Annual Report 09/10

Total Page:16

File Type:pdf, Size:1020Kb

Annual Report 09/10 SYDNEY OPERA HOUSE OPERA SYDNEY ANNUA l REPOR t 09/10 your annual report 09 / 1 0 house. sydneyoperahouse.com contents 09/10 The Hon. Kristina Keneally, MP NEW SOUTH WALES PREMIER We have the pleasure of presenting the Annual Report of the Sydney Opera House for p.1 Letter to Minister the year ended 30 June 2010, for presentation to Parliament. This report has been p. 3 High Points prepared in accordance with the provisions of the Annual Reports (Statutory Bodies) p. 4 Chairman’s Message Act 1984 and the Public Finance and Audit Act 1983. p. 6 CEO’s Message p. 8 Vision and Goals p. 10 Outcomes & Objectives p. 15 Performing Arts p. 27 Broadening the Experience KIM WILLIAMS AM RICHARD EVANS CHAIRMAN CHIEF EXECUTIVE p. 31 Building & Environment p. 35 Governance p. 38 The Trust p. 40 The Executive p. 42 People & Culture p. 45 Financials contents. p. 64 Government Reporting p. 74 Performance List p. 79 Our Donors p. 81 Image Credits p. 83 Contact Information p. 84 Index p. 85 Sponsors e MILY HAInes In tHe oPeRA tHeAtRe [VIVID LIVe , JUne 2010] IMAgInAtIon LIVes I nsIDe. 1 p. 1 HIgH sYDneY oPeRA HoUse 09/ 10 PoInts. ‘It’s such an icon of COMMUNITY ENGAGEMENT AND ACCESS + Open Day 2009 was the biggest free event ever held at Sydney Australia that it needs Opera House with some 50,000 people seeing behind the scenes. to be enjoyed by everyone + We broadened our reach and participation with initiatives such as the online dance competition MyMutation – 252,000 hits worldwide. and have the opportunity + Paralympian Louise Sauvage OAM was appointed as the inaugural to be enjoyed by all.’ Sydney Opera House Accessibility Ambassador to provide advice and help create public awareness of facilities and programs. LOUISE SAUVAGE OAm (AccESSIbILIty AmbASSAdOr) + Engagement with youth and Indigenous groups expanded this year to include Detours and Destinations, an initiative connnecting at-risk youth from Western Sydney with creative industry mentors. [See Broadening the Experience page 29.] ARTISTIC EXCELLENCE + 1,272,097 people attended 1,679 performances – an increase of 2%. EARNING OUR WAY + Helpmann Awards held at the House for the first time. Several programs + General operating cash flow was $0.9m, with the general operations performed here won awards: The Man in Black (Sydney Opera House), profit of $1.8m offset by investment in capital assets of $0.9m. Bliss and Peter Grimes (Opera Australia), Fire (Bangarra Dance Theatre). + Contributions from Food and Beverage increased by 5.2% and Retail + New programs at the House included Festival of Dangerous Ideas, by 37% through new commercial terms. [See Financials page 46.] Spring Dance, Late Night Lounge, Screen Live and the Full Swing series. + The inaugural CEO Award for Outstanding Service was launched. + 49% of Vivid LIVE attendees were new patrons to Sydney Opera House. + A new online Safety Induction Program commenced and some 200 + The first concerts by the London Philharmonic Orchestra in Australia for people attended safety management workshops. [See People & 24 years. [See Performing Arts page 17.] Culture page 43.] A VIBRANT AND SUSTAINABLE SITE + Awarded NSW Tourism Silver Medal for Major Tourist Attraction 2009. + New onsite experiences included French and German language tours and a new Studio Café. [See Broadening the Experience page 29.] + NSW Government funding of $152.1m was announced for the Vehicle Access and Pedestrian Safety Project – the biggest construction project for Sydney Opera House since 1973. 3 + The Accessibility and Western Foyers project was officially opened. It included the first public lift, escalator and refurbished western foyers. p. + The first Environmental Sustainability Plan endorsed by the Trust, setting targets and actions to reduce environmental impact over a three year period. [See Building & Environment page 33.] 3 ‘Underlying business performance will continue to grow with revenue generating activities coupled with fRoM tHe effective cost control measures.’ c HAIRMAn The Trust is committed to maintaining the momentum of the last four years which has seen significant improvements in theatre and foyer access and general site amenity. The Vehicle Access and Pedestrian Safety Project is an important step towards the full renewal of the building which will provide a fully accessible Sydney Opera House for the 21st century and more importantly secure its operational delivery in a transformative way better suiting contemporary standards. The long term renewal plan is especially important in securing the future of this world heritage site through the remainder of this century in such a way as to reflect the exterior vision in the internal delivery landscape, equally in all the House’s delivery touchpoints: venue stages, acoustics, professional and patron amenity. fUtURe oUtLook During the year the Sydney Opera House Trust fInAncIAL & oPeRAtIng PeRfoRMAnce I am pleased to engaged the Boston Consulting Group to undertake an efficiency and cHAIR. report that Sydney Opera House had an increase of 2% over the prior year strategy review to assess options for future operating models that in overall attendances to 1,272,097 (1,679 performances). include operational and commercial improvements. The enterprise The four resident companies – Sydney Symphony, Opera Australia, needs to regularly refresh its thinking and approaches in order to sustain The Australian Ballet and Sydney Theatre Company – presented 529 efficient delivery of services in ways that respond relevantly to the performances to audiences of 649,172, an increase of 3%. Refer page 18. many disciplines and demands of the modern funding and operational Sydney Opera House itself presented 810 performances to audiences of environment. The results of that study have highlighted opportunities 327,528. Expenditure on Sydney Opera House programs was $19.7m ($22.2m in such areas as: retail; food and beverage operations; marketing and in 2008/09) with a net cost of $3.5m ($4.2m in 2008/09). Refer page 22. new performance revenue opportunities; further transformation of the tourism experience; reinforcement of the programming identity; and During 2009/10 the general operating cash flow was $0.9 million with the addressing organisational complexities that will release fresh energies general operations profit of $1.8 million offset by investment in capital and approaches. Plans are in development to determine relevant action assets of $0.9 million. The solid general operating profit was achieved across the various strands identified in the review. with cost control and the delivery of productivity improvements across the business although depreciation more than consumed the surplus. Refer BoARD cHAnges Mr John Ballard completed his final term on page 46 for the full financial overview. 31 December 2009 after serving nine years on the Trust. Mr Ballard was Underlying business performance will continue to grow as we strengthen Chair of the Trust’s Philanthropy Committee and made an invaluable the business with revenue generating activities coupled with effective cost contribution to the Trust, gaining the respect of colleagues and control measures. management. Dr Thomas Parry AM commenced on 24 February 2010 and Mr Wesley Enoch and Ms Catherine Brenner were reappointed, all for a BUILDIng RenewAL On behalf of the Trust I would like to period of three years to 31 December 2012. Each is a welcome contributor acknowledge the New South Wales Government for supporting some to the Trust’s deliberations and provides an invaluable contribution. major building projects, including the newly refurbished Western Foyers, which were officially opened this year. I would also highlight the recent tHAnk YoU On behalf of the Trust I would like to acknowledge important funding announcement of $152.1m for the Vehicle Access and the support received from our many personal donors and corporate Pedestrian Safety Project – a major and most welcome commitment. sponsors and in particular our principal supporter the Government of This project will see the biggest building works on the site since its NSW. I also acknowledge major partner Sony and partners NAB and opening in 1973. The project will improve safety and security; preserve Sennheiser & Neumann. Their generosity allows the House to make essential site heritage and conservation values; and also dramatically fresh investments in its performing arts program, ensuring a greater improve efficient management of the site. A new tunnel will be built number of community, education and free public events. from the bottom of Macquarie Street to a new underground loading On behalf of my fellow Trustees I congratulate our resident dock – removing about 1,000 heavy vehicle movements a week from the companies, our CEO Richard Evans, the fine management team and Forecourt and facilitating smoother operational arrangements for users. our remarkable workforce for a successful year in meeting the many p. Additional tunnels will connect the new underground loading dock to financial and operational challenges so effectively (and I am pleased new lifts for deliveries to the Opera Theatre, Concert Hall and the three to say constructively and cheerfully). I also extend thanks to my fellow 4 kIM wILLIAMs AM, cHAIRMAn smaller theatres on the western side of the building. Construction will Trustees for the quality and consistency of their commitment to begin in early 2011 with completion planned for mid 2013. deliberations and for the support offered me as Chairman. ‘the year has been busy and rewarding and we have made strong progress in the four fRoM tH e strategic priority areas.’ c HIef execUtIVe In early May we opened a live and interactive exhibition called Detours and Destinations, presenting work created by young people from Western Sydney through a youth engagement program. Some 70,000 children have attended our popular House:Ed and Kids at the House programs this year, with 2,065 children enjoying a House:Ed performance as part of our Arts Assist program. See page 25.
Recommended publications
  • Tasker H. Bliss and the Creation of the Modern American Army, 1853-1930
    TASKER H. BLISS AND THE CREATION OF THE MODERN AMERICAN ARMY, 1853-1930 _________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board __________________________________________________________ in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY __________________________________________________________ by Thomas R. English December 2014 Examining Committee Members: Richard Immerman, Advisory Chair, Temple University, Department of History Gregory J. W. Urwin, Temple University, Department of History Jay Lockenour, Temple University, Department of History Daniel W. Crofts, External Member,The College of New Jersey, Department of History, Emeritus ii © Copyright 2014 By Thomas R. English All Rights Reserved iii ABSTRACT A commonplace observation among historians describes one or another historical period as a time of “transition” or a particular person as a “transitional figure.” In the history of the United States Army, scholars apply those terms especially to the late- nineteenth century “Old Army.” This categorization has helped create a shelf of biographies of some of the transitional figures of the era. Leonard Wood, John J. Pershing, Robert Lee Bullard, William Harding Carter, Henry Tureman Allen, Nelson Appleton Miles and John McCallister Schofield have all been the subject of excellent scholarly works. Tasker Howard Bliss has remained among the missing in that group, in spite of the important activities that marked his career and the wealth of source materials he left behind. Bliss belongs on that list because, like the others, his career demonstrates the changing nature of the U.S. Army between 1871 and 1917. Bliss served for the most part in administrative positions in the United States and in the American overseas empire.
    [Show full text]
  • Exclusive PREVIEW of Vivid Sydney 2018 Where to Eat, Shop, Stay And
    LOVE EVERY SECOND OF SYDNEY & NSW IN WINTER 25 May – 16 June 2018 VIVID SYDNEY SYDNEY NEW SOUTH WALES exclusive Where to essential short PREVIEW of vivid eat, shop, stay breaks & long sydney 2018 and play road trips VIVID SYDNEY VIVID – WHAT’S ON 03 What to expect from Vivid Light, Music and Ideas Vivid SYDNEY celebrates VIVID LIGHT WALK Lights on! A guide to the 04 amazing Vivid Light installations VIVID PRECINCTS Find out where to see 10 years of creativity 08 the city light up VIVID MUSIC Get into 23 days 25 May - 16 June 2018 10 of music discovery VIVID IDEAS Hear from global Game 13 Changers & Creative Catalysts GETTING AROUND Plan your journey using public 16 transport during Vivid Sydney HELP FROM OUR FRIENDS Thanks to our partners, 17 collaborators and supporters VIVID MAP Use this map to plan your 20 Vivid Sydney experience SYDNEY BEYOND VIVID Your guide to exploring 21 Sydney and New South Wales SYDNEY FOOD & WINE Foodie hotspots, new bars 22 and tours EXPLORE SYDNEY Where to stay and shop 24 and what to see THE GREAT OUTDOORS There is so much more to do, see and love at vivid sydney in 2018. Your guide to walks, the 25 harbour & high-rise adventures Start planning your experience now. IT’S ON! IN SYDNEY 26 Unmissable sporting events, theatre, musicals and exhibitions VIVID SYDNEY SYDNEY IN WINTER EXPLORE NSW At 6pm on 25 May Vivid Sydney 2018 While you’re here for Vivid Sydney, stay The most geographically diverse State in switches on with the Lighting of the Sails a while longer to explore the vibrancy Australia offers a little bit of everything new south wales of the Sydney Opera House and all light of Sydney in Winter.
    [Show full text]
  • Brisbane Baroque
    AUTUMN 2015 MUSICAL Wicked CABARET LA SOIRÉE SPECIAL EVENT Brisbane Baroque Celebrating three decades of storytelling Welcome Hello. 2015 is QPAC’s 30th anniversary and we invite you to celebrate this milestone with us. There is much on o er across our stages and outdoor venues, special programs that are the result of a number of wonderful partnerships with artists and companies we enjoyed collaborating with across three decades. One of the most rewarding things about creating art in Queensland is the responsive audiences who are keen to try new things. It goes without saying that you, our audiences, are critical to our work. The conversation that takes place between artists and audiences, in that space between the stage and auditorium is what makes live performance magical. It’s also why it is constantly changing. Feeling the energy in a room shift and respond to what is being played live in front of you is something that you have to be there to share in…there really is no substitute. Over the course of 30 years QPAC has become part of the fabric of the city and a touchstone in the lives of many of you, who saw your fi rst live performance here, graduated from university in the Concert Hall, or simply had an incredible night out here. I hope you feel QPAC belongs to your community and that you are able to join us in celebrating three decades of storytelling. Thank you. JOHN KOTZAS Chief Executive qpac.com.au | 136 246 Highlights CONTENTS MILESTONES 4–5 CABARET 6-7 SPECIAL EVENT 8–9 MUSICAL 10–15 OPERA 16–18 FAMILY 19–21 16 DANCE 22–25
    [Show full text]
  • October 2008 Comedy Channel Highlights
    www.comedychannel.com.au OCTOBER 2008 HIGHLIGHTS THE MERRICK & ROSSO SHOW WORLD PREMIERE Thursday October 2 @ 8.30pm Continues Thursdays at 8.30pm Merrick and Rosso are back on the box where they belong, with the keys to the Foxtel car - and enough fuel in the tank to really cause some chaos! They’ll finally return to their broadcasting birth place at The Comedy Channel with THE MERRICK & ROSSO SHOW. So what’s on the cards for the new show? Each week the boys will front up before a live studio audience with their unique take on anything and everything. From what’s happening in the world of news to the big questions: Can you deep fry a watermelon? On THE MERRICK & ROSSO SHOW, celebrities will make regular guest appearances from in-studio interviews to recorded comedy pieces to show you a side of them never before seen. Into the mix will go plenty of studio audience interaction and more mayhem and stupidity than is legal in three states. For perhaps the first time, Merrick Watts and Tim Ross will truly focus the energy and excitement of their legendary sell-out live comedy shows and bring that force to the electric television. It’s hotter than Gordon Ramsay’s kitchen, is sure to top Brendan Nelson’s approval ratings and it’s ‘wronger’ than an Austrian family get-together. THE MERRICK & ROSSO SHOW will allow nobody to be immune from their parodies and sketch comedy. Finally, as Merrick and Rosso are keen to point out, “Put simply, the show is Morcambe and Wise meets The Star Wars Christmas Special at an Alcoholics Anonymous meeting during The French Renaissance… on a weeknight.” Buckle up Australia, for a riotous half hour of THE MERRICK & ROSSO SHOW.
    [Show full text]
  • 04 Part Two Chapter 4-5 Everett
    PART TWO. "So what are you doing now?" "Well the school of course." "You mean youre still there?" "Well of course. I will always be there as long as there are students." (Jacques Lecoq, in a letter to alumni, 1998). 79 CHAPTER FOUR INTRODUCTION TO PART TWO. The preceding chapters have been principally concerned with detailing the research matrix which has served as a means of mapping the influence of the Lecoq school on Australian theatre. I have attempted to situate the research process in a particular theoretical context, adopting Alun Munslow's concept of `deconstructionise history as a model. The terms `diaspora' and 'leavening' have been deployed as metaphorical frameworks for engaging with the operations of the word 'influence' as it relates specifically to the present study. An interpretive framework has been constructed using four key elements or features of the Lecoq pedagogy which have functioned as reference points in terms of data collection, analysis and interpretation. These are: creation of original performance material; use of improvisation; a movement-based approach to performance; use of a repertoire of performance styles. These elements or `mapping co-ordinates' have been used as focal points during the interviewing process and have served as reference points for analysis of the interview material and organisation of the narrative presentation. The remainder of the thesis constitutes the narrative interpretation of the primary and secondary source material. This chapter aims to provide a general overview of, and introduction to the research findings. I will firstly outline a demographic profile of Lecoq alumni in Australia. Secondly I will situate the work of alumni, and the influence of their work on Australian theatre within a broader socio-cultural, historical context.
    [Show full text]
  • Ernani Program
    VERDI PATRON-IN-CHIEF DR HARUHISA HANDA Celebrating the return of World Class Opera HSBC, as proud partner of Opera Australia, supports the many returns of 2021. Together we thrive Issued by HSBC Bank Australia Limited ABN 48 006 434 162 AFSL No. 232595. Ernani Composer Ernani State Theatre, Giuseppe Verdi (1813-1901) Diego Torre Arts Centre Melbourne Librettist Don Carlo, King of Spain Performance dates Francesco Maria Piave Vladimir Stoyanov 13, 15, 18, 22 May 2021 (1810-1876) Don Ruy Gomez de Silva Alexander Vinogradov Running time: approximately 2 hours and 30 Conductor Elvira minutes, including one interval. Carlo Montanaro Natalie Aroyan Director Giovanna Co-production by Teatro alla Scala Sven-Eric Bechtolf Jennifer Black and Opera Australia Rehearsal Director Don Riccardo Liesel Badorrek Simon Kim Scenic Designer Jago Thank you to our Donors Julian Crouch Luke Gabbedy Natalie Aroyan is supported by Costume Designer Roy and Gay Woodward Kevin Pollard Opera Australia Chorus Lighting Designer Chorus Master Diego Torre is supported by Marco Filibeck Paul Fitzsimon Christine Yip and Paul Brady Video Designer Assistant Chorus Master Paul Fitzsimon is supported by Filippo Marta Michael Curtain Ina Bornkessel-Schlesewsky and Matthias Schlesewsky Opera Australia Actors The costumes for the role of Ernani in this production have been Orchestra Victoria supported by the Concertmaster Mostyn Family Foundation Sulki Yu You are welcome to take photos of yourself in the theatre at interval, but you may not photograph, film or record the performance.
    [Show full text]
  • Kitty Flanagan
    KITTY FLANAGAN Ever stood under glaring lights recounting your hopes, dreams, fears and most embarrassing moments to a room full of strangers in a desperate attempt to keep them entertained? Welcome to the terrifying world of stand up, which Kitty Flanagan has spent the past 20 years successfully navigating, proving herself as not only one of Australia’s best, but also most beloved comedians. Since first gracing Australian TV screens in ‘Full Frontal’ during the 90s, Kitty has appeared in numerous productions, performing regularly at comedy venues around Australia and internationally, and appearing on The Project, Have You Been Paying Attention, The Weekly and Utopia. Amanda meets up with Kitty to learn what life’s like under the spotlight (literally), discuss her new book, ‘Bridge Burning And Other Hobbies’, and discover more about this (inaccurately) self described ‘wallflower’. HELLO KITTY After attending Catholic school and developing a healthy disrespect for institutionalised religion, Kitty headed to university where she enjoyed studying a wide range of subjects, none of which had any relation to her current occupation. Once compulsory fee paying was introduced, Kitty flew the tertiary coop, bluffing her way into advertising and working as a copywriter. After her desperate attempts to get fired finally paid off, Kitty began pouring pints, working as a bartender at the Harold Park Hotel, which incidentally happened to run an open mic night. With a backlog of anecdotes and an inexplicable need to vent her deepest, darkest secrets in front of a room full of beer-swilling old men, Kitty spent nights honing her skills, quickly becoming a pub favourite.
    [Show full text]
  • Feduni Researchonline Copyright Notice
    FedUni ResearchOnline https://researchonline.federation.edu.au Copyright Notice This is an original manuscript/preprint of an article published by Taylor & Francis in Continuum in September 2020, available online: https://doi.org/10.1080/10304312.2020.1782838 CRICOS 00103D RTO 4909 Page 1 of 1 Comic investigation and genre-mixing: the television docucomedies of Lawrence Leung, Judith Lucy and Luke McGregor Lesley Speed In the twenty-first century, comedians have come to serve as public commentators. This article examines the relationship between genre-mixing and cultural commentary in four documentary series produced for the Australian Broadcasting Corporation (ABC) that centre on established comedians. These series are Lawrence Leung’s Choose Your Own Adventure (2009), Judith Lucy’s Spiritual Journey (2011), Judith Lucy is All Woman (2015) and Luke Warm Sex (2016). Each series combines the documentary and comedy genres by centring on a comedian’s investigation of a theme such as spirituality, gender or sex. While appearing alongside news satire, these docucomedies depart from the latter by eschewing politics in favour of existential themes. Embracing conventions of personalized documentaries, these series use performance reflexively to draw attention to therapeutic discourses and awkward situations. Giving expression to uncertain and questioning views of contemporary spirituality, gender and mediated intimacies, the docucomedies of Lawrence Leung, Judith Lucy and Luke McGregor stage interventions in contemporary debates that constitute forms of public pedagogy. Documentary comedy These series can be identified as documentary comedies, or docucomedies, which combine humour and non-fiction representation without adhering primarily to either genre. Although the relationship between comedy and factual screen works has received little sustained attention, notes Paul Ward, a program can combine both genres (2005, 67, 78–9).
    [Show full text]
  • Inquiry Into Food Standards Amendment (Truth in Labelling
    ZOOS VICTORIA’S SUBMISSION TO SENATE COMMITTEE ON COMMUNITY AFFAIRS Inquiry into the Food Standards Amendment (Truth in Labeling Laws) Bill 2009 FROM THE COMEDIANS OF AUSTRALIA Thank you for considering this submission on the Food Standards Amendment (Truth in Labeling Laws) Bill 2009. We want to know whether the food we buy is fuelling an environmental crisis in South East Asia. Australia’s food labeling laws are preventing us from making an informed choice, but shouldn’t every single Australian have the right to know what is in our food? Here’s what we do know: that loss of virgin rainforest to make way for the production of palm oil accounts for the death of more than 50 orang-utans a week. 1 Rainforest is destroyed at a rate equivalent to 300 soccer fields every hour to make way for palm oil plantations. 2 The destruction is only going to get worse. By 2020, Indonesia’s oil palm plantations are projected to triple in size to 16.5 million hectares – an area the size of England and Wales combined.3 And we have absolutely no idea if we are contributing to this environmental crisis, because it’s not compulsory to label palm oil in our food products. We are prepared to send a delegation to appear before the Senate Committee on Community Affairs. Signed: Wil Anderson Judith Lucy Frank Woodley Peter Helliar 1 Friends of the Earth Position Paper August 2006, The use of palm oil for biofuel and as biomass for energy http://www.foe.co.uk/resource/briefings/palm_oil_biofuel_position.pdf 2 Friends of the Earth Position Paper August 2006, The use of palm oil for biofuel and as biomass for energy http://www.foe.co.uk/resource/briefings/palm_oil_biofuel_position.pdf 3 Friends of the Earth Position Paper August 2006, The use of palm oil for biofuel and as biomass for energy http://www.foe.co.uk/resource/briefings/palm_oil_biofuel_position.pdf Page 1 of 2 Claire Hooper Rod Quantock Sam Simmons Josh Thomas Tom Ballard Hannah Gadsby David Thornton Justin Hamilton Charlie Pickering Terri Psiakis Tommy Little Page 2 of 2 .
    [Show full text]
  • The Lost Flowers of Alice Hart by Holly Ringland
    FREE APRIL 2018 The Lost Flowers of Alice Hart by Holly Ringland Read our review on page 8 Growing Up Aboriginal in Australia edited by Anita Heiss Read an extract on page 7 BOOKS MUSIC FILM EVENTS GURRUMUL page 22 BLUE PLANET II JAMILA RIZVI ROBERT HOLLY ANITA HEISS page 21 page 4 HILLMAN RINGLAND page 13 page 8 page 8 CARLTON 309 LYGON ST 9347 6633 KIDS 315 LYGON ST 9341 7730 DONCASTER WESTFIELD DONCASTER, 619 DONCASTER RD 9810 0891 HAWTHORN 701 GLENFERRIE RD 9819 1917 MALVERN 185 GLENFERRIE RD 9509 1952 ST KILDA 112 ACLAND ST 9525 3852 STATE LIBRARY VICTORIA 328 SWANSTON ST 8664 7540 | SEE SHOP OPENING HOURS, BROWSE AND BUY ONLINE AT WWW.READINGS.COM.AU READINGS MONTHLY 3 April 2018 goers can discover the largest collection of April rare, out-of-print and collectable books in The Women’s Prize for Fiction 2018 longlist 25% off a range of Insight & Berlitz travel Australia, go inside heritage buildings, listen The longlist for the Women’s Prize for guides to live music, watch street performers, try Fiction 2018 has been announced. This Throughout April, we’re offering 25% off News their hand in a Scrabble tournament and prize celebrates the best writing from female a select range of Insight & Berlitz travel visit the Readings bookstall at the Festival. authors around the world. This year’s longlist guides. This offer is exclusively available A weekend pass is $10 for adults, and $5 for includes: H(a)ppy by Nicola Barker; The Idiot at our Carlton and Hawthorn stores secondary school students and children.
    [Show full text]
  • ABC TV 2015 Program Guide
    2014 has been another fantastic year for ABC sci-fi drama WASTELANDER PANDA, and iview herself in a women’s refuge to shine a light TV on screen and we will continue to build on events such as the JONAH FROM TONGA on the otherwise hidden world of domestic this success in 2015. 48-hour binge, we’re planning a range of new violence in NO EXCUSES! digital-first commissions, iview exclusives and We want to cement the ABC as the home of iview events for 2015. We’ll welcome in 2015 with a four-hour Australian stories and national conversations. entertainment extravaganza to celebrate NEW That’s what sets us apart. And in an exciting next step for ABC iview YEAR’S EVE when we again join with the in 2015, for the first time users will have the City of Sydney to bring the world-renowned In 2015 our line-up of innovative and bold ability to buy and download current and past fireworks to audiences around the country. content showcasing the depth, diversity and series, as well programs from the vast ABC TV quality of programming will continue to deliver archive, without leaving the iview application. And throughout January, as the official what audiences have come to expect from us. free-to-air broadcaster for the AFC ASIAN We want to make the ABC the home of major CUP AUSTRALIA 2015 – Asia’s biggest The digital media revolution steps up a gear in TV events and national conversations. This year football competition, and the biggest football from the 2015 but ABC TV’s commitment to entertain, ABC’s MENTAL AS..
    [Show full text]
  • Lust and the Libretto
    8 SPECTRUM NOVEMBER 30-DECEMBER 1, 2013 The Sydney Morning Herald The Sydney Morning Herald NOVEMBER 30-DECEMBER 1, 2013 SPECTRUM 9 OPERA Lucyisatroubledyoungwomanwho Five scenes to make you blush will do anything for a drug fix and in the first act Fiebig had to mime giving fellatio to David Corcoran, who was THE CORONATIONOF playing Lucy’sdrug dealing brother. It POPPEA Lust and was confronting for everyone involved. (Monteverdi, 1643) ‘‘Toseeyourselfdegradedinfrontof ‘‘The Coronation of Poppea would have to be yourpeersandinfrontofanaudience the sexiest opera from start to finish,’’ says is hard. I found the rehearsal process counter-tenor David Hansen. Monteverdi’s harder than performing, because [when masterpiece starts with a bedroom scene performing] you’re a character. You’re and finishes with the Emperor Nero and his the libretto not Taryn Fiebig; you’re someone else. mistress singing a rapturous love duet, ‘‘I Youwalkon,bedramaticandwalkoff.’’ gaze at you, I possess you ..’’ And what about the audience reaction? ‘‘It is an important part DON GIOVANNI Sex underlies much of opera and life. Putting it on stage of Lucy’sjourney as a character. (Mozart, 1787) has challenges, writes HARRIET CUNNINGHAM. People weredisturbedbyitbutthey Beforetheoperastarts,DonGiovanni,aka appreciated the way it was handled, Don Juan, has notched up more than 1000 which I was very pleased about.’’ conquests in Spain alone, according to his hat is opera’sfavourite Heisquotingfromthelibrettoof Fellatio,nudityandsimulatedsexon manservant Leporello’sCatalogue Aria. He’s subject? Heroism? Fidelity? Giasone,a17th-centuryoperaby stage – can it go too far? There are plenty losing his touch in the opera, only managing Revengeandforgiveness? composer Francesco Cavalli and of instances in which the audience and several seductions and/or rapes.
    [Show full text]