérie Morgan-Pertus Senior Staging Assistant Scott Moon
AUSTRALIAN OPERA AND BALLET ORCHESTRA
Associate Concertmaster Huy-Nguyen Bui
FLUTEElizabeth Pring˚Amanda Hollins* Alistair Howlett
PICCOLODiane Berger
OBOEConall McClureMatthew Tighe*Mark Bruwel
COR ANGLAISAndrew Malec
CLARINETPeter Jenkin˚Catherine McCorkill*Richard Rourke
BASSOONDouglas Eyre˚Matthew Ockenden*Gillian Hansen
HORNVictoria Chatterley˚˜ Lisa Wynne-Allen˚˜Bourian Boubbov#
Michael Dixon#
Phillip Wilson#
TRUMPETJoshua Clarke˚Craig Ross*Bruce Hellmers
CORNETBrian Evans
TROMBONEGregory van der Struik˚Brett Favell*William Farmer
BASS TROMBONEBrett Page
TUBAEdwin Diefes
PERCUSSIONShaun Trubiano˚Allan Watson*
TIMPANI David Clarence
HARP Jane Rosenson
Italics Principal˚ Section Leader + Principal 1st Violin* Associate Principal˜ Acting# Contract Musician
VIOLINAdrian Keating+
Catalin Ungureanu+
Tony Gault+
Airena Nakamura˚ (2nd Violins)Mark Fitzpatrick* (2nd Violins)Virginia BluntRachel EastonYu-Qing Rebecca Irwin Marek KruszynskiSamuel PodjarskiDaniel RosenbaumRobert SekJaroslaw TalarRachel Westwood
VIOLAVirginia Comerford˚Amanda Murphy*˜ David DixonMagda KruszynskaMarilyn Wilson
CELLOEszter Mikes-Liu˚˜Andrew Hines*˜Pierre EmeryMargaret IddisonHenry Urbanavicius
DOUBLE BASSBrett Berthold˚Andrew Meisel*Edmund BastianJennifer Penno
GETTING INVOLVEDOpera begins with you
Opera begins before the curtain rises, and continues well after it falls. It extends into the lives of every person it touches; nurturing, inspiring, and challenging them to excellence.Yvonne Kenny AM, Patron-in-Chief
But first, opera begins with you, and in the hearts and imagination of the 400,000 people we perform to each year and with our growing broadcast audience. With your support and the dedication of the thousands of Australian artists and artisans we work with, we will deliver great opera for everyone, on stage at the Arts Centre Melbourne, the Sydney Opera House or in a school gymnasium in outback Australia.
Box office revenue only covers a portion of our costs. So if opera moves you, please consider joining the Patron Program or becoming a friend, giving you a tangible connection with Opera Australia.
PATRONS - $1,500+
Mr Ian Harper AM and Mrs Ian HarperPeter and Jenny HordernMrs Cynthia Jackson AM and the late Dr Edward Jackson AMJohn Lamble AOSheila and Harry JohnstonDr Judith Kinnear Peter and Pamela McKee
GOVERNOR PATRONS - $6,000+Nance Atkinson TrustPeter Bartholomew and Donna PelkaHer Excellency Professor Marie Bashir ACThe Hon Bronwyn Bishop MPIta Buttrose AO OBEMrs K E BryanMichael and Shanny Crouch
Beryl Crusi and the late Henry CrusiMary Davidson and Frederick DavidsonMrs R DechertThe Decor CorporationLee MacCormick Edwards Ph.DVic and Katie FrenchChris and Judy Fullerton The Greatorex Foundation
BENEFACTOR PATRONS - $3,000+
Anthony AdairDr and Mrs Mario AdamoElizabeth AitkenZenon AlexanderThe Hon Richard AlstonSidney and Lynn AndersonDr Patricia Armstrong-Grant OBERosalind BakerJenny BarnesRoss and Ann BarnetsonTony BarnettLaurie Bebbington and Elizabeth O’KeeffeAlasdair Beck
Dr Jane BeebyDr and Mrs Donald BehrendDr Simon Bell and Dr Jennifer Coghlan-Bell Nicole BergerCharles and Annarosa BermanTom BestMinnie Biggs Kevin Bleasel AOBetty BlomfieldAudrey BlundenMrs Jan BowenMrs Rose Boyd and Miss Rhonda Boyd
Virginia Braden OAM and Ken Woolley AMAlix BradfieldMs Judy BrethertonMs Jane BrodribbDr Roderick BrooksBeth Brown and Tom Bruce AMProfessor David BryantIan and Jillian BuchananMr R J Burbidge QC and Mrs R J BurbidgeDiana BurleighDavid ByrneHugh and Hilary Cairns
Elise CallanderIan CameronMrs Naomi CarrickMr and Mrs M H CarriolMr J A CarrollPaul CarterEmily ChangGreg and Terry ChesherCaroline and Robert ClementeJ C Conde AO Maxwell J Connery OAM and Joan R Connery OAMMiss Renata Conrad Tim and Bryony Cox
Peter Mason AM and Kate Mason Tom and Ruth O'DeaThe Hon Mr Justice Barry O'Keefe AM and Mrs Jan O'KeefeDr David and Dr Gillian RitchieRod Sims and Alison PertCarol Sisson
Jeannette AbrahamsDavid and Elizabeth AdamsL R AlwayBetty Amsden OAMJanette and Jim Bain AMMichael Ball Judith and David Beal Margaret and James BeattieTom BeggStephen Bell Mrs Christine Bishop Graeme BlackRosemary and Julian BlockMs Judith BrinsmeadJannie BrownDr Andrew BuchananPam CaldwellDr Lionel ChanThe Clayton FamilyThe Hon Justice Dennis Cowdroy OAMIan and Diana Daly
Mrs David DarlingThe Hon Mrs Ashley Dawson-Damer Suvan and Shamistha de SoysaMr J T Dominguez CBE AM and Mrs DominguezMrs Gordon Douglass AMSandy and Phil DudgeonSuellen and Ron EnestromDr Helen M FergusonDiana and Richard FisherMr Bill FlemingJohn Gale OBENeilma GantnerDr Donald and Dr Rosita GibsonRachel Goldberg and Alan Goldberg AO QCPeter Griffin AMLeonard GroatNereda Hanlon and Michael Hanlon AMPat and Frank HarveyAlistair Hay
Nora Hinchen and John FlintH and R Hofmann Erwin and Judith KatzAnna-Lisa KlettenbergKloeden FoundationMs Eugenia Langley JPDr Joan M Lawrence AMG D Levy and J M HockeySolomon and Rosie LewAlex and Halina LewenbergPeter Lovell Peter Lowry OAM and Carolyn Lowry OAMJustice Robert McDougallSuzanne and Antony Maple-BrownThe Martin Family in memory of Lloyd Martin AMJustice Jane Mathews AODr and Mrs P J MeddingsDr Mark and Dr Alla Medownick
Mabs MelvilleMr and Mrs Richard H MelzakGraham MillerEthel Mitchell OAMAssociate Professor Jane Munro AMThomas Timothy MurphyMrs Judith MyersColin NicholsonDr Paul Nisselle AM and Mrs Sue NisselleDr Robert and Mrs Joan OsbornMrs Roslyn Packer AODr Kevin PedemontJohn and Moya PhillipsDave Poddar and Angela FlanneryGreeba PritchardMark Renehan Bruce Rosenberg Janis SalisburyMr and Mrs Mark Sampson
P F and M J CraneM and M CranitchI F CrawfordMr Charles P Curran AC and Mrs Eva CurranMrs Mary CurtisRod and Marie DalzielJoanne DanielsMrs June DanksMrs Jeanette DaviesErnest Dawes OBE and Nola DawesMatthew DelaseyKathy and George Deutsch
Graeme Samuel AC and Jill Davies Penelope Seidler AMTim and Lynne SherwoodDr Michael Slaytor Margot SmithMr Sam Smorgon AO and Mrs Minnie SmorgonVal Smorgon OBE and Jack Smorgon AOJohn and Jo StruttDr and Mrs David SugermanVictoria TaylorMrs Graham ThorpMrs Alma TooheyPeter TremewenMrs Dawn TroyJohn TuckeyIsaac and Susie WakilRay Wilson OAM in memory of James Agapitos OAMSue and Bill WoodDonna Woodhill
Peter and Leonie SzaboMr Kevin Troy Michael TroyMr and Mrs Peter Turner Keith WalkerdenAlex and Claire WeisCameron WilliamsLyn Williams AM Elizabeth WindschuttleR and G Woodward
Antoinette Albert The Board of Opera AustraliaJennifer BruknerMr Harold Campbell- Pretty and Mrs Krystyna Campbell-Pretty Mrs David Clarke Juliana and Robert Clemesha
ARTIST PATRONS - $12,000+
Mrs Rowena Danziger AM and Mr K G Coles AM Ian Dickson and Reg Holloway Mrs Peter DuncanMrs Jane HemstritchIrwin Imhof, in memory of Herta Imhof
Rex Irwin, Esq. Mr and Mrs Aron KleinlehrerDrs Kathryn Lovric and Roger AllanNick and Caroline Minogue
Dr Douglas and Monica MitchellMrs Patricia NewRichard Owens OAMKenneth R Reed Brenda and Laurence Scofield
Fred and Dorothy StreetAlden Toevs and Judi WolfProfessor Barbara van Ernst AMGraeme Wood and Annette Olle
AMBASSADOR PATRONS - $20,000+Robert Albert AO RFD RD and Elizabeth Albert Philip Bacon AM
Mrs Amina Belgiorno-NettisMartin Dickson AM and Susie Dickson
Lady (Mary) Fairfax AC OBEHans and Petra Henkell
Dr I J HunterD and I Kallinikos
Anthony and Sharon Lee Maureen Wheeler
Mr Michael Diamond AM MBEJennifer and Robert DickersonDisium Pty LtdThe Hon. John Dowd AO QC Andrew and Barbara DoweDr William DowneyMargaret DunstanProfessor Peter Ebeling and Mr Gary Plover Charles EdmondsJames Fairfax ACMargaret FisherMrs M FordAnnette FreemanJohn and Diana FrewVivienne Fried and the late Ruben FriedSabina and David FullRobert Furley and Leon NicholasEric and Tonia Gale Justin and Anne GardenerJohn Garnsey QCMrs David GibbsMinnie GibbsThe Hon Mr E W Gillard QC Dr Nicholas S Girdis CBE and Mrs Marina GirdisThe Hon. Justice and Mrs G GiudiceLeon and Judy GoldmanGeorge H Golvan QCGeorge and Kay GordonWirat Sukprem and Alexander GoslingMrs Wallis GrahamBeatrice GrayDr Anthony Grigg and Mr Paul WilliamsonJames and Sarah GuestThe Hon Justice Ian V GzellJean HadgesRichard and Judy Haes
Mrs Pamela HallLouis Hamon OAMLouise HamshereJudy and John HastingsAlan Hauserman and Janet NashPeter HenningsDr W J Heriot Jennifer Hershon D S and S P HeywoodDr and Mrs R F HicksJohn David HobbsMichael HobbsMs A Hooper Dr Ron HoughtonIan Hunt and Vicki NicholsonMichael and Penny HunterDr Victor Hurley and Maria LeoniDr Alastair JacksonPatricia JacksonStuart Jennings and Diana MumméJohn S JessupDr Michael Joel AM and Mrs Anna JoelDr Garry Joslin and Prof Dimity Reed AMAnne and Bruce JuddJohn Kaldor AM and Naomi Milgrom KaldorMrs Mathilde Kearny-KibbleMr Kevin KelleherDr Susan M KellyJames and Diana KimptonJulia King AMMrs Deborah KirkIn memory of Suzanne KorbelDrs Marjorie and George Kossoff AOGeorge Krawat Mr F Kunc SC and Ms F RourkeDavid and Megan Laidlaw
Peter Lazar AM Margaret LedermanCatherine and Yick Him LeeStephanie LeeBarbara and Bernard LeserAnn and David LevitanRichard and Elizabeth LongesJill and Brian LotonMr Howard LoweSusan McCarthyMrs Marie McCann OAMA S MacanshDr Ann McFarlaneAvril and Peter McGrathGeorge and Patricia McGregorRobert and Sarah McKay Mimie MacLarenMarcus and Brooke MacLeanPeter and Anne Mc NamaraHon Ian and Mrs Julie MacpheeGeoffrey MagneyDavid Malouf AOKirsten Mander Jenny MantonMerilyn MarelProfessor Bernard and Mrs Joyce MarksJennifer K Marshall Rohan MeadDr Bryan and Mrs Debora MendelsonThe Monarch Investment Group of CompaniesJohn and Isobel MorganAdrian Morris and Eileen ChaninTed and Brenda MouritzDr Stephen MulliganPhilip J W MurphyRupert and Annabel MyerIrena NebenzahlNew Vision Clinics
Leon Nicholas and Robert FurleyProfessor G C O'Brien and Dr I E O'BrienLynne and David OlssonGeorge and Jillian PappasTimothy and Eva PascoeG Pearson Fred PeisahProfessor David Penington ACMs Janine PerrettPhillip and Jennifer PerryValmai Pidgeon AMMr Ian PlaterRay PoonRobin Potter OAMMr Peter Charles Prior CLJRailx Aluminium ProductsJudith and Ernest RapeeAngela Raymond Mr and Mrs A R RaywardJohn and Leah ReadFrank A RobertsonMr Geoffrey Robertson QCMr Graeme RobertsonMichael and Angela RoddMr Jeremy Ruskin QC and Ms Roz ZalewskiRowan and Susie RussellMargaret SammutA J and S M SasseThe Satir Centre of AustraliaMrs M SaundersGarry E ScarfAubrey G SchraderTom SchreckerPhillip and Sue Schudmak Edward and Susan SchutzCaroline ServentyMrs Penelope ServiceDavid Shavin QC Dr John Sheehy Professor Gillian Shenfield AMHelene Shepherd
ARTISTS’ SPONSORSHIPS
Cheryl Barker is sponsored by Anthony and Sharon LeeMichael Black, Chorus Master, is sponsored by Sterling Mail Order Pty. Ltd.Nicole Car is sponsored by Jane HemstritchDavid Corcoran is sponsored by Drs Kathryn Lovric and Roger Allan and he is Opera Australia's ambassador for the Asthma Foundation of NSWJacqueline Dark is sponsored by Juliana and Robert Clemesha Taryn Fiebig is sponsored by Maureen Wheeler Lorina Gore is sponsored by Mrs Rowena Danziger AM and Mr Kenneth Coles AM
OPERA SOCIETY INC Opera Society Inc is a Melbourne-based organisation which supports Opera Australia through its fund-raising activities and provides its members with informative and entertaining events throughout the year. The Society offers access to dress rehearsals, insights, film nights, lunches, brunches, concerts and recitals. Information about the Society is available from the office on (03) 9685 3757 or at www.operasociety.org.au
Mrs H ShownirukDr R J SimmieBernadette SlaterMichael and Melissa SlatteryDenise SmithAssoc. Prof. Ross Steele AMIn memory of Beryl StephensMr Nigel StokeAnthony StolarekRev Prof Michael Tate AO Mrs Joan TaylerVictoria ThorogoodSandy and Anna ToddRichard and Caroline Travers Nevenka TuckerSuzanne and Ross Tzannes AMUllmer Family Charitable EndowmentVisium Pty Ltd John S Walton AMThe Shirley Ward FoundationMrs Suzanne A R WaterhouseMs Pinky WatsonDerek Watt and Cathy Brown-WattArthur and Topsy WebsterDr Eric WegmanThe Honourable Justice Anthony Whealy Professor and Mrs Chris WhitakerDr Eva WickiCaroline WilkinsonChristine and Price WilliamsEvan Williams AM and Janet WilliamsJocelyn WoodhouseMr Kerry WrightDr Kun-Gay Yap and Dr Kuldip Kaur
Michael Honeyman is sponsored by Brenda and Laurence ScofieldAndrew Jones is sponsored by Maureen WheelerDominica Matthews is sponsored by Professor Barbara van Ernst AMEmma Matthews is sponsored by Jennifer Brukner Teddy Tahu Rhodes is sponsored by Rex Irwin, Esq. Stefan Vinke is sponsored by Martin Dickson AM and Susie Dickson John Wegner is sponsored by Hans and Petra Henkell The Opera Australia Chorus is proudly sponsored by ExxonMobil
INTERNATIONAL PATRONS
Victor K Atkins in memory of Leslie Pritchard
Roderick and Gillian Deane
Em Green, in memory of her father Josef Tardy
To receive further information about Opera Australia’s event program, please contact Ailsa Eckel in Sydney on (02) 9318 8333 or Sally Percival in Melbourne on (03) 9685 3752
Hamish O Parker
DR HARUHISA HANDA, Honorary International Patron
FRIENDS OF OPERA AUSTRALIAAs a Friend of Opera Australia you will enjoy a closer involvement with the opera as well as helping to support the work we do. As a Friend you are invited to our seasonal Insight evenings, to hear artists perform and the creative team discuss works from new productions. Friends are also given access to select dress rehearsals and discounted tickets where possible during the season.
With thanks to improved investment returns and the success of the
Tenth Anniversary Capital Campaign, it is with pleasure I report that
the Opera Australia Capital Fund’s total equity reached $10.5 million
at the end of 2012, a significant increase on the previous year's result.
In keeping with the Fund’s aim of assisting Opera Australia’s
activities, another distribution of $400,000 was paid to the
Company in support of artistic standards and thus, audience
enjoyment and satisfaction. The Board of the Capital Fund is hopeful
that it will now be possible to increase the annual distribution from
next year on a sustained basis.
As a result of the loyalty and generosity of the Fund’s donors,
the target for the Tenth Anniversary Capital Campaign, has been
exceeded. In support of this crucial campaign, a number of the Capital
Fund’s friends hosted events. Cheryl Barker, Nicole Car, Taryn Fiebig,
Jud Arthur, Andrew Jones and Teddy Tahu Rhodes joined guests at a
reception at Ashley Dawson-Damer's lovely residence; Teddy Tahu
Rhodes sang at a recital hosted by Jane Clarke at her beautiful home;
my wife Annabel and I hosted a recital at Cranlana, where Taryn Fiebig
both sang and played the cello, and in springtime Chris and Judy
Fullerton hosted a delightful lunch at their home in the Southern
Highlands, where Taryn once again performed.
We have now formally concluded the Campaign and are pleased that
the combination of cash donations received, single and multi-year
pledges and notified bequests is greater than the $5 million target
that we set. Whilst we are very pleased with the results and proud
of the increased financial capacity that the Capital Fund now has to
OPERA AUSTRALIA CAPITAL FUNDChairman's Report
Rupert Myer AM
33
serve the Company, our challenge remains to provide certainty and
security over the long term. Our task remains formidable.
My fellow Capital Fund Directors have played an enormous role in the
success of the Campaign and in ensuring 2012’s positive result. I am
grateful for the contributions of Philip Bacon AM, Michael Bartlett,
Adrian Collette AM, François Kunc SC, Ziggy Switkowski, Michael Traill
AM and Maureen Wheeler. On behalf of all of us at the Capital Fund,
I am deeply appreciative of the enthusiastic support from our donors
for the Campaign and for all aspects of what we do.
Following his resignation, Adrian Collette stepped down from the
Capital Fund Board at the time of his departure from Opera Australia.
In his 16-year term as Chief Executive, Adrian made an enormous
contribution to the Company’s artistic standards and financial well-
being. For many years his was Opera Australia’s public face and voice,
and his unflappable diplomacy steered the Company through good as
well as challenging times. We owe Adrian an immense debt of gratitude.
2012 ended on a memorable note, with Maureen Wheeler kindly
hosting the Council of Governors’ dinner at her home. This annual
gathering brings together supporters who have either made
leadership contributions or pledged significant bequests. During the
year we welcomed four new members: Leonard Groat, Poppy and Iphy
Kallinikos and Ray Wilson.
In 2013 we are looking forward to the realisation of an exciting
new project when, in September, the Opera Australia Capital Fund
UK hosts a fundraising event in London. In combination with other
occasions when we can honour donors for their benefaction and
support, we are keen to maintain the Capital Fund’s proud reputation
for giving certainty and pleasure to our benefactors.
CHAIRMAN'S REPORT CONTINUED
ANNUAL REPORT 2012
CHIEF EXECUTIVE'S REPORT CONTINUED
The Annual General Meeting of the Capital Fund on 14 May 2013,
marks the conclusion of my period as Chairman. I have greatly
appreciated the support that the Fund has received from so many of
our supporters during my term. I am delighted that Michael Traill has
agreed to serve as Chairman and I wish him well for his time in office.
I would particularly like to acknowledge and thank Neroli Hobbins for
her professionalism and dedication as General Manager and for the
pleasure that comes from working with her. I know that I express this
appreciation on behalf of everyone connected with the Capital Fund.
Finally, I would like to take this opportunity to express heartfelt
thanks to all those benefactors who continue to contribute to the
Capital Fund through donations and bequests. As patrons of the opera,
they make a valuable contribution to Australian cultural history.
35
AR_OA ac(vi(es2012_p1
Season Opera Composer Performances Venues2012 2011 2012 2011
MainstageSydney Summer The Magic Flute (NP) Mozart 28Sydney Opera House Turandot Puccini 18
The Marriage of Figaro (NP) Mozart 12Così fan tutte Mozart 8
66 76,716 76,450 10,603,497 11,135,614
Melbourne Autumn Turandot Puccini 9Arts Centre Melbourne The Magic Flute (NP) Mozart 10
The Barber of Seville Rossini 7The Merry Widow Lehár 8
34 38,339 41,887 4,414,908 4,560,427
Brisbane The Magic Flute (NP) Mozart 6Queensland Performing Arts Centre A Midsummer Night's Dream Britten 4
10 9,580 NA 1,026,082 NA
Sydney Winter Die tote Stadt (NP) Korngold 7Sydney Opera House The Pearlfishers Bizet 12
Aida Verdi 15South Pacific (NP) Rodgers & Hammerstein 38Madama Butterfly Puccini 12Lucia di Lammermoor (NP) Donizetti 10Salome (NP) R. Strauss 8
102 126,379 104,086 17,042,581 14,626,193
Melbourne Spring Madama Butterfly Puccini 10Arts Centre Melbourne Lucia di Lammermoor (NP) Donizetti 8
Salome (NP) R. Strauss 624 28,772 28,643 3,430,462 3,370,073
Sydney New Years Eve La bohème Puccini 1Sydney Opera House 1 1,189 NA 350,012 NA
Mainstage Subtotal 237 3 280,975 251,066 36,867,542 33,692,307
Musical TheatreThe Princess Theatre, Melbourne South Pacific (NP) Rodgers & Hammerstein 85 86,649 9,040,676Queensland Performing Arts Centre, Brisbane South Pacific (NP) Rodgers & Hammerstein 6 * 7,820 871,519Musical Theatre subtotal 91 94,469 NA 9,912,195 NA
Handa Opera on Sydney HarbourFarm Cove, Sydney La Traviata (NP) Verdi 17 38,119 6,058,891Handa Opera on Sydney Harbour subtotal 17 38,119 NA 6,058,891 NA
ConcertsSydney Opera House Great Opera Hits Various 8 4,097 262,126Sydney Opera House New Year's Eve Opera Gala Various 1 1,832 525,606Concerts Subtotal 9 5,929 6,003 787,732 913,857
354 5 419,492 257,069 53,626,360 34,606,164
Free EventsMazda Opera in the Domain The Pearlfishers Bizet 1 20,000Mazda Opera in the Bowl Opera Highlights Concert Various 1 7,000Creative Communities Partnerships Initiative Western Sydney Community Choirs Various 1 1,170Creative Communities Partnerships Initiative Yarrabah! The Musical Gregory, Brady, Dyer,
Webb, Johnson2 6,500
Free Events subtotal 5 3 34,670 55,566
Oz OperaSchools ToursVictoria The Magic Flute Mozart 145 103 24,824 145,502New South Wales Hansel and Gretel Humperdinck 225 148 45,383 268,917Regional TourACT, NSW, SA, VIC Don Giovanni Mozart 34 24 11,084 597,896Oz Opera subtotal 404 275 81,291 71,930 1,012,315 708,064
CopresentationsNational Chiang Kai-Shek Cultural Center, Tapei Madama Butterfly Puccini 6 8,344Copresentations subtotal 6 1 8,344 3,904
769 284 543,797 388,469
NP = New Production*Previews only - full Brisbane South Pacific season 27 December 2012 to 27 January 2013
Admissions Box office ($)
Total Admissions - All Activities
Total Mainstage/Music Theatre/Handa Opera on Sydney Harbour/Concerts
ATTENDANCES AND BOX OFFICE 2012
ANNUAL REPORT 2012
AR_OA ac(vi(es2012 p2
Description Production Composer
Radio Salome R. Strauss 1Subtotal 1
Television Don Giovanni Mozart 2La bohème Puccini 2Lakmé Delibes 2La Traviata Verdi 2The Mikado Gilbert & Sullivan 1Subtotal 9
Cinema Simulcasts Madama Butterfly* Puccini 1Subtotal 1
Cinema Don Giovanni Mozart 51Australia and New Zealand La Traviata Verdi 39
The Mikado Gilbert & Sullivan 1Turandot Puccini 43Subtotal 134
Cinema Der Rosenkavalier R. Strauss 15Rest of World Don Giovanni Mozart 44
La bohème Puccini 40La Traviata Verdi 444Lakmé Delibes 58The Marriage of Figaro Mozart 2Rigoletto Verdi 3The Mikado Gilbert & Sullivan 15Turandot Puccini 65Subtotal 686
Total Broadcasts and Cinema Screenings 831
* simulcast to 8 regional Queensland cinemas and the Queensland Performing Arts Centre
Description Production Composer Performances
Australian HiresState Opera South Australia La bohème Puccini 1 4State Opera South Australia Orpheus in the Underworld Offenbach 1 4State Opera South Australia Fidelio Beethoven 1 4Opera Queensland Carmen Bizet 1 7Australian Hires Subtotal 4 19
Australian Coproductions - OtherWest Australian Opera Elektra R. Strauss 1 3Australian Coproductions Subtotal 1 3
International Coproductions staged elsewhereToyko Art Foundation Don Pasquale Donizetti 1 2International Coproductions Subtotal 1 2
Total Hires and Coproductions 6 24
Broadcasts/ Screenings
Hires & Coproductions
BROADCASTS AND CINEMA SCREENINGS 2012
HIRES AND COPRODUCTIONS 2012
37
Michael Lewis as Count Almaviva, Taryn Fiebig as Susanna and
Joshua Bloom as FigaroThe Marriage of Figaro
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Official Car Sponsor
PRINCIPAL PARTNER
MAJOR SPONSORS
Handa Opera on Sydney Harbour Wine Partner
Opera Australia Wine Partner
OPERA AUSTRALIA THANKS OUR PARTNERS
QUAY GRAND SYDNEY HARBOUR
Opera Australia is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
Government Partners
Opera Australia is supported by the Victorian government through Arts Victoria.
Performance Partners
Opera Australia is assisted by the NSW Government through Arts NSW.
OPERA AUSTRALIA SALUTES ITS 2012 PARTNERS
Cheryl Barker as Marie/MarietteDie tote Stadt
Clifton Productions Pty LtdGilbert + Tobin
Dress Circle MembershipAustralian Opera Auditions Committee
Jardine Lloyd Thompson
CORPORATE CIRCLE
CORPORATE FRIENDSAkira Design StudioAndrew Caillard MWArt Est. Art School Australian Chamber OrchestraAustralian GalleriesBangalow Guesthouse Bannisters Barossa VistaBelvoir Bodum AustraliaBollinger Bonville Golf ResortBusato Graphic Art Workshop Cable Beach Club Resort & Spa Carlos BarriosChampagne-Ardenne TourismCHANEL AustraliaChâteau de SoursConciergerie.comCradle Mountain Huts Walk Cynthia HundlebyCypress Lakes ResortDan Murphy'sDiana Eddy & AssociatesEaglereach Wilderness ResortEco Beach Wilderness Retreat Elderton WinesEmirates Wolgan Valley Resort & SpaEnrique Del Val
Equator homewaresEstee Lauder Companies European CateringExecutive RetreatsFarageFine Wine PartnersFour Seasons Hotel SydneyFour Seasons Resorts BaliFresh CateringGerhard HaasGemmological Association of AustraliaGreat Southern RailGreenPan Grossi Florentino Restaurant Guillaume at BennelongGuinot HarperCollins PublishersHenry Bucks Hermitage Lodge Herringbone Hopewood Health Retreat Hopscotch FilmsHotel Le Cep****Hugos Group Huka LodgeHyatt Regency CoolumJennifer HershonJenolan Caves Reserve TrustJo BertiniJonah's Restaurant & Boutique Hotel
Justin Pearson Kiwi CollectionLa Bastide de MoustiersLa MerLe DomaineLe Louis XVL'Hostellerie de l'Abbaye de la CelleLifeTime Private Retreats Lillianfels a Luxury Collection Resort Blue MountainsLindt & Sprungli L'OccitaneLuke SciberrasMedina Apartment Hotels Melbourne Symphony OrchestraMelbourne Theatre CompanyMercure Resort Gerringong by the SeaMuseum of Contemporary Art, Australia Nomiki Glynatsis CoutureOcean RoomPaperbark CampParadise on the Beach Resort PaspaleyPeugeotPierro Margaret River Vineyards
Pinetrees Lodge, Lord Howe Island Poole’s Rock WinesQuay RestaurantRail Plus AustraliaRamada Hotel and Suites Ballina Reef House Boutique Resort & SpaRex Irwin Art DealerRick Stein at Bannisters Rob Geddes MWRobert AlbertRobyn Cosgrove RugsRoss TzannesR. G. RosenblumSailors Thai, The RocksSally's PaddockSanPellegrinoSavaterre Segafredo ZanettiSheraton Mirage Port Douglas ResortSilver Spoon CaterersSix Senses VietnamSmiths Beach ResortSofitel Bora Bora Marara Beach & Private IslandSoirées Littéraires Southern Ocean LodgeSuzy O'Rourke MillinerySwarovski Sydney Harbour Federation Trust Sydney Opera HouseSydney Seafood School
Sydney Symphony Orchestra Tamara DeanTanonga Luxury Eco Lodges Taronga FoundationTaste BurgundyThe Australian Opera and Ballet OrchestraThe Byron at Byron Resort and Spa The Clifford Wallace AgencyThe Farm at Cape KidnappersThe Grand Villa FurnishingsThe Nut ShopThe Persian Carpet GalleryThe Royal AlbertThe TraillThe Turpentine TreeThomas BuichTony White JewellerTorbreck VintnersWedgwoodWild Bush Luxury Wilderness AustraliaWilliam RobinsonWinevaultWineInProvenceWoolworths Supermarkets Yering StationYindi Day Spa
Executive MembershipARIA CateringARIA RestaurantAssociation of Australian Decorative & Fine Arts Societies Bulgari AustraliaBunda Dorchester Collection
Evert PloegFourth Wall EventsGuillaume at Bennelong Howard Park WinesJohn Chen GalleryLangton's Wine Auctions & Exchange
Macquarie Group FoundationMedia MonitorsMoVidaNumber One Wine BarPages Event EquipmentPark Hyatt Sydney
Pretty Beach HousePullman Quay Grand Sydney HarbourQantas Airways Pty LtdRenaissance ToursSilversea CruisesSmall Luxury Hotels of the World
COMMUNITY PARTNERThe Asthma Foundation NSW
The Deck RestaurantThe Fink Group Theme & Variations Piano ServicesUniversal Music Australia
For information about Corporate Partnerships with Opera Australia please contact Amanda Michetti on (02) 9318 8241 or [email protected]
MOFFATT OXENBOULD YOUNG ARTIST PROGRAMThe Moffatt Oxenbould Young Artist program is proudly sponsored by
Sir Stamford at Circular Quay
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OPERA AUSTRALIA
ACN 000 755 153ABN 26 000 755 153The liability of the members of Opera Australia is limited. Incorporated in New South Wales in 1970, Opera Australia is an authority holder under the Charitable Fundraising Act 1991.
Sydney Office: The Opera Centre480 Elizabeth Street Surry Hills, NSW 2010Sydney Postal Address: PO Box 291, Strawberry Hills, NSW 2012 Telephone: (02) 9699 1099 Fax: (02) 9699 3184
Melbourne Office:Corner Fawkner and Fanning Streets, Southbank 3006Melbourne Postal Address: PO Box 389, South Melbourne, Vic 3205Telephone: (03) 9685 3777Fax: (03) 9686 1441
AuditorsErnst & Young
BankersCommonwealth Bank of Australia
SolicitorsGilbert + Tobin
OPERA AUSTRALIA
ACN 000 755 153ABN 26 000 755 153The liability of the members of Opera Australia is limited. Incorporated in New South Wales in 1970, Opera Australia is an authority holder under the Charitable Fundraising Act 1991.
Sydney Office: The Opera Centre480 Elizabeth Street Surry Hills, NSW 2010Sydney Postal Address: PO Box 291, Strawberry Hills, NSW 2012 Telephone: (02) 9699 1099 Fax: (02) 9699 3184
Melbourne Office:Corner Fawkner and Fanning Streets, Southbank 3006Melbourne Postal Address: PO Box 389, South Melbourne, Vic 3205Telephone: (03) 9685 3777Fax: (03) 9686 1441
AuditorsErnst & Young
BankersCommonwealth Bank of Australia
SolicitorsGilbert + Tobin
