Annual Report

Sydney Opera House Financial Year 2017-18 Sydney Opera House Annual Report FY18

01 About Us Our History 05 Who We Are 08 Vision, Mission and Values 12 Highlights 14 Awards 20 Chairman’s Message 22 CEO’s Message 26 Key Achievements 34

02 The Year’s Activity Experiences 37 Performing Arts 37 Visitors 58 The Building 62 Building Renewal 62 Joan Sutherland Theatre Projects 63 Operations and Maintenance 63 Contents Heritage 64 People 66 Team and Capability 66 Partners and Supporters 68 Community and Social Responsibility 72 Safety, Health and Wellbeing 76 Security and Risk 76 Organisation Chart 77 Executive Team 78 Corporate Governance 84

03 Financials and Reporting Financial Overview 95 Sydney Opera House Financial Statements 100 Sydney Opera House Trust Sta• Agency Financial Statements 168 Government Reporting 203

04 Acknowledgements and Contact Our Donors 252 Contact Information 275 Trade Marks 277 Index 278 Our Partners 280

03 Sydney Opera House Annual Report FY18

Our History

Major upgrades to the Joan Sutherland Theatre 2018 are completed on time and on budget. After a seven-month closure, the venue is reopened to the public on New Year’s Eve with Opera Australia’s production of The Merry Widow; the Conservation Management Plan Fourth Edition is launched in October 2017 and wins a National Trust Heritage Award in May 2018; the Opera House participates in the Sydney Gay and Lesbian Mardi Gras Parade for the œrst time, enabled by Major Partner EnergyAustralia; Vivid Live celebrates its 10th anniversary.

Renewal of the Joan Sutherland Theatre 2017 begins, with $71 million worth of capital works to replace critical end-of-life theatre systems and improve conditions for audiences, artists and sta•; Badu Gili, a daily celebration of First Nations culture and history, is launched, projecting the work of œve eminent First Nations artists from across Australia and the Torres Strait onto the Bennelong sails; the fourth Reconciliation Action Plan and third Environmental Sustainability Plan launched.

The Vehicle Access and Pedestrian Safety 2016 project, the biggest construction project undertaken since the Opera House opened, is completed; the new underground loading dock allows the Forecourt to become the pedestrian-friendly plaza envisioned by Jørn Utzon. About Us

05 06 About Us | Our History Principles published. Design Utzon 2002 Plan launched. lifetime architect. ofits First Access Strategic one ofonlytwosites to belisted during the House istheyoungest site to belisted and UNESCO World Heritagelisting:theOpera 2007 the foundations. Opera House – Stage 1oftheSydney Work beginson 1959 the position. AORoberts to Rhoda appoints Programming and Head ofIndigenous dedicated role of creates the The OperaHouse 2012 Joan Sutherland Theatre isannounced. the self-fundedupgradefor stagemachinery $202 millionfor Stage 1Renewal projects; Interpretation; theNSWGovernment reserves 2016 National Trust HeritageAward for The Welcome Centre opensandwinsthe 2015 project begins. Pedestrian Safety Vehicle Access and developed; Action Plan First Reconciliation 2011 Opera House. consultant to the re-engaged asdesign Jørn Utzon 1999 design competition. Sydney OperaHouse wins Jørn Utzon 1957 of Edinburgh. and HRHtheDuke HM Queen Elizabeth II with and concert Opening ceremony 1973 isformed. theIdealists of supporters Renewal begins;theby-invitation group Anniversary; planningfor theDecade of The OperaHouse celebrates 40th its 2013 opera house inSydney. discuss theestablishmentofan NSW, convenes aconference to The Hon.JJCahill, Premier of 1954 launched. Sustainability Plan First Environmental 2010 and Korean. Mandarin, Japanese tours beginin Asian-language 2006 refurbished. Western Foyers 2009 listing. National Heritage 2005 Jørn Utzon resigns. Jørn Utzon 1966 Photo by Hamilton Lund Sydney Opera House Annual Report FY18

Who We Are

The Sydney Opera House occupies a unique The Opera House is operated and maintained place in the cultural landscape, as a symbol on behalf of the NSW Government and of modern Australia, one of the architectural the people of NSW by the Sydney Opera wonders of the 20th century and among the House Trust. It is a non-for-proœt, public, world’s busiest performing arts centres. As non-œnancial, corporate entity that this year envisioned by then NSW Premier Joseph Cahill generated 89% of operating revenue through its in 1954, it was built to “help mould a better, activities. The NSW Government provides the more enlightened community”. remainder of operating revenue and funding for building maintenance and capital projects. Bennelong Point, the land on which the Opera House stands, was known to the local Gadigal As a community asset, the Opera House takes people as Tubowgule. It has been a gathering its responsibilities as a cultural leader seriously. place for storytelling, feasting, culture and Reconciliation with Australia’s First Nations celebration for thousands of years. people, education, access and care for the environment are embedded both strategically Original architect Jørn Utzon created an and in daily operations. inspirational building that honours this heritage, home to a diverse range of performances At its 40th anniversary in 2013, we embarked and experiences for the community and a on a Decade of Renewal to ensure the Opera Homeground Festival 2017. Photo by Daniel Boud About Us | Who We Are Us | Who We About meeting place for matters of local, national and House continues to inspire future generations international signiœcance. of artists, audiences and visitors.

The celebrated work of our seven ªagship Resident Companies is complemented by a diverse program from Sydney Opera House Presents that ranges from classical music and It has been a gathering place dance to contemporary performance, theatre for children, talks and ideas events, and First for storytelling, feasting, Nations art and performance. Other visitors come to explore the building and its history, culture and celebration for enjoy its broad range of dining experiences or attend free events, while digital technology has thousands of years. enabled the Opera House to reach beyond its site to a global audience.

08 09 10 Sydney OperaHouse Annual FY18 Report About Us | Who We Are Edition launched inOctober 2017. winning Conservation Management Plan Fourth responsibilities, whichare set out inthe award- times, we are mindful ofour signiœcant heritage minimising theassociated disruption. At all while ofthisrarethe beneœts opportunity and families. We are committed to maximising new Creative Learning Centre for young people essential upgrades to theConcertHall, anda remainder ofour Renewal works, whichinclude Preparation anddeliverycontinues onthe longstanding external marquee. building envelope, including demolitionofthe began onanew function centre withinthe Opera Australia’s Widow TheMerry . Work also The venue reopened onNew Year’s Eve with and onbudget after aseven-month closure. Joan Sutherland Theatre, completed ontime decade, we delivered majorupgradesto the This year, approaching themidpointofthat remarkable place. enabling Act andtheancienttraditions ofthis Cahill’s vision, themandate1961 enshrinedinits the OperaHouse continues to live upto Premier custodiansOur role astemporary isto ensure Sutherland Theatre. to theupgrades Joan We delivered major Joan Sutherland Theatre Renewal. Photo by DanielBoud Sydney OperaHouse Annual FY18 Report Amber Scott andTy King-Wall from TheAustralian Ballet. Photo by DanielBoud Public Finance andAudit Act 1983 . Bodies) (Statutory ActReports 1984 andthe accordance withtheprovisions oftheAnnual Parliament. hasbeenprepared in Thisreport year ended30June2018 for presentation to oftheSydneyReport OperaHouse for the We have thepleasure ofpresenting theAnnual Minister for the Arts MLCThe Hon.DonHarwin Chief Executive OŠcer Louise Herron AM Chairman Nicholas Moore Sydney Opera House House Opera Sydney is proudly owned by by owned proudly is the NSW Government NSW the 11 Sydney Opera House Annual Report FY18

Our Vision

To be as bold and inspiring as the Opera House itself.

Our Mission

To treasure and renew the Opera House for future generations of artists, audiences and visitors; and

To inspire, and strengthen the community, through everything we do. About Us | Vision, Mission and Values About Our Values

Safety: Our greatest responsibility

Creativity: Be bold and innovative

Excellence: Strive for the best

Collaboration: One team

Accountability: Focus and own it

→ Photo by Hamilton Lund

12 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Highlights Experiences (pp.37-61)

Performing Arts (pp.37-58) Visitors (pp.58-61) Engaging with the Opera House – 1,262,449 attendances at 1,777 events – 564,000 visitors took a tour, up and performances from 491,000 in FY17 5.8 million – 608,767 attendances at 645 performances – Badu Gili experienced by more unique website by Resident Companies than 160,000 visitors and more users than 600,000 people online – 404,618 attendances at 819 Sydney Opera House Presents performances – 2.5 million food and beverage transactions – 127,808 attendances at 410 performances 608,767 for young audiences attendances at Resident Companies – 2.8 million views of Lighting of the Sails performances* (Metamathemagical) live stream

2.5 million food and beverage transactions* About Us | Highlights About 491,000 404,618 visitors take a tour attendances at Sydney Opera House Presents presentations

2.8 million views of Lighting the Sails live stream

127,808 attendances at performances for young audiences

1.8 million 1,262,449 social media attendances at followers performing arts events*

* Noting Joan Sutherland Theatre closure from May to December 2017 Chinese New Year 2018. Photo by Daniel Boud

14 15 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Audio-described live stream of the Lighting of the Sails accessed more than

About Us | Highlights About 23,000 times.

The Building (pp.62-64)

– The Joan Sutherland Theatre reopened on New Year’s Eve after replacement of critical machinery and systems as part of Stage 1 Renewal works

– Construction work commenced for the new function centre within the building envelope, including demolition of the external marquee in February 2018

For the Žrst time the Opera House participates in the Sydney Gay and Lesbian Mardi Gras parade, thanks to the support of EnergyAustralia

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Sydney Opera House’s carbon emissions are 100% People (pp.66-76)

o‘set Team and Capability (pp.66-67) Community and Social Responsibility (pp.72-75) – The Opera House achieved a sta• engagement score of 78%, up from 74% – Second edition of Badu Gili launched in FY17 during NAIDOC Week 2018

– Final designs for new sta• uniforms by – 24 students hosted across three work- Australian designer Dion Lee approved, experience programs for First Nations to be launched in late 2018 high school-aged students – 100% of the Opera House’s carbon Partners and Supporters (pp.68) emissions o•set using National Certiœed O•set Standard (NCOS) credits – Westpac Banking Corporation joined – Seventh consecutive hosting of the annual as a Major Partner, supporting the Indigenous Literacy Day All About Women festival and First Nations programming – Auslan interpretation and live captioning services provided for all 14 talks at the Major Partner EnergyAustralia donated – All About Women festival in March 2018 $60,000, enabling the Opera House to participate in the Sydney Gay and Lesbian – Audio-described live stream of the Mardi Gras parade for the œrst time Lighting of the Sails accessed more than 23,000 times

– 5.8 million unique users of the Opera House website

Safety, Security and Risk (p.76)

– A three-year Health Management Plan developed to promote health and wellbeing Using National of Opera House sta• Certi˜ed O™set Standard credits – NSW Government Budget set aside $36.2 million for the renewal and upgrade of security technology systems and site About Us | Highlights About entry infrastructure

The Opera House achieved a sta‘ engagement score of 78%, up from 74% in FY17.

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2018 National Trust Heritage Award Awards The fourth edition of the Opera House’s Conservation Management Plan was published in October 2017, titled Respecting the Vision: Sydney Opera House – A Conservation Management Plan. In May 2018, the plan won a National Trust Heritage Award in the Resources and Publications category. Prepared by heritage architect and consultant Alan Croker and his team, the extensively illustrated plan incorporates new conservation management tools to address the complexity of this World Heritage-listed site, to guide future management, conservation and change, and ensure a responsible balance with its use as Australia's pre-eminent About Us | Awards About performing arts centre.

Helpmann Awards 2018 Sydney Opera House Presents productions earned two nominations and our Resident Companies 32 nominations and 22 wins. Bangarra Dance Theatre won seven awards, including six for Bennelong, including Best Dance Production and Best Choreography.

Best Corporate Social Media Team of the Year 2018 The Opera House Marketing team was awarded this honour at the Social Media Marketing Institute's Social Media Marketing Awards.

Australasian Annual Reporting Award Silver Australasian Annual Reporting Award 2018.

→ Dark Emu. Bangarra Dance Theatre. Photo by Daniel Boud

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Chairman’s Message At its opening on 20 October 1973, Queen We extend our thanks to everyone involved, Our staged approach has enabled the Opera Elizabeth II noted the Sydney Opera House including principal building contractor Laing House to remain operational as these works had captured the imagination of the world. O’Rourke and the theatre’s Resident Companies, proceed. We are pleased to have broadened The Australian Ballet and Opera Australia, for engagement with audiences and visitors, Forty-œve years later, it continues to grow as their collaboration in the planning and delivery on site and online, throughout this process. a cultural, social and economic asset. of these building works.

A new report by global professional services The JST upgrade was the œrst part of a $273 provider Deloitte* estimates the Opera House’s million program of Renewal works, supported The Opera House is iconic value at $6.2 billion, up from $4.6 billion by a $228 million investment from the NSW in 2013. The venue’s contribution to the national Government. The œnal works in this package, a estimated to have economy has increased by 55% over the same new public lift and level passageway connecting period, to $1.2 billion a year. the southern foyer with all levels of the northern an iconic value of foyer, will be opened November 2018. Already Australia’s premier tourist attraction, $6.2 billion. visits to the Opera House continue to increase, In June 2018, the NSW Government committed up 33% on 2013 to 10.9 million a year. a further $36.2 million to upgrade Opera One of the world’s busiest performing arts House security systems and replace temporary centres, the Opera House staged almost 1,800 These œgures are particularly encouraging as security infrastructure at the Macquarie Street events and performances over the year to an we mark the midpoint of the Opera House’s and East Circular Quay entry points. audience of more than 1.2 million people. This Decade of Renewal, launched in 2013 to year we were pleased to launch the 2018-21 preserve the building’s legacy and ensure it We have now commenced construction on Artistic Strategy, which cites as our artistic rises to 21st-century challenges that did not a new function centre to open in early 2019, purpose ‘to be unmissable’. exist when it was conceived. while preparation continues for planned upgrades to the Concert Hall, entry and foyers, Highlights have included the 10th Vivid LIVE This year marked a milestone in the Renewal as well as the new Creative Learning Centre. festival of contemporary music, attended by program, with signiœcant upgrades to the a record 44,000 people; Badu Gili, the daily Theatre (JST) completed on time and on The Concert Hall works will involve closing the lighting of the Opera House’s eastern Bennelong budget. These works replaced equipment at venue for up to two years from early 2020, so sails to celebrate First Nations culture, viewed the end of its operational life and upgraded a focus of the past year has been ensuring this by 760,000 people on site and online; and acoustics, accessibility, the orchestra pit and work can proceed with minimal disruption to Bangarra’s production of Bennelong, about the About Us | Chairman’s Message Us | Chairman’s About rehearsal facilities to improve the experience Message Us | Chairman’s About the Opera House and our a•ected Resident Eora leader who gave his name to Bennelong for artists and audiences. Companies. We will be guided in this by the successful upgrade to the JST and the new It has been pleasing to see audiences enjoying fourth edition of our Conservation Management the upgraded venue and companies exploring Plan, prepared by heritage architect Alan the resulting artistic possibilities, such as the Croker and his team, which was published in innovative digital sets for Opera Australia’s July October 2017 and received a National Trust 2018 production of Aida. Heritage Award.

22 * Revaluing Our Icon: Midpoint in the Sydney Opera House’s Decade of Renewal by Deloitte. 23 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Point, which won six Helpmann awards. Thanks The Trustees thank the NSW Government for The number of people taking a guided tour of the operational endowment and maintenance the building has increased 80% over the past and capital grants it provides. We are grateful œve years to 564,000, with 52% taking an to the Hon. Don Harwin MLC, Minister for Asian-language tour. the Arts, for his direction of the Government’s cultural vision. We have signiœcantly grown our digital audiences. The Opera House has more than We value the signiœcant contribution made by 1.8 million social media followers and is one our donors and corporate partners, who enable of Australia’s most engaged Facebook brands. many projects and help us provide a diverse Online video views increased 34% during range of experiences for audiences and visitors. the year to 30 million and have tripled over the past two years. The Lighting of the Sails Finally, we applaud the Opera House’s (Metamathemagical) live stream received dedicated sta•, who continue to demonstrate more than 2.8 million views. An Opera House their commitment to our mission, and to the recording of Hannah Gadsby’s show Nanette renewal of the building, the organisation and was distributed in more than 190 countries the breadth of experience it o•ers. through Netªix.

The Opera House also participated in Sydney’s Mardi Gras parade for the œrst time, with support from Major Partner EnergyAustralia.

Governance and Board I thank my fellow Trustees for their participation Nicholas Moore Chairman and CEO Ms Louise Herron and the management team for their leadership.

On behalf of the Trust, I would like to acknowledge the three Trustees who completed their terms this year – the Hon. Helen Coonan, Mr Peter Mason AM and Ms Catherine Powell, all of whom have made an important contribution to the Opera House.

We have welcomed four new Trustees – About Us | Chairman’s Message Us | Chairman’s About Ms Anne Dunn, Mr Michael Ebeid AM, Ms Kathryn Greiner AO and Ms Kylie Rampa, while Ms Deborah Mailman AM and I were reappointed for a further term. (See page 89 for more information on the Trustees).

25 New Rehearsal Room. The Australian Ballet. Photo by Daniel Boud Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

The Sydney Opera House exists because a few People Building brave people dared to think di•erently. They – Living our values: Provide the leadership, – Capital works: Complete all building CEO’s made the impossible possible, and inspired a environment and tools our sta• need to thrive renewal projects within the available nation. And so we stand as testament to, and the and plan for the long-term sustainability of the budget, including the Concert Hall and beneœciaries of, the power of dreaming in public, Opera House and its operations. entry upgrades, and the new function and the transformative potential of art and ideas. and creative learning centres. Our aim is Message – Safety and security: Safeguard the health, to optimise artistic, audience and visitor safety and wellbeing of our sta• and At its 40th anniversary in 2013, the Opera House amenity, accessibility, safety and security everyone on site through appropriate risk embarked on a Decade of Renewal to ensure improvements, while minimising disruption. this remarkable building continues to inspire management, infrastructure, systems and generations of artists, audiences and visitors. resourcing. This includes the injury- and – Conservation and maintenance: Take incident-free delivery of our capital works. responsibility for conserving the Opera House for current and future generations, Five years on, nearing the halfway point in that – Relationships: Deepen and enrich our extending the life of the building through a decade, we reviewed progress against the goals relationships with the community and our best-practice asset maintenance program. of our 2013 Enterprise Strategy. The results many stakeholders, including Resident of that review are set out on the opposite page, Companies and artists, government, donors, – Sustainability: Continue to be a leader in divided into three streams: the many people, partners and the architecture, design, sustainability, including by achieving and inside and outside the organisation, involved heritage and engineering professions. maintaining a six-star green-star rating in bringing the Opera House to life; and developing a strategy to become the experiences we o•er; and the building. Experiences carbon-positive.

At the same time, in preparation for the – Audiences and visitors: Broaden the second half of the Decade of Renewal, we Opera House’s reach, across Australia have refreshed our strategic goals, taking and globally, through: The Sydney Opera into account signiœcant changes in the world ∙ Art: Aiming for excellence in everything House exists because around us. These include changes in artistic we do – with artists, colleagues and taste, technology and the demographics of the audiences – to realise our mandate for community we serve, as well as increases in creativity, engagement and entertainment. a few brave people security concerns and building costs. ∙ Visitor experience: Making it more dared to think A deœning project will be renewing the appealing, on site and online, for Concert Hall, which will close for up to two everyone to explore the full range di‘erently. They made years from early 2020 while we undertake of Opera House experiences – its signiœcant artistic, acoustic and accessibility history, performances, events, bars the impossible possible, improvements in our largest internal venue. and restaurants, tours and retail – and delivering a consistently excellent and inspired a nation. At the same time, we will expand the spectrum customer experience. About Us | CEO’s Message Us | CEO’s About

of art and experiences we o•er, fostering Message Us | CEO’s About ∙ Digital engagement: Investing I would like to thank our Trustees, sta• and the new and diverse art forms, showing them at strategically in digital capability, many others who use, visit and love the Opera their best and encouraging participation and technology and creative content to House for their input and vision in refreshing our creativity more broadly. share and amplify what we o•er, strategy and look forward to working together reaching new audiences and driving to implement it over the next œve years. The resulting Sydney Opera House Strategy deeper engagement. 2018-23 outlines what we aim to achieve by our 50th anniversary in the same three streams. In summary:

26 27 OurSydney Opera HouseŽrst Annual Reportseason FY18 Sydney Opera House Annual Report FY18 of Unwrapped was attended by 3,200 people. I would like to add to the Chairman’s acknowledgement of several important moments from the year:

Performing Arts Our Artistic Strategy 2018-21, developed by Executive Director, Performing Arts Kate Dundas, includes a new Artistic and Sector Development Program aimed at supporting independent Australian artists, small companies and producers. Our œrst season of Unwrapped, a curated series of contemporary performance works rarely seen beyond their premiere seasons, was attended by 3,200 people. Further details of FY18 performances and achievements, including by our Resident Companies and hirers, is provided from page 37. About Us | CEO’s Message Us | CEO’s About

Two Jews Walk into a Theatre, Unwrapped. Photo by Anna Kucera

← A Faint Existence, Unwrapped. Photo by Daniel Boud 28 29 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Visitor Experience In Food and Beverage, the Trippas White Group expanded its role, being appointed to operate the Opera House’s theatre bars, catering services and new function centre (which will open in early 2019). They complement the dining experiences o•ered by leading chefs Peter Gilmore and Robert Cockerill (Bennelong) and Matt Moran (Opera Bar). We also welcomed chef Michael Moore, who took over the reins at Opera Kitchen There were 2.5 million and has earned glowing reviews. I would like to thank the team from Events by Aria who transactions at our food were our functions caterer from 2006 and took on management of the Concert Hall and and beverage outlets. JST theatre bars in April 2016. Overall, there were 2.5 million transactions at our food and

Coburn's Curtain of the Sun Tapestry.. Photo by Jacquie Manning

beverage outlets, an average of more than We have also made signiœcant progress towards 6,800 a day. Further Visitor Experience public exhibition of two original and marvellous portfolio highlights are on pages 58-61. Opera House artworks, John Coburn’s Curtain of the Sun and Curtain of the Moon tapestries, Heritage which served as the house curtains in the Joan Sutherland Theatre (JST) and Drama Theatre It was a very signiœcant year for heritage, with until the 1980s. the publication of a new (fourth) edition of the Opera House’s Conservation Management Plan to help us manage change as the building Partners and Supporters adapts to current and future needs. I would like Thanks to all of our corporate partners to thank everyone involved in this complex and and donors for their valued support and momentous undertaking, particularly author engagement, and for enabling so many About Us | CEO’s Message Us | CEO’s About Alan Croker, our Conservation Council, the things that would not otherwise be possible. members of our expert peer review panel and Principal Partner Samsung’s innovative the broader heritage community. and immersive audio-visual installation The Night. Reimagined. attracted 133,000 9 April 2018 marked the centenary of Jørn visitors during Vivid. Our donors enabled Utzon’s birth. In his honour, we organised a numerous initiatives aligned to the Opera special program of events as part of the House’s strategy and objectives, including Opera House’s 45th anniversary celebrations support for classical, contemporary and First in October 2018 (page 64). Nations performances and experiences, and enabling access for audiences living with We are exploring options for an appropriate disability and experiencing disadvantage. on site acknowledgement of the role played by Peter Hall, the architect who completed Opera Bar. Photo by Hamilton Lund the building after Jørn Utzon’s departure.

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Team and Capability Financial Performance Thanks Last year, we made extensive preparations for As noted on page 95, the Opera House’s income As always, I would like to thank our Trustees, led by Chairman the seven-month closure of the JST with our sta• comprises self-generated revenue from multiple Nicholas Moore, for their support and wise counsel, as well as and the Media, Entertainment and Arts Alliance. sources and grants from the NSW Government, the members of our Eminent Architects Panel and Conservation We also focused on our internal communications distributed through the Department of Planning Council. Thanks also to the NSW Government, the Minister and leadership capabilities. These actions and Environment. Government grants ªuctuate for the Arts, the Hon. Don Harwin MLC, and our colleagues in helped the Opera House achieve a strong sta• signiœcantly, based on size and timing. The FY18 the Department of Planning and Environment, and the NSW engagement score of 78% in the June 2018 group result comprises: Cultural Institutions. employee survey, up from 74% in FY17. – A loss from general operations of $3.5 All of our achievements depend on the hard work and inspiring Each year, we seek to strengthen the Opera million, $1.2 million ahead of budget; and commitment of the Opera House’s sta•. It is an honour to House’s connection with and contribution to the work with them. I would like to give particular thanks to three – A gain of $76.1 million from building society we live in, including our engagement executives who departed this year after making outstanding maintenance and capital grants, including with First Nations culture and peoples, care for contributions to the organisation: Deputy CEO – Operations for the JST Renewal program and future the environment and the accessibility of our & General Counsel Michelle Dixon; Director, Engagement & security infrastructure projects. building and programs. Key FY18 achievements Development Brook Turner; and Director, People & Culture under our fourth Reconciliation Action Plan, Fatima Abbas. Self-generated revenue totalled $104.5 million third Environmental Sustainability Plan and in FY18. This represented 89% of operating fourth Access Strategic Plan are set out on We also farewelled Steve Tsoukalas, who led a sca•olding team revenue and was only 1.8% lower than in FY17, pages 72-75. during the œnal years of construction and then spent almost 45 despite the closure of the JST in the œrst half of years lovingly caring for the building, before retiring in June 2018. FY18. Key drivers included: It seems only œtting that he features in the new Conservation Management Plan. – Continued growth in tours revenue to $14.4m, up 8% on FY17; As we renew this magniœcent building for future generations, – Food and beverage revenue of $12.2m, a our combined e•orts pay tribute to the many people who Gross box o›ce decrease of $0.8m on FY17, with the JST collaborated to realise and build on Utzon’s extraordinary vision. closure leading to lower overall patron We must do all we can to both honour the Opera House’s heritage revenue increased by activity in the œrst half of FY18; as the 20th century’s œnest building and ensure it remains a world-class performing arts centre: one that belongs to and – Increased gross box o³ce revenue from the $2.4m since FY17, due welcomes everyone. Opera House’s own programming of $26.2 to a strong result from million, $2.4 million higher than in FY17, due to a strong result from contemporary music contemporary music Forecourt concerts; – Venue hire revenue of $8.0 million, $1.6 Forecourt concerts. million lower than in FY17, driven by the JST Louise Herron AM About Us | CEO’s Message Us | CEO’s About closure and variations in Resident Company Message Us | CEO’s About Chief Executive OŠcer and presenting partner programming; and

– Theatre services revenue of $14.7 million, $2.4 million lower than in FY17, given fewer ballet and opera performances in the JST.

The NSW Government provided an endowment of $12.8 million, which represented 10.9% of operating revenue. The NSW Government also provided $33.7 million for maintenance of the building and site.

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People Experiences Building

Clarity, consistency, Invited people in Forecourt commitment, capability The Opera House is increasingly Completed the Vehicle Access and Established our mission, vision and recognised as a place for everyone, Pedestrian Safety (VAPS) project, values, set clear and consistent with improved accessibility and enabling the removal of thousands goals, strengthened the leadership more non-traditional, complex of vehicles from the Forecourt. and capability of our teams and, as and challenging programming, The Forecourt is now an open, a result, increased our employee including: Vivid LIVE and other inviting and pedestrian-friendly engagement score to 78%. contemporary music and space for 10.9 million visitors each performance; First Nations artists, year, just as Opera House architect Strategic plans including for Badu Gili and the Jørn Utzon intended. Prepared and implemented Dance Rites competition; talks plans that encapsulate our and ideas; and broad children’s NSW Government Renewal commitment to work health and programming. funding safety, conservation management, Secured funding to develop a artistic excellence and diversity, Artistic strategy capital works masterplan and visitor experience, reconciliation, Launched the 2018–21 Artistic deliver the Stage 1 Renewal projects. accessibility, sustainability and risk. Strategy, which has as its artistic purpose ‘to be unmissable’ and Joan Sutherland Theatre Relationships sets out in detail what that means Completed the JST project to Demonstrated our commitment and how we will deliver it. renew equipment and systems, as to deepening and enriching well as creating a new rehearsal the relationships with our Presenters room and improving the orchestra many stakeholders, including Balanced our roles as a performance pit, safety, accessibility and Resident Companies and artists, venue for our Resident Companies the experience of the venue for government, neighbours, donors, and commercial hirers and a artists, audiences and visitors. partners, expert communities and presenting organisation through We recycled 80% of the 400 the public more broadly. This has Sydney Opera House Presents. tonnes of material taken o•-site been critical to our successes. as part of replacing the scenery lifts and the grid. Together with Visitors Next generation our Resident Companies, we have Expanded and improved the range enjoyed exploring the resulting Encouraged the development of of our facilities and o•ering, creative possibilities and identiœed next generation talent through Key including tours and food and strengths and lessons for current a range of initiatives, including beverage, which now provide and future capital projects, MADE (Multidisciplinary a very signiœcant contribution including the Concert Hall. Achievements Australian Danish Exchange), to our business operations and Lloyd Martin Travelling sustainability. This has included Sustainability Scholarship for Emerging Arts welcoming Peter Gilmore and 2013-18 Leaders and Crescendo for the Fink Group (Bennelong), the Achieved Green Building Council emerging classical artists, as Trippas White Group (Portside, The of Australia four-star green star well as an Artist and Sector Lounge and our theatre bars) and performance rating. Development program that Michael Moore (Opera Kitchen). supports and engages the local Conservation arts community. Brand renewal Completed and rolled out the Created an award-winning new Conservation Management Plan brand and campaigns. Fourth Edition, after extensive consultation. Awarded 2018 National Trust Award for best Digital transformation heritage resource publication. Implemented a new website, improving reliability and our customers’ online experience. ← Conductor Vanessa Scammell, 34 The Merry Widow. 35 Photo by Daniel Boud Sydney Opera House Annual Report FY18 The Year’s Activity | Experiences Activity The Year’s

Audience at Vivid LIVE. Photo by Daniel Boud

Experiences

Performing Arts

Performing arts activity at the Opera House becomes more diverse, accessible and popular every year. Free activities in the foyers and on the Northern and Western Broadwalks attract tens of thousands of people. Ticketed events in the theatres and on the Forecourt introduce audiences to a new range of experiences across traditional and contemporary art forms. Digital technology enables people across regional and remote parts of Australia and internationally to participate in festivals such as Antidote and All About Women. And we continue to enable the whole world to be part of an Opera House experience through our many digital broadcasts, including the annual Lighting of the Sails during Vivid LIVE.

Our seven ªagship Resident Companies, in-house presenting arm Sydney Opera House Presents (SOHP) and a diverse group of commercial hirers are responsible for programming our ticketed events. The FY18 program encompassed nearly 1,800 performances, ranging from the ground-breaking Hannah Gadsby’s Nanette to The Year’s Activity contemporary music sensation Solange Knowles and rap legend Ice Cube.

37 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Total attendance was 1,262,449 at 1,777 events, Our free activities attracted more than slightly down on last year due to the seven- 26,400 attendees, including the Homeground month closure of the Joan Sutherland Theatre festival and Dance Rites competition, which (JST) for Renewal. The venue reopened on New transformed the Forecourt into a hub of First Year’s Eve 2017 with a special performance of Nations art, culture and performance. Opera Australia’s The Merry Widow. New stage machinery was tested, the musicians performed In July 2017, the Opera House appointed Kate in the upgraded orchestra pit and more than a Dundas as Executive Director, Performing thousand ticketholders heard the JST's reœned Arts. Over the past year, a new structure has acoustics as part of a $71 million dollar upgrade been put in place, including the appointment to improve the reliability, functionality and of Fiona Winning as Head of Programming, safety in this world-famous theatre. Edwina Throsby as Head of Talks & Ideas, and Olivia Ansell as Head of the new Contemporary Performance programming stream.

608,767 attendances at Kate and the Performing Arts leadership team led the development of a new Artistic Strategy 645 performances by 2018-21 for implementation from July 2018. This strategy sets out the Opera House’s vision Resident Companies. and direction for performing arts across all programming, event operations, production, digital and technology, and infrastructure.

Overall, there were 608,767 attendances at In addition, the new Artist and Sector Australian Chamber Orchestra. Photo by Julian Kingma 645 performances by Resident Companies, Development program was launched to further 404,618 attendances at 819 SOHP performances the Opera House’s commitment to creating value and 231,153 attendances at 274 events by and opportunities for the broader arts sector. commercial hirers. Resident Companies The Opera House’s Event Delivery and Production At this year’s Helpmann Awards, the resident Teams worked closely throughout FY18 with companies received 32 nominations and 22 the Conservation Council to establish outdoor Australian Chamber Orchestra Bach, Ravel and Boulez, and welcomed back British awards, while Jordi Savall with Hesperion infrastructure standards in line with the new In August 2017, the Australian Chamber cellist Steven Isserlis for a œery performance of XXI and the Tembembe Ensamble Continuo, Conservation Management Plan Fourth Edition. Orchestra (ACO) gave a sold-out performance Shostakovich’s Cello Concerto No 1. presented by SOHP, won Best Chamber and/or New Heritage Guidelines for Outdoor Events were of Mountain, a cinematic and musical odyssey The ACO celebrated the talent in its own ranks. Instrumental Ensemble Concert. also developed and implemented, to the great and the orchestra’s most ambitious project satisfaction of all key stakeholders. to date. The ACO continued its exploration To celebrate his 20 years with the orchestra, of the music of J.S. Bach, joining with the Principal Double Bass Maxime Bibeau gave the internationally renowned Choir of London world premiere of New York composer Missy to perform the composer’s epic Christmas Mazzoli’s Dark with Excessive Bright. Violinists Oratorio for a packed Concert Hall audience Glenn Christensen and Ike See performed the of more than 2,600 people. Australian premiere of Anna Clyne’s Grammy Award-winning Prince of Clouds. Overall, the Australian soprano star Nicole Car made her ACO achieved 11,939 attendances in FY18. ACO debut with a program that celebrated strong operatic heroines, while Principal Violin The Year’s Activity | Experiences Activity The Year’s Satu Vänskä took to the stage as soloist in the same concert for a stunning performance of Beethoven’s Romance for Violin and Orchestra in F Major. The ACO reunited with the world’s greatest living ªautist, Emmanuel Pahud, for the œrst time in 12 years to perform the music of

38 39 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Bell Shakespeare Morning Herald described McClements as Bell Shakespeare enjoyed popular and critical “riveting, exposing a vulnerability for which we success in October-November 2017 with The are wholly unprepared”. Merchant of Venice, directed by Anne-Louise Sarks and featuring Mitchell Butel, Catherine Associate Director James Evans directed the Davies and Jessica Tovey. The Music noted the education season of Macbeth, performed for production’s “beautiful lyricism, nimble humour 11,727 students and teachers in Sydney. An and stark, crushing cruelty.” The Australian said, additional 1,680 regional and remote students “By any measure, this is great theatre”. For his across Australia enjoyed a live-streamed performance as Shylock, Butel won the 2017 performance from the Opera House. School Sydney Theatre Award for Best Male Actor in a groups also had access to performances of The Leading Role in a Mainstage Production. Merchant of Venice and Antony and Cleopatra during their seasons at the Playhouse. In FY18, In March 2018, Bell Shakespeare staged Antony Bell Shakespeare attracted 26,606 attendances. and Cleopatra, directed by Artistic Director Peter Evans and featuring Catherine McClements and Johnny Carr in the lead roles. Sydney Arts Guide said the production was “adult, modern, intense

The Year’s Activity | Experiences Activity The Year’s and with a social conscience”, and The Sydney Dark Emu, Bangarra Dance Theatre. Photo by Daniel Boud

Bangarra Dance Theatre In 2018, Artistic Director Stephen Page joined 2018 was the most with choreographers Daniel Riley and Yolande Brown to create his 25th work for Bangarra, rewarding and Dark Emu. With a world-class ensemble of 18 dancers, and a group of Australia’s most successful year in accomplished theatre creatives, Stephen brought the incredible stories from Bruce Bangarra's history. Pascoe’s award-winning book to life through Bangarra's unique dance language. The production enthralled audiences in its world Bangarra received seven Helpmann Awards premiere season at the Opera House in June, for its work during the 2017-18 judging period, and continued to receive standing ovations and the largest haul in the company’s history. sold-out houses throughout July. The company won six awards for Bennelong, including the prestigious title of Best New 2018 was the most rewarding and successful Australian Work. Dancer Beau Dean Riley Smith, year in the company’s almost 30-year history. who performed the lead role of Woollarawarre The world premiere season of Dark Emu was Bennelong, was the recipient of both a performed to more than 42,000 people during Helpmann Award and the Australian Dance its Australian tour, with national ticket sales Award for Best Male Dancer. A total of 24,778 and attendance œgures surpassing all previous people attended Bangarra performances. seasons. Earlier in the year, the company presented an acclaimed performance at the Gold Coast Commonwealth Games Opening Ceremony, seen by 1.5 billion people around the world. Antony and Cleopatra, Bell Shakespeare. Photo by Heidrun Lohr

40 41 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Opera Australia Sydney Symphony Orchestra Opera Australia’s 2017 Sydney winter season In the second half of 2017, Sydney Symphony presented quite a challenge with the closure Orchestra (SSO) concerts included the of the JST for Renewal works. Unable to spectacular presentation of Bartok’s Bluebeard’s present fully staged operas while the work was Castle and music by Bach and Brahms led by being undertaken, the company’s artistic and Chief Conductor and Artistic Director David programming teams rose to the challenge and Robertson. Featuring a stellar cast of Michelle delivered a program of artistic integrity that was DeYoung (mezzo-soprano), Andrew Foster- strongly embraced by Opera House audiences. Williams (bass-baritone), John Relyea (bass), Don Hany (narrator) and the Opera Australia Featuring some of the world’s greatest singers, Chorus, the performance won a 2018 Helpmann including the biggest name in opera today Jonas Award for Best Symphony Orchestra Concert. Kaufmann, Opera Australia presented a concert staging of Wagner’s Parsifal in the Concert Hall Kicking o• the 2018 season in similarly for three exclusive sold-out performances. spectacular fashion, Robertson and internationally renowned pianist Emanuel The Sydney premiere of Graeme Murphy’s The Ax presented A Mozart Celebration – three Merry Widow marked the re-opening of the overtures, six piano concertos and three JST on New Year’s Eve. Proving to be a crowd symphonies over three consecutive concerts, The Nose, Opera Australia. Photo by Prudence Upton favourite, the production ran throughout January highlighting the genius of the composer. 2018 while the Opera House and Opera Australia The festival was awarded four-and-half-stars technical teams familiarised themselves with the by The Sydney Morning Herald and showcased new state-of-the-art equipment. the virtuosity of the SSO musicians.

The hit of the 2018 summer season was Leading Australia’s ªagship event in undoubtedly Barry Kosky’s irreverent and international Make Music Day – an annual outlandish production of Shostakovich’s celebration of music involving 800 cities in The Nose, which captured the imagination of 120 countries – the SSO live streamed its thousands of opera-goers with the tale of a performance of Verdi’s Requiem direct from runaway nose. the Opera House. Through the Opera House’s technical expertise and recording facilities, The season was rounded out with a spectacular the audience in the Concert Hall was joined role debut by Australia’s favourite soprano live by people in 41 countries, including the UK, Nicole Car, as Violetta in La Traviata; John Bell’s US and France. much-loved Carmen, which never fails to draw big crowds; and the quirky and creative Don The SSO continued to o•er a wide-ranging Quichotte featuring the world’s greatest bass season of concerts beyond the classical Ferruccio Furlanetto. In total, Opera Australia repertoire. With its Sydney Symphony Presents attracted 123,608 attendances in FY18. concerts, Australia’s premier orchestra featured contemporary artists such as Paloma Faith, Evanescence and Eskimo Joe, as well as o•ering audiences new ways to experience œlms with its Harry Potter and the Prisoner

The Year’s Activity | Experiences Activity The Year’s of Azkaban™ in Concert with the SSO. The standing-room-only La La Land in Concert brought Academy Award-winning composer Justin Hurwitz to Sydney to conduct the concert. Overall, the SSO achieved attendances of 252,192 in FY18.

Brahms Symphony No.4, SSO. Photo by Daniela Testa

42 43 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

The Australian Ballet paid tribute to Graeme Murphy's impressive 50-year career.

The Australian Ballet featured a unique lunchtime performance of To mark the return of The Australian Ballet his reimagined Firebird as part of the Audience to the JST, and to celebrate the theatre’s Engagement program. renovations, Principal Artists Amber Scott and Ty King-Wall scaled the sails of the Opera The Merry Widow, the œrst full-length ballet House. The company opened its 2018 Sydney commissioned by the company and one of its season in April in the JST by paying tribute most popular productions, began its three-city to Australia’s iconic dancemaker Graeme tour at the JST at the end of April, waltzing Murphy with a selection of works spanning through to May. In total, The Australian Ballet his impressive 50-year career. The season also attracted 65,118 attendances in FY18. The Year’s Activity | Experiences Activity The Year’s

Top Girls, Sydney Theatre Company. Photo by Brett Boardman

Sydney Theatre Company In FY18, the Sydney Theatre Company (STC) showcased a range of productions to Opera House audiences. Moira Bu³ni’s Dinner was a devilishly black satire, directed by STC Resident Director Imara Savage. Chekhov’s masterpiece Three Sisters, adapted by Andrew Upton and directed by Artistic Director Kip Williams, was an exploration of life, love and loss. Top Girls by Caryl Churchill, directed by Imara Savage, was a whip-smart exploration of female power and success versus family and parenthood. The Children by Lucy Kirkwood was a gripping new drama that balanced the realities of our times with intrigue and humour. It was directed by former Resident Director Sarah Goodes, who won the Helpmann Award for Best Director for this production. In all, 78,518 people attended STC shows in the Drama Theatre this year. The Year’s Activity | Experiences Activity The Year’s

Firebird, The Australian Ballet. Photo Je• Busby

44 45 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Sydney Opera House Presents

Artist and Sector Development Also in July and in partnership with the creators In FY18, the Artist and Sector Development Program and owners of Minecraft, the Opera House was launched to support independent Australian hosted the œrst o³cial Minecraft competition artists, small companies and producers through and event, alongside an exciting program of presentation platforms and unique professional masterclasses, demonstrations and a free play development opportunities. zone with Minecraft Virtual Reality powered by Opera House Principal Partner Samsung. This UnWrapped, a curated series staging some of live and interactive event united Minecraft lovers Australia’s best contemporary performance of Australia and was designed to inspire young JUNK explored works, took place over a week in May 2018. Four people to learn more about the creativity involved contemporary Australian works were presented, across in using the internationally successful gaming how children theatre, dance and cabaret – 3,154 people attended. platform. The event attracted a new audience to the Opera House’s school holiday program – 5,570 played and took In addition, the Opera House hosted several well- Crafters attended the two-day event. attended industry talks featuring visiting artists risks in the past. and launched a Digital Mentorship Program, which Will Pickvance’s Anatomy of the Piano told supports two local artists to create a new piece the story of how the artist fell in love with the of digital content, extending their practice and instrument and forged a professional career audience into the digital space. through a gentle mixture of piano genres from classical to jazz and hand-drawn digital images. Children, Families and Creative Learning Seven performances in November 2017 attracted an audience of 1,334. Using the Opera House’s In July 2017, the œnal presentation in a three-year Recording and Broadcast Studio facilities, the partnership with the Flying Fruit Fly Circus came to The Year’s Activity | Experiences Activity The Year’s production was also live-streamed to students The Studio for 18 performances and was attended by in regional and remote schools around Australia an audience of 4,242. JUNK transformed a regional and successfully trialled to schools in China. junk yard of the 1940s into a creative circus space œlled with tricks, ªips and physical theatre, and explored In addition to live performances, a total of how children played and took risks in the past, 10,361 students engaged with the Opera House’s commenting on contemporary approaches to play Digital Creative Learning program in 2018. and consumerism. As a result of the Sydney season, Since 2012, the Digital Creative Learning ABC Kids TV also commissioned a 15-minute piece of program has o•ered Opera House experiences content about the themes of JUNK and the Auckland to students across the country. The program International Arts Festival programmed JUNK. included digital tours and workshops, together with live-streams of four productions to Internationally acclaimed Irish company CoisCéim schools – The Wolf and Peter, Anatomy of the Dance Theatre re-told Prokoœev’s famous score Piano, Ruby’s Wish and Bell Shakespeare’s Peter and the Wolf through the eyes of the wolf. Macbeth. These productions were streamed Through dance and live music, the production free-of-charge to regional and remote schools, explored themes of courage and imagination with including an interactive Q&A with artists and a a contemporary, urban twist. Twelve performances live audience after the shows – 3,409 students attracted an audience of 3,798. participated across all live streams.

← JUNK. Photo by Jacquie Manning 46 47 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Jordi Savall performed for 2,000 people in the Concert Hall. The Year’s Activity | Experiences Activity The Year’s

H.E.R., Vivid LIVE. Photo by Daniel Boud

Classical Music Since 2008, the Utzon Music Series has H.E.R. brought the house presented intimate opportunities for audiences to experience and engage down with a Prince-inspired with classical music from emerging and renowned artists alike. Yarmila Alfonzetti performance to a legion of curated this year’s series, with highlights including performances by violinist Karen young fans. Gomyo, pianist Behzod Abduraimov and the award-winning Orava Quartet.

Featuring a selection of exceptional musicians and a program spanning classics Contemporary Music through to contemporary Australian works, This year marked the 10th anniversary of – Grammy Award-winning hip-hop institution the new Crescendo program celebrated Vivid LIVE, the Opera House’s annual and Hollywood star Ice Cube was the œrst Australia’s emerging classical artists in celebration of contemporary music. A line-up rapper to take to the Concert Hall, bringing the Utzon Room. Over the year, more of signiœcant Australian and international artists many œrst-time visitors to the Opera House than 700 people enjoyed performances sold a record 44,000 tickets and generated for his four-night residency; by the Paciœc Opera, the Sydney more than $4 million in box o³ce. Festival Symphony Orchestra Fellows and – Twenty-one-year-old US-Filipino alt-R&B highlights included: Sydney’s Philharmonia Choirs VOX. sensation H.E.R. brought the house down with a Prince-inspired performance to a The Year’s Activity | Experiences Activity The Year’s | Experiences Activity The Year’s – Solange Knowles presented four In February 2018, Jordi Savall performed with legion of young fans; and Australian-exclusive performances in the Hesperion XXI and Tembembe Ensamble round, featuring work from her politically – First Nations music took over the Studio as Continuo in a unique performance before a charged, musically compelling US No 1 the powerful new music duo Electric Fields Concert Hall audience of 2,000 people. album A Seat At The Table. She drew a created a dance party full of soulful pop, diverse, engaged and passionate audience epic electronic works, and intimate story- of more than 10,700 people; songs alongside up-and-coming artist Kuren (Curtis Kennedy).

Jordi Savall. Photo by Ken Leanfore

48 49 SolangeSydney Opera House Annual Knowles Report FY18 drew Sydney Opera House Annual Report FY18 a diverse, engaged and passionate audience of more than 10,700 people.

Ice Cube, Vivid LIVE. Photo by Daniel Boud

Complementing the creativity on our stages, A total of 39,000 tickets were sold for the artist Jonathan Zawada mapped the shells of November 2017 Forecourt events, 52% of whom the Opera House in three-dimensional form were to œrst-time Opera House attendees. and then œlled them in to create ''kinetic digital Highlights included global pop star Lorde sculptures'' for the annual Lighting of the Sails. (two performances for an audience of 11,990) Metamathemagical used neon colour and and Australian icon Paul Kelly (performing to botanical images that distorted and mutated. his biggest audience, 11,637 people over two Within these scenes, everyday objects and nights). E³ciencies in infrastructure costs The Year’s Activity | Experiences Activity The Year’s natural specimens appeared as hyperreal were achieved by scheduling Jack Johnson, representations and fantastical re-imaginings. a commercial hire presentation, at the end of the Sydney Opera House Presents run of Forecourt events. Forecourt concerts returned in February 2018, with critically acclaimed US A total of 39,000 tickets indie-rock band The National playing to an were sold for the November audience of 11,300 over two performances. In the Concert Hall, Led Zeppelin’s Robert 2017 Forecourt events. Plant, The Jam/Style Council’s Paul Weller and Senegalese legend Youssou N’Dour played a run of unforgettable concerts. Beyond Vivid LIVE, the Opera House’s Paul Weller’s performances were his only contemporary music program presented a Australian appearances, attracting an dynamic range of artists across the year. audience of 7,930 people.

← Solange Knowles, Vivid LIVE. Photo by Daniel Boud 50 51 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Snow White achieved $1 million in box o›ce sales and 8,483 attendances. Assassins. Photo by Prudence Upton

Contemporary Performance The Contemporary Performance programming Contemporary Performance took a darker stream was strengthened this year, and is turn in June, with Ballet Preljocaj’s sinister and headed by Olivia Ansell. Contemporary malevolent Snow White. This modern ballet from Performance champions modern story-tellers, French choreographer Angelin Preljocaj was the pop-culture visionaries and the reinvention œrst opportunity for Contemporary Performance and reinterpretation of classic art forms across to present in the upgraded JST. As part of the contemporary dance, theatre, circus, magic, season, an exclusive masterclass was o•ered to comedy, musicals, cabaret, pop and screen- 28 up-and-coming professional dance students. culture events. The students were coached by Verity Jacobsen, who performed the role of Snow White and is The Unbelievables brought some of the world’s originally from Sydney. Across six performances, greatest circus, magic and acrobatic performers Snow White achieved $1 million in box o³ce to the Concert Hall in December 2017. The sales and 8,483 attendances. production attracted more than 28,000 patrons, 55% of whom were œrst-time Opera House The year rounded out with Stephen Sondheim’s attendees and 30% international tourists. As critically acclaimed Assassins in the Playhouse. part of the Opera House’s partnership with This Australian production was a timely the Balnaves Foundation, two performances exploration of power, starring musical theatre were dedicated for sale through the Open and television star David Campbell. The Year’s Activity | Experiences Activity The Year’s House Program, in which more than 3,600 tickets were sold for $5 to socially or œnancially disadvantaged families.

Multi-award winning comedian Hannah Gadsby presented her heartbreaking and deeply moving Nanette in a two-week sold-out season in The Playhouse in October, before returning for two shows in January. The January performance was recorded in 4K resolution for Netªix global distribution by our Recording and Broadcast Studio, becoming the œrst Opera House ← performance recorded live in 4K and High Snow White, Ballet Preljocaj. Deœnition simultaneously. Photo by Prudence Upton 52 53 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

First Nations Homeground was a free celebration of the participate, speciœcally from areas in Far North contemporary art and ancient customs of Queensland, the Torres Strait Islands, Western our First Nations. This year’s festival featured Australia and South Australia. Artists from these Australian and international First Nations areas, along with remote areas of NSW, had music, dance, art and culture and was curated not been able to attend in previous years due to by Opera House Head of First Nations transport costs. Programming, Rhoda Roberts AO. The podcast series Deadly Voices continued In 2017, the festival was staged on the Forecourt in FY18, featuring prominent œgures from all and more than 25,000 people visited the corners of First Nations culture, nationally and ‘village’ which contained teepees and yurts internationally. Established in 2015 as a weekly housing participatory healing and weaving radio show o•ering a much needed platform Homeground is the Opera House’s workshops, an arts market and œlm screenings. for Indigenous musicians, it is now a monthly podcast series and feature of the Opera House’s annual, free celebration of First Indigenous Australian performers represented First Nations and digital programming. On some 87 clan groups and all states and the announcement of the same-sex marriage nations music, dance, art and territories. The expanded music program had equality vote in September 2017, the latest a national and international line-up, including: series of Deadly Voices podcasts was launched, culture. Yothu Yindi Band featuring Yirrmal; Sorong proœling leaders, performers, sports people and Samarai; Tenzin Choegyal; Eric Avery and politicians who told their personal stories as First Irish Mythen; and Kahl Wallis. Nations members of the LBGTIQ+ community.

The Forecourt location also facilitated an expanded scale and sight lines for the much-loved Dance Rites competition, which featured 23 dance groups with 340 dancers representing 21 nations and 31 clan groups. Generous philanthropic contributions, via a matched funding scheme, enabled more remote, interstate and regional dance groups to The Year’s Activity | Experiences Activity The Year’s

More than 25,000 people visited the 'village' of healing and weaving workshops, an arts market and Žlm screenings.

54 Homeground 2017. Photo by Daniel Boud Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

All About Women attracted an audience of 12,328 people.

The Motherload. Photo by Yaya Stempler Life on Mars: The 2020 Rover Mission. Photo by Prudence Upton

All About Women 2018: Pretty For An Aboriginal. Photo by Prudence Upton All About Women 2018: Fran Lebowitz. Photo by Prudence Upton All About Women 2018: Disability & Intersectionality. Photo by Prudence Upton

Talks & Ideas In addition to our Talks & Ideas festivals, a In February 2018, social media phenomenon and number of compelling and popular talks were street portrait photographer Brandon Stanton Antidote All About Women held across the year. Life on Mars: The 2020 brought his personal story to Sydney in a talk The newly launched Antidote festival featured This year’s day-long festival of ideas and talks Rover Mission explored the potential for life that gave audiences a behind-the-scenes look local, national and international speakers, in March 2018 sold faster than any previous on Mars and the 2020 robotic mission to the at the creator and the creation of Humans of including US satirists The Onion, transgender All About Women, attracting an audience of red planet, featuring a panel of international New York. Demand was so strong that a second activist Janet Mock, US author Amani 12,328. Focusing on issues important to women, scientists and philosophers, including physicist Concert Hall show was announced within days, The Year’s Activity | Experiences Activity The Year’s The Year’s Activity | Experiences Activity The Year’s Al-Khatahtbeh, Indian author Shashi Tharoor, the festival featured US writer and social Paul Davies, NASA’s Abigail Allwood and Mitch with the shows attracting a total audience of British poet Inua Ellams, North Korean activist commentator Fran Lebowitz, bestselling author Schulte, and UNSW geologist Martin van 4,251 people. Park Yeon-mi and Australian First Nations artists Barbara Kingsolver, Rohingya activist Wai Wai Kranendonk. The centrepiece of the Sydney Jack Charles and Archie Roach. More than Nu, Papua New Guinean community organiser Science Festival, this talk brought many The Motherload brought together a panel of 8,200 people attended the two-day festival in Ursula Rakova, Marshall Islands poet Kathy students and young adults into the Concert feminists to examine cultural attitudes towards September 2017. Jetnil-Kijiner and Australian First Nations artists Hall for a wonderful evening of insights into parenting in May. The panel featured feminist Nakkiah Lui and Miranda Tapsell. humanity’s future in space. 1,985 people icon and media commentator Clementine attended the talk in August 2017. Ford, social researcher Rebecca Huntley and writer Maxine Beneba Clarke. Host Fenella Kernebone led a robust discussion of the personal and political challenges of parenting in contemporary society for a Playhouse audience.

56 57 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Commercial Hirers The range of performances o•ered by outside hirers often introduces patrons to the Opera House for the œrst time. More than 34,461 people attended recitals, school concerts, orchestras, community events, competitions and performances. This year’s events included: Khon: Exquisite Masked Dance Drama of Thailand, presented by the Royal Thai Consulate General; legendary South Korean pop star Lee Sun-hee; Hungarian pianist Balázs Havasi; and renowned bossa nova star Sérgio Mendes and his nine-piece band. Japanese-Brazilian sensation Lisa Ono celebrated 30 years of music with her Concert Hall debut in May 2018 for an audience of 2,177 people. The Year’s Activity | Experiences Activity The Year’s

Sunrise on the Steps. Photo by Dan Boud Visitor Experience

The Visitor Experience portfolio includes the Tours, Food & Beverage, Ticketing, Visitor Services, Retail, Licensing and Access teams. – To further safeguard the process of buying visit and 35% being Sydneysiders. New It serves the more than 10 million people a tickets, the Opera House participated in content was launched in July 2018, featuring year who visit the Opera House. The Opera industry consultation that has culminated in emerging and established arts practitioners House achieved an average on-site customer new legislation to protect consumers from Aione Talia Gaidan, Djambawa Marawili, satisfaction score of 90%. ticket scalping; Penny Evans, Pat Ansell Dodds, Mervyn Rubuntja and Mabel Juli; and Key FY18 activities included: – Sunrise on the Steps, a 10-week program of public œtness classes supported by Principal – Customer feedback is now undertaken via – Record tours month in February 2018, Partner Samsung and trialled in 2016, was several methods, including mystery visits, with 65,000 tour patrons over the Chinese brought back in March 2018 to engage with kiosks in The Lounge, the Welcome Team New Year period, 28% higher than the a new audience; and online. previous record; – The expansion of digital arts and story- – New pre-theatre dining experiences in the telling on site continued this year with Northern Foyers with extensive harbour views; The Year’s Activity | Experiences Activity The Year’s Badu Gili, a seven-minute animation that – The Trippas White Group expanded its food celebrates Australia’s First Nations culture and beverage role at the Opera House, taking and history, projected daily onto the eastern on the theatre bars and functions catering; Bennelong sails. Badu Gili, which means “water light”, is curated by Opera House – The Opera House online retail site was Head of First Nations Programming Rhoda launched, selling a series of exclusive Roberts AO, and weaves together the products such as a limited edition watch in work of artists from across Australia and collaboration with Swiss company Bausele the Torres Strait Islands. In its œrst year, and a range of ceramics from artist Samantha Badu Gili attracted about 700 visitors daily, Robinson celebrating the Utzon Tapestry; with 40% stating it as the reason for their

Opera Bar. Photo by Nikki To

58 59 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Revenue Key portfolio goals for FY19 include: Visitor Experience portfolio revenue in FY18 – The Opera House’s new function centre will was $39.1 million, $1.5 million ahead of budget, open in 2019 with menus by ambassador with a net result of $22 million. This outcome chef Karen Martini. was primarily driven by strong Tours growth. Of the net result, Tours and Food & Beverage – The launch of the Opera House’s new combined contributed more than $20 million. uniforms, designed by acclaimed fashion designer Dion Lee.

Tours – New technology interfaces to help The number of visitors taking a tour increased the public. Prototype ticket kiosks are by 15% in FY18, with the number rising from being tested. 491,000 in FY17 to 564,000. Revenue increased – New anti-fraud technologies, designed by 9%. Growth continued to be driven by the to combat online credit card crime. Mandarin and Korean-language tours. Demand for the Backstage Tour remained strong in what – New cloud-based telephony software are normally the quieter months, driven by a capable of queueing inbound email, higher number of US visitors. social media commentary and measuring satisfaction are due in early 2019. The Year’s Activity | Experiences Activity The Year’s Food and Beverage – The Mystery Visitor program will include In FY18, Opera House revenue from Food & performances and the theatre bars. Beverage operations was $12 million. The Opera House has greatly beneœted from the experience of working with hatted chefs – Peter Gilmore at Bennelong and Matt Moran Backstage Tour in Mandarin. Photo by Cybele Malinowski from Opera Bar and Aria Catering. This year, Michael Moore took over at Opera Kitchen and it was announced that Karen Martini would join the Opera House as ambassador chef for Trippas White in late 2018.

Portside and the Western Foyer theatre bar areas had a very successful Vivid LIVE festival and have recently introduced new furniture and bar arrangements under the colonnade. The theatre bar o•ering for the venues has been reworked to better serve patrons.

The Concert Hall and JST theatre bars, run The Visitor Experience by Aria Catering, also enjoyed a positive Vivid festival, working with the Sydney Opera House portfolio revenue in FY18 Presents team to deliver a successful pop-up bar in the Concert Hall Northern Foyer. Trippas was $39.1 million, with a net White has now taken over the main theatre bars, as well as delivering functions catering for | Experiences Activity The Year’s result of $22 million. our Resident Companies and commercial hirers.

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The NSW Government has committed $228 million to the biggest upgrade since 1973.

Joan Sutherland Theatre Other Works

On New Year’s Eve 2017, the JST re-opened Construction works commenced for the new after a seven-month closure for the Theatre function centre, including removal of the Machinery Project (TMP) and the Safety intrusive events marquee on the Northern Accessibility and Venue Enhancement (SAVE) Broadwalk. Upon Completion in early 2019, the works. The TMP, a $45 million replacement of new function spaces will be within the building critical theatre infrastructure, was self-funded envelope, with occasional temporary use of the by the Opera House. The SAVE project, for area previously occupied by the marquee. which the NSW Government committed $26 million, included: Detailed design and planning works for the other projects continued in FY18. – New follow-spot room that improves Sydney Opera House. Photo by Hamilton Lund performance and working conditions for operators; Operations and maintenance

Refurbishment of the orchestra pit to – Asset management and maintenance continues provide improved conditions, better to support a busy precinct, with no material acoustic performance and better sight impacts on performances arising from lines between conductor and musicians; Building Renewal maintenance issues. Key activities included: The – An electro-acoustic enhancement system – In FY18, more than 31,000 preventive The Opera House’s Stage 1 Renewal program includes $273 million to improve sound quality for audiences; maintenance activities were undertaken, worth of projects, funded by the NSW Government and the Opera House. As Construction began on a new accessible – out of a total of nearly 56,000 maintenance Building well as the Joan Sutherland Theatre (JST) project, Stage 1 Renewal includes: passageway and lift, which will be opened work orders; in November 2018, providing wheelchair Concert Hall upgrades to improve acoustics, accessibility, stage – access to all levels of the Northern Foyer – Replacement of end-of-life equipment and backstage areas, and replace worn-out theatre systems. It is the for the œrst time; and including the central chiller plant that most signiœcant work undertaken in the Concert Hall since the services all venues and workspaces. Additional patron facilities, including Opera House opened; – Additional capital funding was provided in additional female toilets and a new A new Creative Learning Centre will provide children and young the FY18 budget to replace security assets – accessible toilet in the Northern Foyer. people with a dedicated space to experiment and learn in a building nearing the end of their operational life; The upgrades have been very well received by that embodies creativity and innovation; – Major structural inspections were the Resident Companies and patrons. – Entry and Foyers upgrades will include the area under the Monumental completed and further investigation will Steps and the main box o³ce foyer, adding seating and improving continue, as we determine the longer term accessibility; and needs for conservation of the building; and

– A new function centre within the building envelope will celebrate – New specialist building materials were signiœcant events and mark important occasions – from weddings and procured to future-proof stock levels. The Year’s Activity | The Building Activity The Year’s The Year’s Activity | The Building Activity The Year’s intimate gatherings to community and government events.

In total, the NSW Government has committed $228 million to renew the Opera House in the biggest upgrade since it opened in 1973.

62 63 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Heritage

Key FY18 heritage activities and Utzon centenary achievements included: In 2018 we celebrate our 45th anniversary and the centenary of Opera House architect Jørn New Conservation Management Plan Utzon's birth (9 April, 1918). In October 2017, the Opera House launched the The celebrations taking place in October 2018 fourth edition of its Conservation Management will encompass a variety of public events, Plan, titled Respecting the Vision: Sydney Opera including: House – a Conservation Management Plan (CMP4). Written by architect and respected – The world premiere of a new documentary heritage expert Alan Croker, the CMP4 won œlm, Jørn Utzon: The Man & The Architect a National Trust Heritage Award in May 2018 by Danish œlmmakers Nordisk Film; in the category of Heritage Resources and Publications. It was the product of a thorough – A free exhibition exploring Utzon’s travels consultation and approval process, including and their inspiration on his work, Horisont: an expert peer review Panel. The launch of the an opera house and a world apart curated CMP4 provided an opportune moment to raise by Denmark’s Utzon Center; the proœle of heritage within the Opera House – A panel to discuss the inªuence that Utzon community. Introductory brieœngs on the CMP4 has had on contemporary Danish architects, were provided to key stakeholders including Utzon 100: Next Generation featuring sta•, on-site operators, Resident Companies architects from Danish œrms Praksis and and a community forum. Johansen Svoksted;

– A series of free workshops for kids based Protecting National Historic Sites grant on the book Utzon’s Universe by Danish This year the Opera House was awarded architects Malene Abildgaard and Julie $248,000 in funding from the Commonwealth Dalfour, accompanied by a free video series Government through the Protecting National featuring œve projects for children to do at Historic Sites grant. It is the œrst time the home; and Opera House been awarded this grant. The The Year’s Activity | The Building Activity The Year’s grant will enable three projects from the – A contemporary stage adaptation of Igmar Renewal Interpretation Strategy, including: Bergman’s 1973 miniseries, Scenes from a updating digital content; developing an Marriage by the Royal Danish Theatre acknowledgement of Peter Hall, the architect who completed the Opera House after Jørn The 45 year celebrations will be enabled Utzon’s departure; and exhibiting the John through the generous support of Michael and Coburn tapestries. The Curtain of the Sun Manuela Darling. and Curtain of the Moon tapestries were Separately, the Opera House is exploring commissioned by Peter Hall and operated options for an appropriate onsite as the house curtains in the JST and Drama acknowledgement of the role played by Peter Theatre respectively, until the 1980s when Hall, the architect who completed the building they were taken down to be conserved due after Jørn Utzon’s departure. to damage.

Further detail on FY18 heritage activities, including implementation of the CMP4, is provided on page 229.

→ Photo by Hamilton Lund 64 65 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

In November 2017, the Opera House hosted the – Sydney Opera House Presents (SOHP) People Performing Arts Wellbeing Summit, titled How Project Business Case Policy, updated can the show go on?, with the Theatre Network December 2017: Provides a complete NSW and the NSW Performing Arts Wellbeing overview of the annual SOHP programming Working Group. This event raised awareness, cycle, setting out a structure to provide shared information and generated industry the right levels of bounded ªexibility for all action about the wellbeing of performing arts parties involved in this ongoing process. Team and Capability and screen workers in NSW. – Policy Development and Review Policy, updated March 2018: Structures the Opera House sta• demonstrated signiœcant resilience, focus and Australian designer Dion Lee was appointed development, review and maintenance of all collaboration during the Joan Sutherland Theatre (JST) upgrades, in May 2017 to design a new range of uniforms Opera House policies, including guidance including the seven-month closure to undertake Renewal works. for Opera House sta•. After extensive sta• regarding how these are prioritised In line with a memorandum of understanding negotiated with the consultation, the œnal designs were approved. The for attention in relation to broader Media, Entertainment & Arts Alliance (MEAA), the Opera House moved new uniforms will be rolled out by the end of 2018. 26 casual sta• onto ªexible time contracts during the closure period organisational strategy and operations. to provide them with a guarantee of hours. Casual sta• who did not Policy activities in FY18 included: – Information Security Management work during the closure period were provided with an opportunity to System Policy, April 2018: A new policy be re-engaged when the JST reopened. – Camera and Access Surveillance Policy, that describes how the Opera House will updated September 2017: Extends the design and manage a system for governing During the closure, an Opera House Lighting Supervisor and a Staging previous CCTV policy by including access digital security. This policy is required under Technician undertook a professional exchange program with the Royal records; makes available to sta• and the the NSW Government Digital Information Danish Theatre to develop targeted expertise in state-of-the-art theatre public the nature and extent of camera and Security Policy. technologies. The knowledge and experience from their trip informed the access surveillance on site, including updates successful implementation of the new theatre machinery systems in the to privacy considerations such as storage of JST, when the venue reopened on New Year’s Eve 2017. surveillance data. The Year’s Activity | People Activity The Year’s Despite the disruption to sta• caused by the JST closure, the Opera – Corporate Cards Policy, updated September House recorded a strong sta• engagement score of 78%, up four 2017: Provides a single source of truth for percentage points on FY17. Opera House sta• by consolidating the information that sta• credit and travel card To support the development of talent in the performing arts industry, the users need to fulœl their obligations, bringing Opera House provided 35 students with a range of experiences in a career the Opera House in line with the current NSW pathways program. This included the Aboriginal and Torres Strait Islander Government policy. Work Experience Week for high school-aged students, which takes place each school term. The 24 students who completed these four weeks were invited to apply for an internship in the Ticketing Services team, with four students awarded positions across FY17 and FY18. The other 11 high school and tertiary students participated in an open work experience program Five-year comparison of sta™ and work placements and internships in Production Services and Finance. as at 30 June 2018 FY18 FY17 FY16 FY15 FY14 The Year’s Activity | People Activity The Year’s

Total Permanent Sta• 262 217 177 189 209 In FY18, more than 5,000 hours of training were delivered to more than 1,200 attendees at 289 events. The majority of training activity from Equivalent Full-Time Permanent Sta• 233.95 186.84 153.62 157.69 176.59 September to December 2017 focused on preparing Production Services Total Non-Permanent Sta• 642 693 706 625 608 and Visitor Experience sta• to return to work in the renewed JST. (includes casuals)

Equivalent Full-Time Non-Permanent 330.69 339.88 381.81 355.62 319.97 To support employee wellbeing, a training program developed with Sta• (includes casuals) external psychologists improved employee awareness of the impact Total Full-Time Equivalent of bullying and harassment in the workplace. The training program was 564.64 526.72 535.43 513.31 496.55 (includes casuals) provided to the Emergency Planning and Response Group team and

people leaders within the Production Services team. Further programs will Data is calculated over the final pay period of each financial year. be delivered to the Performing Arts team in FY19. Total staff numbers include current casual staff who did not work in the final pay period of the financial year.

66 67 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Major Partner EnergyAustralia enabled the Partners and Opera House to participate in the Sydney Supporters Gay and Lesbian Mardi Gras parade for the œrst time. The ªoat, Out at the House, was Partners and supporters provide critical a resounding success, with overwhelmingly support, particularly in the areas of community positive sta•, stakeholder and wider community and programming initiatives. They enable us to engagement. The project allowed the Opera achieve our goal of cherishing and renewing the House to proudly celebrate the diversity of Opera House for future generations of artists, its sta• further and illustrated the importance audiences and visitors, and to inspire and of collaborating with partners who share strengthen the community through everything organisational values. we do. We work with them to identify new projects that enhance the experience of the Airbnb was an Event Partner of the 2017 Opera House, stimulate imaginations and Antidote festival, and created an inclusive engage people across the world. lounge in the Drama Theatre Foyer to proœle its Until We All Belong campaign and spark discussion around the Australian marriage Corporate partners equality vote. Throughout the year, the Opera House has worked collaboratively with its community of corporate Together with Major Partner Etihad Airways, partners. Notable achievements included: the Opera House hosted the Utzon 100 Dinner on 9 April 2018, the centenary of Jørn Principal Partner Samsung hosted a unique Utzon's birth. The event with key donors and light and shadow installation, The Night. stakeholders in the Utzon Room celebrated the Reimagined. on the Forecourt, attracting Utzon centenary, the halfway point in the Opera more than 133,000 visitors across the House’s Decade of Renewal and œve years 23-day Vivid Sydney festival. Samsung also of partnership with Etihad Airways. enabled the return of the popular Sunrise on the Steps public exercise program on the Opera House steps.

Samsung additionally brought art and television together in The Lounge through a number of artistic exhibitions using its latest television technology. The exhibitions included: artworks by the inaugural Badu Gili artists; 200 Women, in collaboration with Westpac; The Magic of the Theatre about the reopening of the Joan Sutherland Theatre; a celebration of architect The Year’s Activity | People Activity The Year’s Jørn Utzon’s 100th birthday; and Jonathan Zawada and Mark Pritchard’s œlm titled The Four Worlds and a 10-year retrospective of the artists of Vivid LIVE.

Westpac joined as a new Major Partner in October 2017, supporting the Opera House’s All About Women festival and First Nations programming initiatives, principally as Event Partner for the Homeground festival and Dance Rites.

Sydney Gay and Lesbian Mardi Gras 2018. Photos by Daniel Boud

68 69 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Philanthropy Tim Graham, Sydney Opera House’s Renewal Our donors continue to make an indispensable Stakeholder Coordinator, was awarded the 2017 contribution to the Opera House and our Lloyd Martin Travelling Scholarship. communities, supporting artistic programming, community programs and professional The Multidisciplinary Australian Danish development activities. In FY18, this included Exchange – MADE by the Opera House – is now classical programming in music, song in its œfth year. Each year, the program enables and dance (The Greats Idealist donors); œve Australian and œve Danish tertiary students contemporary programming in music, in the œeld of architecture, engineering and performance, visual arts and talks and ideas design to spend time in each other’s country (The Brave Idealist donors); providing low-cost and forge cross-disciplinary links. The program tickets to people experiencing social or œnancial honours the international collaboration that disadvantage (The Balnaves Foundation Open made construction of the Opera House possible House Program); access for disadvantaged and is supported by œrms and foundations students (the Greatorex Foundation); Opera with a special interest in culture and the built House donors’ continued support for Badu environment. The initiative was introduced in our 40th anniversary year, 2013, and by the time MADE Students. Photo by Steensen Varming Gili, with new content, launched in July 2018, and for Dance Rites, our national First Nations of its completion in 2023 will have created an dance competition (ARROW collective). international community of 100 alumni.

Our donors continue to make an indispensable contribution to the Opera House and our communities.

In October 2016, Claire Joachim, Social Media The MADE program sponsors include AMP Manager at the Opera House, was awarded the Capital, Arup, Steensen Varming, the NSW 2016 Lloyd Martin Travelling Scholarship for Architects Registration Board, The Bikuben Emerging Arts Leaders. The award is enabled Foundation, the Dreyer Foundation and the by the generous support of the Alexandra and Oberl Family Foundation. Lloyd Martin Family Foundation and honours the memory of Lloyd Martin, the Opera House’s longest-serving general manager (1978-97). It is open to any current sta• members of the Opera The Year’s Activity | People Activity The Year’s | People Activity The Year’s House or any of its seven resident companies. MADE Students. Photo by Jacquie Manning

70 71 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Badu Gili National Reconciliation Week events were Badu Gili, a daily sails lighting experience catered for by the National Centre for Indigenous on the Opera House’s eastern Bennelong Excellence (NCIE) in Redfern. sails, was launched on the eve of NAIDOC Week in June 2017. Curated by Head of First To demonstrate commitment to reconciliation, an Nations Programming, Rhoda Roberts AO, Acknowledgement of Country has been added to Badu Gili is a celebration of the rich history the Opera House email signature. and contemporary vibrancy of Australia’s First People. The seven-minute animation showcases Almost 200 sta• completed cultural awareness the work of eminent First Nations artists, training via the Aboriginal and Torres Strait including Jenuarrie (Judith Warrie), Frances Islander Cultural Awareness online e-learning Belle Parker, Alick Tipoti and the late Lin Onus module launched in 2016. The module is and Minnie Pwerle. promoted to new sta• during orientation. Two employees completed TAFE NSW’s Aboriginal The project was enabled by the Opera House, Cultural Awareness Program. its Idealist donors and the Australia Council for the Arts. Badu Gili has been experienced by First Nations Career Development more than 160,000 visitors since its launch, and Twenty-six students participated in First Nations

The Year’s Activity | People Activity The Year’s more than 600,000 people online. career path programs at the Opera House. Twenty-four students participated in the First During NAIDOC Week in July 2018, the Opera Nations work experience program for high House revealed new artwork for Badu Gili 2018 Homeground 2017. Photo by Daniel Boud school-aged students. Two of these students from six new First Nations artists from Australia went on to complete an internship in the Opera and the Torres Strait Islands. House’s Ticketing department and another two internships were appointed from the 2016-17 Cultural awareness and engagement work experience program. Opera House sta• interest in First Nations Community and cultural engagement activities continued to be For the œrst time in 2018, alumni from the work strong, with high levels of sta• participation experience and internship programs have been Social Responsibility in NAIDOC Week and National Reconciliation involved in facilitating the new programs, sharing Week events. In a joint environmental knowledge about their experience at the Opera sustainability and RAP initiative, 14 sta• House and mentoring new students throughout Indigenous Literacy Foundation Engagement with First Nations attended Taronga Zoo’s special NAIDOC Week the program. people, arts and culture The Children, Families & Creative Learning Free-Flight Bird Presentation. The show includes team, in partnership with the Indigenous the story of the dreaming and acknowledges Welcome to Country The Opera House is committed to respecting, Literacy Foundation (ILF), presented Indigenous the important connection all people have to An audio recording of a Welcome to Country by embracing and celebrating First Nations culture Literacy Day at the Opera House for the seventh place, their community and wildlife. Darug actor Richard Green was played before and fostering a shared sense of belonging for year in a row. The event launched Yakanarra, a a number of performances in FY18, including all Australians. In 2011, the Opera House was song book written by community members and Fifty Opera House and Resident Company all Vivid LIVE performances. The Welcome to the œrst Australian performing arts centre to children from Yakanarra Community School, sta• participated in the following National Country was well received by audiences and publish a Reconciliation Action Plan (RAP). in collaboration with Chris Aitken and Alison Reconciliation Week activities: artists. This initiative is being expanded in 2018, It recently completed the second year of its Lester. The event took place in the Studio and with recordings from local Aboriginal artists and fourth RAP 2017-19. FY18 highlights included: was hosted by Natalie Ahmat. It featured a – Darug language workshop with musician

The Year’s Activity | People Activity The Year’s community leaders to be played before all Opera performance by ILF Ambassador Josh Pyke for and educator Jacinta Tobin; House events. 225 school students and a book swap in the – Mini œlm festival featuring episodes from theatre foyers afterwards. the Art & Soul documentary; and

– Excursion to the Australian Museum for a tour of the Gadi exhibition.

72 73 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Access Sustainability

The Opera House’s access strategy is set – The Children, Families and Creative In FY18, the Opera House completed the Other key FY18 activities and achievements out in its fourth three-year Access Strategic Learning team presented Kaleidoscope, second year of its Environmental Sustainability included: Plan (2016-18). The plan focuses on giving introducing the world view of a 13-year- Plan 2017-19 (ESP). Signiœcant achievements all customers equal access to our facilities, old diagnosed with Asperger’s Syndrome. included the completion of two major energy- – Carbon footprint: In FY18, the Opera House performances and experiences, as well as Jodee Mundy's Personal was part of e³ciency projects; a NSW Environmental Trust produced 17,598 metric tonnes of carbon providing leadership in the area of accessibility the Unwrapped series and explored her grant for a scientiœc research project; and dioxide equivalent (CO¼e), with 100% of and the arts. Highlights from the plan’s second experience as a child of deaf adults; becoming a National Carbon O•set Scheme its carbon emissions o•set using National year included: certiœed carbon-neutral organisation. Certiœed O•set Standard (NCOS) certiœed – The customer journey for patrons with credits. To achieve NCOS certiœcation, an access needs has been a focus area for the – Construction began on a new accessible Total FY18 electricity consumption decreased by independent audit was required, followed Visitor Experience portfolio. The removal of passageway and lift, which will be opened about 10% compared with FY17. The ESP energy by assessment from the Department non-essential vehicles from the Forecourt in November 2018, providing wheelchair target specifying a 14% reduction by FY19 was of Energy and Environment. The Opera in early 2016 changed the access routes. access to all levels of the Northern Foyer achieved one year earlier than anticipated. Two House’s Carbon Neutral Product Disclosure Ongoing training was provided to multiple for the œrst time. major energy-e³ciency projects completed in Statement (PDS) outlines an emissions frontline teams, including Box O³ce, Front January 2018 contributed to this reduction in summary and provides further information – The Access program this year included of House and Welcome Teams. The website energy consumption: about the o•set credit purchased; 35 performances across a wide variety of was also improved for usability in terms of genres including Kids and Families, Talks accessible information; | People Activity The Year’s – Waste diversion: The ESP target for diverting – Building Management Control System & Ideas and the work of contemporary 55% of operational waste from landœll was – As part of the Safety, Accessibility and (BMCS) implementation, which included Australian artists in Unwrapped; exceeded by two percentage points in FY18. Venue Enhancement (SAVE) works in the a period of commissioning and tuning to However, total diversion was down seven – In collaboration with Westpac, Auslan and JST, the Opera House implemented a optimise building energy consumption; and percentage points on FY17. A number of live captioning were provided for all 14 talks range of technology-driven improvements – An upgrade of the Central Plant, including operational issues prompted a review of at the All About Women festival in March. for patrons. Further detail is provided on the replacement of four chiller units operational waste management practices and This was the œrst time that all festival talks page 63. Opera House Trustee Jillian Segal responsible for heating and cooling the procedures. To address key issues identiœed, were accessible to those who are deaf or AM (Yarranabbe Foundation) enabled the building. Heating and cooling accounts for management practices were adjusted, and have hearing loss; upgrades to the hearing loops in JST and about 30% of total energy use. additional waste education was provided for the Drama Theatre; and – The collaborative program Dancing target groups. In addition, a new process to Connections continues to build momentum, – The key access programs associated with report non-compliance was introduced; and with the largest group of participants Vivid LIVE were highlighted in a three- – Engaging audiences: The Opera House registering since its inception in 2016. minute trailer to the live-streaming of the continued to engage and inspire audiences A partnership with Dance for Parkinson’s Lighting of the Sails. The audio-described and visitors throughout the year. Vivid Australia, the February series focused on live-stream has been accessed more than Vivid LIVE was LIVE was carbon-neutral in FY18, o•set by choreography from the acclaimed Michael 23,000 times. biodiverse tree-planting from Greenªeet. Clark Company; carbon-neutral in FY18, Sustainability-themed Talks & Ideas events – As part of the Vivid LIVE festival, Gig o‘set by biodiverse were a feature of All About Women and Buddies (a befriending program for people Antidote. Children and families productions with a learning disability) was invited to tree-planting from such as Frugal Forest and creative play attend three diverse contemporary music activities such as Stringdom engage children concerts. This was the œrst time the Green¤eet. about the importance of reducing, recycling organisation had attended rap and dance and repurposing waste. Sustainability Partner

The Year’s Activity | People Activity The Year’s music genre events; Airbnb launched a series of sustainability tours over the summer period, in conjunction with the launch of Airbnb’s Experience platform.

Further detail on sustainability issues is provided on page 218.

74 75 Sydney Opera House Annual Report FY18

Safety, health and wellbeing Security and risk

Safety for everyone who works at or visits Our goal is to ensure that the Opera House the Opera House is our greatest responsibility remains a secure place and we are prepared and and underpins everything we do. In 2016, able to manage unexpected situations if and the Opera House endorsed the 2017-19 Work when they arise. A key focus for FY19 will be Health and Safety (WHS) Strategic Plan, the renewal and enhancement of infrastructure, designed to improve safety culture, systems, systems and capability to meet the ever- risk management and capability. Key FY18 changing security risk environment. A NSW results included: Government grant of $36.2 million announced in June 2018 will allow the Opera House to upgrade – Renewal works in the Joan Sutherland its infrastructure, including security technology Theatre addressed critical safety risks for systems and entry to the site. theatre operations; The Opera House continues to work closely – A three-year Health Management Plan with key government agencies and stakeholders was developed, implementing a range for major event planning and operational of activities to promote the health and command and control. We maintain a high level wellbeing of our people; of preparedness with those stakeholders, built – All lead indicators, including executive on a strong base of consultation and advice, to safety interactions, safety training, deliver a safe and secure venue for our sta•, hazard reporting, audits and workplace artists, audiences and visitors. inspections, were met or exceeded;

– The lost time injury frequency rate decreased from 11.4 in FY17 to 6.9, below the FY18 target of 8.0 and a 56% decrease since FY13; and

– Three incidents were notiœed to SafeWork NSW in FY18, but no injuries were involved.

Workers compensation claims were slightly up on FY17. A proactive approach to injury management has been implemented since March 2017, ensuring that workers are sent immediately to a preferred medical provider. This has resulted in more claims, but better return to work and injury management outcomes.

Overall, we are proud of our achievements in safety, acknowledging that there is more to be done. In the next 12 months, we will continue to implement the WHS Strategic Plan, with a particular focus on leadership and culture, The Year’s Activity | People Activity The Year’s implementing a new safety management Renewal works in the software system, improving safety risk management and refreshing our approach Joan Sutherland Theatre to workforce consultation. addressed critical safety risks for theatre operations. → Joan Sutherland Theatre Renewal. Photo by Daniel Boud 76 Sydney Opera House Annual Report FY18

Organisation Executive Chart Team

Minister for the Arts The Hon. Don Harwin MLC Louise Herron AM Kate Dundas CEO Executive Director, Performing Arts Quali˜cations BA, LLB (Sydney University), Quali˜cations BBA Communications (Charles LLM (London University); GAICD Sturt University), Vincent Fairfax Fellow Sydney Opera Department of (Melbourne University), GAICD House Trust Planning and Louise was appointed CEO of the Opera House Chairman Environment Nicholas Moore Secretary in 2012, having previously been a lawyer and Kate joined the Opera House in July 2017 with Carolyn McNally corporate adviser. She was chair of Sydney’s overall responsibility for the delivery of all Belvoir Street Theatre for 10 years. Louise has performances, events and festivals programmed led development of the Opera House’s Renewal by Sydney Opera House Presents, relations program to ensure this World Heritage-listed with the Resident Companies, hiring of venues, Sydney Opera House icon and one of the world’s busiest performing and management and production support Trust Sta™ Agency arts centres meets the needs and expectations for all Opera House productions and events. CEO of 21st-century artists, audiences and visitors. Kate’s previous roles include Director of ABC Louise Herron Radio, Director of People and Learning for the Stage 1 of Renewal includes more than $270 ABC and Head of ABC National Networks. In million in capital works to upgrade performance addition to her ABC career, Kate has worked halls and open new spaces to the public, in public and communications policy areas in Executive Director, Director, Director, Building Deputy CEO – as well as improving the artistic and visitor both state and federal governments and held Performing Arts Visitor Experience Ian Cashen Operations experiences for the Opera House’s 10.9 million three senior management roles in the NSW Kate Dundas Jade McKellar General Council Michelle Dixon annual visitors, 1.5 million people who attend a Government – Deputy Secretary, Arts & Culture (to 15/05/2018) performance each year and more than 560,000 NSW; Director Regional Strategic Projects in tour patrons. the Premier’s Department; and Director Public Sector Management O³ce.

Director, Chief Financial Director, People Engagement & O³cer & Culture Kate is a Board Member of Australia for Development Jon Blackburn Fatima Abbas UNHCR and chairs its Leadership and Brook Turner (to 01/05/2018) Nominations Committee. (to 30/03/2018)

Up-to-date information on the Opera House Executive Team can be found at www.sydneyoperahouse.com/general/corporate-information/our-people.html

79 80 Sydney OperaHouse Annual FY18 Report The Year’s Activity | Executive Team paid visitors annually. of sixattractions withmore than2.5million Group, withresponsiblility for themanagement Sydney Attractions for MerlinEntertainments General Manager, Sydney Tower andHeadof include GeneralManager, Sydney Aquarium, attraction management.Herprevious roles Jade has18years’ experience intourism and House, Food andBeverage, Tourism andRetail. Jade’s incorporates portfolio Ticketing, Front of Director, Visitor Experience inOctober 2015. Manager, Tours andRetail andwas appointed Jade joinedtheOperaHouse in2013 asGeneral University, London) Certiœcate, Business Practice (Kingston BCom (Macquarie University), Post Graduate Quali˜cations BSc (University ofSydney), Director, Visitor Experience Jade McKellar Planning andResponse Group and Safety teams. additional responsibilityfor theEmergency Director, Building, Safety & Security, with In July2018, Ian took ontherole ofExecutive operations andmaintenance ofmajorassets. as well asreform initiatives for improving leadership roles for delivery ofmajorprojects Ian developed broader expertise, fulœlling Olympics venues. Withthisasafoundation, proœle projects, including anumber ofSydney design andproject managementofhigh Ian’s earliercareer included experience in branch comprising of70 consulting sta•. as well asmanagingtheoperations oftheNSW range ofhigh-value to services clients advisory Principal oftheœrm,responsible for providing a & Peck (now known asAdvisian). Ian was a years withinfrastructure œrmEvans advisory Ian joinedtheOperaHouse in2016, after 12 operations andmaintenance management. planning anddeliveryofcapital projects,and including thedevelopment ofstrategies, Ian’s experience spanstheasset lifecycle, construction andasset management. Ian hasmore than20years’ experience in With formal training asacivilengineer, (University ofWollongong) Quali˜cations BEng (Civil) Director, Building Ian Cashen Sydney OperaHouse Annual FY18 Report The Year’s Activity | Executive Team and international jurisdictions. aviation law, representing indomestic clients specialising ininternational maritimeand at commercial lawœrmEbsworth & Ebsworth, Opera House, Michellewas aSenior Associate public andprivate sectors. Before joiningthe of Australia in1995, andthenpractised inthe Supreme Court ofNSWandtheHighCourt Michelle was admitted asasolicitor ofthe International Association ofVenue Managers. committees, theLawSociety ofNSWandthe groupsand nationalsecurity andrisk advisory of Company Directors, amemberofstate Michelle isagraduate oftheAustralian Institute and Response Group andtheSafety team. assumed oversight for theEmergency Planning Relations andRiskFunctions. In2015, she Secretariat, Policy, Insurance, Government as GeneralCounsel ledtheLegal, Company Michelle joinedtheOperaHouse in2008 and Technology), GAICD Grad DipLegal Practice (University of Quali˜cations BA LLB(Macquarie University), CounselGeneral (to 15/05/2018) CEO Deputy – and Operations Michelle Dixon Director, Engagement & Development. On 30July2018, Brendan Wall commenced as and editingother AFR design andwealth issues, aswell aslaunching inaugurating themagazine’s signature power, of TheAustralian Review Financial Magazine , previously Editor andthenManaging Editor ReviewFinancial (AFR)newspaper. Hewas including asCultural Editor ofTheAustralian worked atFairfax for more than20years, Prior to joiningtheOperaHouse, Brook Special Event functions. Media, Marketing, Communications and Opera House Sponsorship, Philanthropy, Development thatincluded portfolio all he headedanexpanded Engagement & Accessibility andSpecial Events. From 2015, Partnerships, Government Relations, Strategic Communications, Philanthropy, of ExternalRelations, whichencompassed 2013 asheadofthenewly created portfolio Brook joinedtheOperaHouse inJanuary (University ofSydney) Quali˜cations BA (Hons),LLB (to 30/03/2018) Director, Engagement & Development Brook Turner publications. 81 82 Sydney OperaHouse Annual FY18 Report The Year’s Activity | Executive Team Risk andProject Management. on additionalresponsibility for Legal, Enterprise Director, Corporate andCFO, Services taking In July2018, Jon was appointed Executive global designandbuildbusiness. services he was theglobalCFO atafamily-owned Lloyds Bank businesses inAsia.Mostrecently, roles atMacquarie Bank andlater CFO for he moved intowithsenior œnancialservices hiscareer at PriceAfter starting Waterhouse, andprofessional sectors.property services 30 years' globalexperience intheœnancial, Payroll andProcurement. Jon hasmore than for theTechnology andFinance teams including O³cer inNovember 2017, withresponsibility Jon was appointed to therole ofChief Financial Member InstituteAccountants Chartered Quali˜cations BBus (Kuring-gai CAE), Chief Financial OŠcer Jon Blackburn Director, People & Government. In July2018, Kya Blondintook ontherole of Management teams. Development andLearning, andChange Resources, Industrial Relations, Organisational Fatima oversaw theOperaHouse’s Human for several years. (superannuation)the œnancialservices industry in October 2016, havingpreviously worked in management. Fatima joinedtheOperaHouse and strategy andorganisational change resources management,corporate planning Fatima hasexecutive-level experience inhuman MPsy (Org), MPA Quali˜cations BSc/Psy (Hons), (to 01/05/2018) Director, People & Culture Fatima Abbas Photo by DanielBoud → Sydney OperaHouse Annual FY18 Report 83 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Committees, Corporate Memberships, Governance Attendances The Trust consists of 10 members appointed Audit and Risk Committee by the Governor on the nomination of the responsible Minister. A Trustee holds o³ce for The Audit and Risk Committee provides three years and is eligible for reappointment independent assistance to the Trust by for no more than three consecutive terms. The overseeing and monitoring the Opera House’s Trust must include at least two persons who have governance, risk and control frameworks, and knowledge of, or experience in, the performing its external accountability requirements. arts. The Trustees volunteer their time. The Trust Six meetings were held this year, with key During FY18, existing Trustees Mr Nicholas agenda items including: enterprise risk In exercising its stewardship functions, the Trust The Sydney Opera House is operated and Moore (Chair) and Ms Deborah Mailman AM management; FY19 budget; SOH Presents acts to fulœl these objectives as custodians maintained for the Government of New South (performing arts appointee) were reappointed programming; quality assessment and of the Opera House for the citizens and Wales by the Sydney Opera House Trust (the from 1 January 2018 to 31 December 2021. Four improvement manual and reports (internal Government of NSW. Trust), which is constituted as a body corporate new Trustees – Ms Anne Dunn, Mr Michael audit); business continuity planning; under the Sydney Opera House Trust Act 1961. Ebeid AM, Ms Kathryn Greiner AO and Ms delegations; security; internal controls; FY17 The Trust’s role is generally to: Kylie Rampa – were also appointed for the same and FY18 œnancial statements; work health period. Three Trustees completed their terms and safety performance; food and beverage; – Contribute to and oversee management’s Objectives and Role this year – the Hon. Helen Coonan, Mr Peter Concert Hall upgrade planning; online ticketing; development of strategy and goals in line Mason AM and Ms Catherine Powell. cyber security; risk appetite; and fraud control. with the objects and functions of the Trust The Trust’s objectives are to: as set out in the Sydney Opera House Trust Agenda items for the œve Trust meetings Act 1961 and with reference to the policy – Administer, care for, control, manage and held during the period included: Building Building and Heritage Committee objectives of the NSW Government for maintain the Sydney Opera House building Renewal projects and contracts, including the State Cultural Institutions; and site; Theatre Machinery Project (TMP) and Safety, The Building and Heritage Committee – Oversee management’s implementation of Accessibility and Venue Enhancement (SAVE) provides assistance to the Trust by overseeing – Manage and administer the site as an arts the strategy and goals; and works for the Joan Sutherland Theatre and and monitoring building, conservation and centre and meeting place; Concert Hall upgrade planning and design; FY19 heritage matters. – Develop and review corporate governance – Promote artistic taste and achievement in budget; recurrent asset maintenance program; principles and policies. all branches of the performing arts; and Conservation Management Plan; the Opera Four meetings were held, with key agenda House’s Artistic Strategy; Sydney Opera House items including: Building Renewal projects – Foster scientiœc research into and Presents program; delegations; FY17 œnancial and contracts, including the TMP and SAVE encourage the development of new forms statements; food and beverage; and Chief works for the Joan Sutherland Theatre and of entertainment and presentation. Concert Hall upgrade planning and design; The Year’s Activity | Corporate Governance | Corporate Activity The Year’s

The Year’s Activity | Corporate Governance | Corporate Activity The Year’s Executive O³cer performance and recruitment. The Trust monitored and reviewed: overall FY19 recurrent asset maintenance program; business performance; work health and safety; security projects; hazardous materials people and culture; and security. management; œnancial status and progress of building projects; annual œre safety statement; maintenance contracts; and the Eminent Architects Panel.

84 85 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Conservation Council Visitor Experience Committee Trust and Committee Attendance

The Conservation Council provides The Visitor Experience Committee provides conservation and heritage advice to the Trust. advice to the Trust on visitor experience and engagement strategies. Three meetings Audit Building and Visitor Eminent and Risk Heritage Conservation Experience Architects Four meetings were held, with key agenda were held with key agenda items including: Board Committee Committee Council Committee Panel items including: Building Renewal designs; visitor experience and marketing strategy Conservation Management Plan Fourth Edition implementation; digital strategic framework; Trustees development and implementation; intrusive food and beverage; uniforms; Badu Gili (daily Nicholas Moore 5/5 – – – – – items removal progress; outdoor activities and Indigenous lighting of the sails project); other The Hon. Helen Coonan 3/3 – – 3/3 2/2 – events and associated infrastructure; Eminent sails lightings; visitor experience dashboard Architects Panel; Renewal Interpretation and key performance indicators. Anne Dunn 1/2 2/3 – – – – Strategy; collection management policy and Michael Ebeid AM 2/2 – – – 1/1 – strategy; concrete conservation strategy; John Coburn tapestries; MADE by the Opera House; Matthew Fuller 4/5 – 4/4 – 3/3 – and planning and heritage approvals. In addition, Kathryn Greiner AO 2/2 – – – 1/1 – Conservation Council members continued to Chris Knoblanche AM 5/5 5/6 4/4 – – – work closely with the EAP and met outside of formal meetings to review various Building Deborah Mailman AM 4/5 – – – 2/3 –

Renewal designs. Peter Mason AM 3/3 3/3 – – – –

Catherine Powell 3/3 – – – 1/2 –

Eminent Architects Panel Kylie Rampa 2/2 – 1/1 – – –

The Eminent Architects Panel provides advice Jillian Segal AM 5/5 6/6 – – – – to the Trust through the Building and Heritage Phillip Wolanski AM 4/5 – 3/4 1/1 – – Committee on issues of architecture or design and in relation to the management and conservation of the building as it evolves with Management

changing circumstances. Louise Herron AM – – – 4/4 – –

Ten meetings were held, with key agenda items Ian Cashen – – – 4/4 – – including: Building Renewal; outdoor events and associated infrastructure; Conservation External Specialists Management Plan; security and food and beverage infrastructure; furniture; lighting; Sarah Jane Brazil – – – 1/4 – –

signage; and planning and heritage approvals. Sheridan Burke – – – 4/4 – 8/10 The Year’s Activity | Corporate Governance | Corporate Activity The Year’s The Year’s Activity | Corporate Governance | Corporate Activity The Year’s Abbie Galvin – – – – – 9/10 Tanya Koeneman – – – 2/4 – –

Elizabeth Kinkade – – – 3/4 – –

Ken Maher AO – – – – – 5/10

Greg McTaggart PSM – – – 4/4 – –

Peter Mould – – – 1/3 – 9/10

Peter Poulet – – – 2/4 – 5/10

Jan Utzon – – – – – 7/10

The figure directly following the person's name is the number of meetings attended during the year. The second figure indicates the number of possible attendances. Management are members of the Conservation Council only. They attend Trust and Committee meetings as appropriate. 86 87 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Trustees

Trust Members as at 30 June 2018

Nicholas Moore Anne Dunn Joined the Trust 22 July 2015 Joined the Trust 1 January 2018

Chair of the Trust. He is serving his Member of Audit and Risk Committee. She is serving second term to 31 December 2020. her œrst term to 31 December 2020.

Quali˜cations BCom, LLB (University Quali˜cations BA (Hons) (Macquarie University) of NSW), FCA Background Background Anne has 18 years’ experience in the performing arts and Nicholas was appointed Chief Executive has delivered successful programs, festivals and events O³cer of Macquarie Group in May 2008. around Australia. She has been the Sydney Dance Company He joined Macquarie in 1986 and led the Executive Director since 2010. She was previously the Darwin global development of its advisory, funds Festival General Manager (2006-09), Perth International management, œnancing and securities Arts Festival Program Manager and Artistic Administrator businesses. He is now leading the continued (2003-06), Sydney Opera House Assistant Producer and global growth of Macquarie Group as it Sydney Olympic Coordination Authority Live Sites Event builds on its œnancial services strengths. Coordinator (2000).

Government and Community Involvement Government and Community Involvement Chairman of Screen Australia, Chairman of the Convenor, National Dance Manager Meetings (2011-present); University of NSW Business School Advisory art-form representative, Australian Major Performing Arts Council, and a Director of the Centre for Group Board (2017-present); Council Member, Performing Independent Studies. Arts Touring Alliance Management (2016-present); and Chair The Year’s Activity | Corporate Governance | Corporate Activity The Year’s of Music NT (2007-09).

89 Lighting of the Sails – Metamathemagical. Photo by Daniel Boud Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Michael Ebeid AM Matthew Fuller Kathryn Greiner AO Chris Knoblanche AM Joined the Trust 1 January 2018 Joined the Trust 1 January 2016 Joined the Trust 1 January 2018. Joined the Trust 4 October 2013

Member of Visitor Experience Committee. He is Chair of Visitor Experience Committee and Member of Visitor Experience Committee. She Member of Audit and Risk Committee and serving his œrst term to 31 December 2020. Member of Building and Heritage Committee. is serving her œrst term to 31 December 2020. Member of Building and Heritage Committee He is serving his œrst term to 31 December 2018. (former Chair). He is serving his second term to Quali˜cations BBus (Charles Sturt University) Qualiœcations: BSocWk (University of NSW), 31 December 2019. Quali˜cations GAICD, FWCMT LittD hc (University of NSW) Background Quali˜cations BCom (University of Michael has 30 years’ experience in senior Background Background Wollongong), ACA, FCPA management and executive roles across the Matthew is the Executive Director, Business Kathryn has held a wide range of leadership technology, telecommunications and media Services – Roads and Maritime Services (RMS), positions in public and private companies, Background industries in Australia and abroad. He has been covering a diverse range of commercial, the government sector and non-proœt Principal – Advisory & Capital Pty Ltd. Chris SBS Chief Executive and Managing Director corporate and infrastructure project-related organisations. She has participated in or led served as Board Member and Chair of the since June 2011. Prior to SBS, Michael was support services to RMS. Matthew has education inquiries (including the Gonski Australian Ballet (2001-13). He was Managing Executive Director of Corporate Strategy and extensive commercial experience in the Review and NSW Catholic Funding Review) Director and Head of Citigroup Corporate and Marketing at the ABC (2008-11) and Commercial leisure, tourism and hospitality environments, and is currently leading a review into the NSW Investment Banking Australia & New Zealand Operations Director at Optus Communications and was formerly the Director of the Taronga retirement village sector. Kathryn’s professional (2005-12). He was previously CEO of Andersen (1995-2005). Michael began his career at Western Plains Zoo, the largest, most visited career has included social work and early Australia, CEO of Andersen Business Consulting IBM, where he held various œnance, sales paid tourist attraction in regional NSW. Under childhood services, as well as media roles at Asia Paciœc and Regional Managing Director and marketing positions in Australia and his leadership, the Taronga Western Plains Radio 2UE and Channel 10. Kathryn was an of Deloitte Management Solutions, Asia. Asia. In June 2017, he was made a Member Zoo achieved state, national and international elected Councillor to the Sydney City Council Prior to Citigroup, Chris was a Partner in the of the Order of Australia for his service to acclaim, including three Australian Tourism from 1995-2004. In June 2001, she was made boutique investment bank Caliburn Partnership, broadcast media and multicultural a•airs as Awards in the last four years under Matthew’s an O³cer of the Order of Australia for service now Greenhill. Chris was awarded the an executive, innovator and business leader. leadership. His experience is aligned to key to social welfare, charity and local government Centenary Medal by the Federal Government He has completed the International Executive priorities for the Opera House, including in Sydney. for services to business and the arts in 2003. Development Program (INSEAD, France) destination development and visitor experience, He was appointed a Member of the Order of and Media Strategies Program (Harvard renewal and investment in a NSW public Government and Community Involvement Australia in 2014 for signiœcant services to arts Business School, Boston). attraction, work health and safety, and the Paediatrio Ltd (Chair), Pennington Institute administration, to the community and to the development of tourism opportunities. In 2011 (Chair), Ministerial Advisory Council on Aging business and œnance sector. The Year’s Activity | Corporate Governance | Corporate Activity The Year’s Governance | Corporate Activity The Year’s Matthew was awarded a Winston Churchill (Chair), Lifestart Co-op Ltd (Chair), Mary Ward Memorial Trust Fellowship, and has been a International Australia (Chair) and Ramsay Other Directorships member of the Churchill Trust’s NSW Land Foundation Board (Director). Enlighten Pty Ltd (Advisory Board), Whistles Commerce and Logistics Selection Panel. Fund Management (Board Member), iSelect Ltd (Chairman), Advisory & Capital Pty Government and Community Involvement Ltd (Director), Latitude Financial Services Executive Member of Roads and (Hallmark) (Director), Greencross Limited Maritime Services. (Director and Chair of Audit and Risk Committee), Environment Protection Authority NSW (Independent Director).

90 91 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Deborah Mailman AM Kylie Rampa Jillian Segal AM Phillip Wolanski AM Joined the Trust 18 February 2015 Joined the Trust 1 January 2018 Joined the Trust 1 January 2014 Joined the Trust 1 January 2014

Member of Visitor Experience Committee. Chair of Building and Heritage Committee. She Member of Audit and Risk Committee. She is Chair of Conservation Council and Member of She is serving her second term to is serving her œrst term to 31 December 2020. serving her second term to 31 December 2019. Building and Heritage Committee. He is serving 31 December 2020. his second term to 31 December 2019. Quali˜cations BBus (Queensland University of Quali˜cations BA, LLB (University of NSW), Quali˜cations BA (Queensland University Technology) LLM (Harvard University), FAICD Quali˜cations BEc (University of Sydney) of Technology) Background Background Background Background Kylie is Chief Executive O³cer Property, Jillian has a legal, regulatory and governance Phillip is the Managing Director of Denwol Deborah is one of Australia’s most highly Australia for the Lendlease Group. She was background, having been a partner at Allens Group, a property development and investment respected actors. Her career in the performing previously Managing Director of Lendlease Linklaters and Deputy Chair at the Australian company. He was a Director of the National arts began in 1992. She has worked extensively Investment Management and held other senior Securities and Investments Commission. Institute of Dramatic Art (2001-07) and served in theatre, television and œlm, performing in positions with the Gandel Group, Macquarie She was on the Australian Stock Exchange on the Sydney Opera House Trust Library productions for the Actors Company for the Group, AMP and Schroders. Kylie has more than Board (2003-15), including as Chair of the Committee for a number of years before Sydney Theatre Company, Belvoir St Theatre, 25 years’ experience in Australian and global Remuneration Committee, a member of the becoming its Chairman (1992-97). Phillip was Bell Shakespeare, Melbourne Theatre Company, real estate, living and working in Australia Audit and Risk Committee and Nomination a Board Member and the Vice-President of Kooemba Jdarra Indigenous Performing Arts, and the US. She has extensive experience in Committee, and a Director of ASX Compliance. Hakoah Club (1997-2006), Director of Football La Boite Theatre and Queensland Theatre investment management across private and She has also served as a member of the Federal Federation Australia Limited (2003-15) and Head Company, as well as touring nationally and public capital markets, development, asset Government’s Remuneration Tribunal (2010-14), of Delegation for the Socceroos (2004-14). internationally. Deborah’s work has been management, mergers and acquisitions, President of the Administrative Review recognised with many awards including and business strategy and operations. Council (2005-09) and a member of the Major Government and Community Involvement Helpmann, AACTA, Logie, AFI and Deadly Performing Arts Board of the Australia Council Phillip was made a Member of the Order of awards. She was NAIDOC Person of the Year Other Directorships and Memberships (2002-08). Jillian received the Centenary Australia in the General Division in 2008 for in 2003. Deborah was appointed a Member Director of Lendlease Real Estate Investments Medal in 2003 and UNSW Alumni Award in service to the community through executive of the Order of Australia medal in 2017 for her Limited, the responsible entity for Lendlease’s 2005, when she was made a Member of the roles and philanthropic contributions to a range signiœcant service to the performing arts as unlisted property funds; Director of Lendlease Order of Australia. of arts, sporting and cultural organisations. In an actor, and as a role model for Indigenous Development Pty Limited; Deputy Chair of the addition to his commitment to the Wolanski performers and to the community. Green Building Council of Australia; Director Government and Community Involvement Foundation, in recent years he has provided The Year’s Activity | Corporate Governance | Corporate Activity The Year’s Governance | Corporate Activity The Year’s and Vice-President of the Property Council Australia-Israel Chamber of Commerce NSW œnancial support to the National Institute of of Australia and a member of its Nominations (Chair), General Sir John Monash Foundation Dramatic Art, the Opera House and several Committee and its Remuneration Committee; (Chair since 2010, Director since 2008), Council other community and cultural organisations. Director of the Committee for Sydney; and of UNSW Australia (Deputy Chancellor), Director of the National Housing Finance and Board of Garvan Institute of Medical Research Other Directorships Investment Corporation and a member of its (Director), The Grattan Institute (Director), Co-Chair Hakoah White City Building Audit and Risk Committee. Independent Parliamentary Expenses Authority Committee, Sydney FC Board Member (IPEA) Chair since July 2017. (recently retired), Governing Committee of the Temora Aviation Museum (Retired Member). Other Directorships Rabobank Australia Limited, Rabobank New Zealand Limited and Rabo Australia Limited (Director).

92 93 94 Financials and Reporting | Financial Overview and Reporting Financials Sydney OperaHouse Annual FY18 Report Financials and Reporting | Financial Overview Financial Results Overview Financial The above figures are stated inclusive of internal revenue and costs that are eliminated in the audited financial statements. Please refer to to refer Please statements. financial audited the in eliminated are that costs and revenue internal of inclusive stated are figures above The page 98 for a reconciliation of the financial overview to the audited financial statements. financial audited the to overview financial the of reconciliation a for 98 page Gain /(loss)from generaloperations e eutfrteya sprteadtd˜aca eotsaeeto opeesv noe7,4 2,839 72,545 Net result for the year as per the statement of auditedcomprehensive ˜nancial report income Less: other gain /(loss) Gain /(loss)from building activities Total expenses – operations general Total expenses – building activities Other operatingexpenses Other Other expenses Other People expenses Expenses Depreciation andamortisation Expenses Total revenue – operations general Total revenue – building activities Self-generated revenue Building development – government grantandother funding NSW Treasury endowment andother funding Revenues General Operations General Building maintenance – government grant Revenues Building Activities 1113 (113,947) (121,143) (33,032) (59,346) 109,085 2,9)(42,783) (23,797) 0,1 106,427 104,510 6,9)(56,156) (61,797) (3,508) 1,6 122,443 117,765 (9,235) 76,053 36733,592 33,667 13,255 54812,208 75,418 $’000 2018 10 (665) (130) (50,791) 45,800 (8,008) (57,791) (4,992) 16,016 $’000 7,831 2017 95 96 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Financial Overview – – $72.5m, comprising: The group result for theyear isaproœt of operations andbuilding activities. the œnancialoverview issplitinto general understanding oftheunderlyingbusiness, timing ofcapital To grants. provide abetter ªuctuate signiœcantly, based onthesizeand Planning andEnvironment. Government grants distributed throughof theDepartment fromand grants theNSWGovernment, self-generated revenue from multiple sources The OperaHouse’s income comprises

and future security infrastructure projects. Sutherland Theatre (JST)renewal program and capitalincluding grants, for theJoan Gain of$76.1m from building maintenance Loss from generaloperationsof$3.5m; and – – – operational revenue. Key drivers included: JST closure. Thisrepresented 89% of FY18, down $1.9m (1.8%) due onFY17 to the Self-generated revenue totalled in $104.5m – – $117.8m inFY18, $4.7m down onFY17, due to: Total revenue from general operationswas May to December 2017. closure oftheJST for upgradeworks from due to reduced revenue asaresult ofthe $11.4m lower thaninFY17. Thiswas primarily FY18. Thiswas $1.2m aheadofbudget, but The result was anoperatinglossof$3.5m in security andcorporate administration costs. retail, aswell asorganisational functions such as theatre sponsorship, services, ticketing and tours, food andbeverage, box o³ce, venue hire, Opera House’s commercial activities,including The operatingresult takes into account the operations General

Forecourt concerts; a strong result from music contemporary $26.2m, $2.4m higher than inFY17, due to the OperaHouse’s own programming of Increased gross box o³ce revenue from œrst halfofFY18; aroundactivity the OperaHouse inthe JST closure leadingto lower overall patron a decrease of$0.8m onFY17, withthe Food andbeverage revenue of$12.2m, account for more than50% oftour patrons; continue to grow inpopularityandnow package products. Asian-language tours 564,000 inFY18)andimproved returns from a signiœcant increase intour patrons (total the JST closure andwas achieved through $14.4m, up9% onFY17. Thiswas despite Continued growthintours revenue to Reduction of$1.9m inself-generated revenue. and $2.8m one-o•government grantinFY17; Sydney OperaHouse Annual FY18 Report Financials and Reporting | Financial Overview – – – $61.8m, 10% uponFY17, largely due to: People costs from generaloperations totalled – – – associated withSOHP programming activities. in FY18, mainlydriven fees by higherartist operatingcostsincreased byOther $1.6m not depreciated. assets, ratherthanbuilding expense, andare Decade ofRenewal also give rise to building the ofbuildingmajority works supporting is recognised ascostswhenincurred. The as income onreceipt, whereas expenditure and Renewal capital works isrecognised themselves. Funding for building maintenance and thenature and timingofbuilding activities the quantumandtimingoffunding received, signiœcantly year to year, due to changesin The netresult from building activitiesªuctuates Building activities

presenting partners programming;presenting and partners and variations inresident company and than inFY17, driven by theJST closure Venue hire revenue of$8.0m, $1.6m lower opera performances intheJST. lower thaninFY17, given fewer balletand Theatre revenue services of$14.7m, $2.4m wages policy; of wages, inlinewithNSWPublic Sector An underlying2.5% increase inthecost precinct security; screening for thevenues andadditional Higher security costs,both inadditional Presents (SOHP) programming and activity; in tours andgreater Sydney OperaHouse Sta³ng thegrowth increases to support bond rates. to changesinactuarialassumptions and reductions inemployee leave liabilitiesdue resultThe FY17 having included one-o• cost ofover $240.0m inFY18dollars. have beenestimated to have anapproximate appropriate time. At thisstage, these works projects thatwillrequire capital funding atthe major maintenance andcapital replacement the OperaHouse hasidentiœedanumber of the annual maintenance grant.Inaddition, issues thatwere not adequately covered by works willalso address some maintenance for routine maintenance. Renewal building Annual maintenance funding isreceived be metwithinareasonable timeframe. House’s routine maintenance requirements will completed ontheassumption thattheOpera byperformed RiderLevett Bucknall was in 1973. TheApril 2017valuation ofthebuilding Construction oftheOperaHouse was completed Future maintenance needs House building’s value. total œxed assetsand1.5% oftheOpera $33.7m represents 1.3% oftheOperaHouse The FY18building maintenance grantof – – was driven by: FY18, compared with a net loss of $5.0m in FY17, The netgain of$76.1m from building activitiesin

capital renewal works supporting of the JST. capital assets, given thehighermixof as operatingexpenditure, ratherthanas maintenance andRenewal works recognised A decrease of$18.9m inbuilding projects, compared with $12.0m in FY17; and towards Stage 1Renewal andsecurity FY18 theOperaHouse received $75.4m An increase intotal building funding – in 97 98 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Financial Overview for the year ended30 June 2018 ofComprehensiveStatement Income to Audited Financial Statements, Reconciliation ofFinancial Results Total revenue peraudited ˜nancialstatements Total expenses per audited ˜nancialstatements Less: internal eliminations Less: internal eliminations Total ˜nancialoverview revenue Total ˜nancialoverview expenses Building andother activities Building andother activities General operations General expenses Financial overview expenses Financial overview revenue 1412 (155,495) (144,162) 1415 (164,739) (154,175) 3,3)(50,791) (33,032) 1113 (113,947) (121,143) 109,085 226,851 216,837 (10,013) 1,6 122,443 117,765 10,013 $’000 2018 158,999 168,243 45,800 (9,244) $’000 9,244 2017 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Financial Overview Self-generated revenue ($’000) for the year ended30 June 2018 Composition ofSelf-Generated Revenue Ticketing 7,200 7% Other 7,300 7% Tours 14,400 14%

Partnerships Corporate 6,600 6% Gross box o³ce 26,100 26% beverage Food and 12,200 12% Venue hire 11,100 10% Theatre services 19,600 19%

99 100 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements For the year ended30 June 2018 Statements Financial Sydney House Opera Statement inaccordance withSection 41C Index Notes tooftheFinancial andformingStatements part Statement ofCash Flows Statement ofChanges inEquity Statement ofFinancial Position Statement ofComprehensive Income Independent Auditor’s Report 7. 6. 5. Cash andCash Equivalents 4. 3. 2. 1. 8. 11. 10. 9. 16. 15. 14. Contingent LiabilitiesandAssets 13. 12. Fundraising andBequests umr fSgicn conigPlce 110 Summary ofSigniœcant Accounting Policies IntangibleAssets rd n te eevbe n eamns 122 Trade Receivables andOther andRepayments Provisions Expenses Trade Payables andOther Property, Plant andEquipment Financial Instruments Related Party Disclosures Commitments Events AfterDate Reporting Employee DeœnedBeneœts Revenue

109 106 104 166 166 120 102 163 165 165 134 107 124 132 147 137 101 161 114 117 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements . Theœnancialstatementshave beenprepared inaccordance withtheprovisions ofthe 2. 1. resolution oftheSydney OperaHouse Trust, we state that: Chair, Sydney House Opera Trust Nicholas Moore Sydney House Opera Trust of the inaccordanceStatement with Section 41C Chair, Audit andRiskCommittee /Trustee Jillian Segal AM Pursuant to Section 41Cofthe œnancial statementsto bemisleadingorinaccurate. Further, we are not aware ofanycircumstances thatwouldincluded inthe render anyparticulars Sydney, 20September 2018 Inour opinion,theaccompanying œnancialstatements exhibit atrue andfair view oftheœnancial year thenended. position oftheSydney OperaHouse Trust asat30June2018, andœnancialperformancefor the Treasurer’s Directions Treasurer’s Finance and Audit Act, 1983 Act, Audit and Finance Public Finance and Audit Act, 1983 Act, Audit and Finance Public . Public Finance and Audit Act, 1983 Act, Audit and Finance Public , the Public Finance and Audit (General) Regulation 2015 Regulation (General) Audit and Finance Public

Chief Financial OŠcer Jon Blackburn Chief Executive OŠcer Louise Herron AM , andinaccordance witha andthe Public Public 101 102 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements rest ofthisreport. My opinionshould beread inconjunction withthe – – In myopinion,theœnancialstatements: or from timeto timeduring theœnancialyear. Trust andtheentitiesitcontrolled attheyear’s end information. Theconsolidated comprises entity the Accounting Policies andother explanatory ended, notes comprising aSummary ofSigniœcant and theStatements ofCash Flows for theyear then 30 June2018, theStatements ofChanges inEquity 2018, theStatements ofFinancial Position asat Comprehensive Income for theyear ended30June (the Trust), whichcomprise theStatements of statements oftheSydney OperaHouse Trust I have audited theaccompanying œnancial Opinion To MembersoftheNew South Wales Parliament Sydney House Opera Trust Independent Auditor’s Report

Public Finance andAudit Regulation 2015. Finance andAudit Act 1983 (PF&A Act)andthe are inaccordance withsection 41BofPublic with Australian Accounting Standards cash ªows for theyear thenendedinaccordance June 2018, andoftheirœnancialperformance of theTrust andtheconsolidated asat30 entity give atrue andfair view oftheœnancial position At thedate ofthisIndependentAuditor’s Report, of the Trust are responsible for the other information. Independent Auditor’s thereon. Report TheTrustees 2018, other thantheœnancialstatements andmy consolidated for entity theyear ended30June oftheTrustincluded intheannual report andthe information comprisesOther theinformation InformationOther my audit opinion. su³cient andappropriate to provide abasisfor I believe theaudit evidence Ihave obtained is – – – Wales are not compromised intheirroles by: Auditor-General andtheAudit O³ce ofNew South Parliament promotes independence by ensuring the accordance withAPES110. I have fulœlled myother ethical responsibilities in – – inaccordanceentity withtherequirements ofthe: I amindependentoftheTrust andtheconsolidated Statements’ section ofmyreport. Responsibilities for theAudit oftheFinancial the standards are described inthe‘Auditor’s Auditing Standards. Myresponsibilities under I conducted myaudit inaccordance withAustralian Basis for Opinion

non-audit services. precluding theAuditor-General from providing public sector agencies mandating theAuditor-General asauditor of Auditor-General executive government, can remove an providing thatonlyParliament, andnot the Accountants’ (APES110). Board’s ‘Code APES110 ofEthicsfor Professional Accounting Professional andEthical Standards Australian Auditing Standards Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements by anAct ofParliament orotherwise cease. accounting except where operationswillbedissolved going concern andusingthegoingconcern basisof concern, disclosing asapplicable, matters related to and theconsolidated to entity continue asagoing are responsible for assessing oftheTrust theability In preparing theœnancial statements,theTrustees whether due to fraud orerror. statements thatare free from material misstatement, the preparation and fair presentation ofœnancial as theTrustees determine isnecessaryto enable and thePF&A Act, andfor such internal control accordance withAustralian Accounting Standards and fair presentation ofthe œnancialstatementsin The Trustees are responsible for thepreparation Financial Statements Trustees’The Responsibilities for the I have inthisregard. nothing to report information, thatfact. Imust report there isamaterial misstatement oftheother If, based onthework Ihave Iconclude performed, audit, appearsto orotherwise bematerially misstated. œnancial statementsormyknowledge obtained inthe other information ismaterially inconsistent withthe information and,indoingso, consider whetherthe statements, myresponsibility isto read theother In connection withmyaudit oftheœnancial other information. express anyform ofassurance conclusion onthe cover theother information. Accordingly, Idonot doesnotMy opinionontheœnancialstatements Public Finance andAudit Act 1983. Statement inAccordance withSection 41Cofthe the other information Ihave received comprise the Sydney, September 21 2018 Director, Financial Audit Services Karen Taylor – My objectives are to: Audit ofthe Financial Statements Auditor’s Responsibilities for the – – – – My opiniondoesnot The description ofmyauditor’s forms part report. www.auasb.gov.au/auditors_responsibilities/ar3.pdf and Assurance Standards Boardwebsite at: the œnancialstatementsislocated attheAuditing A description ofmyresponsibilities for theaudit of users take based ontheœnancialstatements. be expected to inªuence theeconomic decisions individually orinaggregate, they could reasonably Misstatements are considered material if, Misstatements can arise from fraud orerror. will always detect material misstatements. accordance withAustralian Auditing Standards but doesnot guarantee anaudit conducted in Reasonable assurance isahighlevel ofassurance,

fraud orerror. from material misstatement, whetherdue to the œnancialstatementsasawholeare free obtain reasonable assurance about whether my opinion. issue anIndependentAuditor’s including Report hyperlinked to/from theœnancialstatements. about anyother information whichmay have been any website where they may bepresented publication oftheaudited œnancialstatements on about thesecurity andcontrols over theelectronic and economically carried out theiractivitiese•ectively, e³ciently that theTrust ortheconsolidated entity provide assurance: 103 104 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements for the year ended30 June 2018 ofComprehensiveStatement Income Sydney House Opera The accompanying notes form part of these financial statements. financial these of part form notes accompanying The Net result Total other gains /(losses) gains /(losses) Other Total expenses Finance costs andmakeDepreciation, amortisation good Maintenance expense expenses Other Personnel expenses services Employee-related expenses Expenses andcontributionsGrants Donation revenue Sponsorship revenue Investment revenue Sale ofgoodsandservices Revenue Total revenue NOTE 3(b) ()(369 4,3)(369 (41,231) (23,649) (41,231) (23,649) 3(d) ()8,0 5648,0 85,684 83,909 85,684 83,909 2(b) ()6656956656,915 6,635 6,915 6,635 2(d) ()(188 (56,678) (61,888) 3(a) 3(e) ()(49,394) 3(c) 2(e) 2(c)

1412 1545 1414 (155,459) (144,124) (155,495) (144,162) 216,837 123,880 2552897,8 2,875 72,583 2,839 72,545 925 812 925 (8,102) (9,235) (8,102) (9,235) $’000 2018 1,538 (130) 10 65 10 (665) (130) (665) (130) 875 – 4 Consolidated (49,480) 158,999 63,285 $’000 1,400 (665) 2017 1,715 (4) 6,5)(56,642) (61,850) –

(49,394) 216,837 123,880 $’000 1,538 (130) 2018 875 – 4

(49,480) statements of œnancial Beginning 158,999 63,285 Parent $’000 1,400 (665) 2017 1,715 (4) –

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements The accompanying notes form part of these financial statements. financial these of part form notes accompanying The for the year ended30 June 2018 ofComprehensiveStatement Income (cont.) Sydney House Opera Net result Other comprehensiveOther income Transferred to accum. funds ondisposal exchange contracts result net Unrealised (losses) /gains onforward to reclassified be may that Items Deœned beneœtplanre-measurements plant andequipmentrevaluation surplus result net to Net increase /(decrease) inproperty, reclassified be not will that Items Total comprehensive income comprehensiveOther income NOTE 10(w) 11(b)

2552897,8 2,875 72,583 2,839 72,545 26718647,6 148,654 72,667 148,654 72,667 126 4,6 126 145,469 (1,226) 145,469 (1,226) (1,188) $’000 2018 1,226 2 145,815 122 84 38 Consolidated 4,0 126 145,469 (1,226) 145,505 $’000 2017 310 36 1,226 –

$’000 2018 84 84 –

145,779 Parent $’000 2017 310 – –

105 106 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements as at 30 June 2018 ofFinancial PositionStatement Sydney House Opera The accompanying notes form part of these financial statements. financial these of part form notes accompanying The Total assets Total non-current assets Intangible assets Property, plantandequipment Non-current assets Total current assets Cash andcash equivalents Current assets Inventory Derivative ˜nancialinstruments Prepayments Trade andother receivables Net assets Total liabilities Total non-current liabilities Other Provisions Personnel payable services Non-current liabilities Total current liabilities Derivative œnancialinstruments Other Provisions Personnel payable services Total equity Reserves Accumulated funds Equity Deferred revenue Trade andother payables Current liabilities Liabilities Assets NOTE ()2,0 1492,1 19,715 21,415 21,449 22,509 8(b) 8(d) 1b 1,152 11(b) 1b ,8 ,8 ,8 1,985 1,188 1,985 1,188 11(b) ()2639125251263912,552,551 2,613,941 2,552,551 2,613,941 6(b) 8(d) ()6,441 5(b) 4(a) ()2,061 9(c) ()1,1 12,050 12,511 9(c) 8(c) ()2342,418 2,364 5(c) ()1,148 7(b)

2,636,983 2,636,983 ,8,6 ,0,4 ,8,7 2,608,058 2,681,977 2,608,842 2,682,465 ,1,8 ,5,2 ,1,8 2,554,125 2,615,089 2,554,125 2,615,089 ,7,6 ,7,0 ,7,6 2,178,609 2,177,467 2,178,609 2,177,467 5,1 8,0 5,1 385,707 459,516 385,707 459,516 3294,8 42,761 42,289 43,249 5424,2 49443,742 44,994 44,526 45,482 , 76 7,3 6 $’000 57,417 6,835 ,3 ,3 ,3 2,237 2,233 2,237 2,233 2018 206 172 – – 2 Consolidated 2,564,316 2,564,316 42,745 4776,8 53,933 66,888 54,717 $’000 6,599 7,680 1,846 1,865 1,574 2017 206 391 – 13,018 – 9

2,636,983 2,636,983 $’000 57,417 6,835 6,441 1,863 1,876 2018 1,148 1,152 206 198 172 99 2

2,564,316 2,564,316 Parent 41,505 42,745 12,901 $’000 6,599 1,648 1,865 ,77 7,87 1,487 1,574 2017 206 198 391 99 9

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements The accompanying notes form part of these financial statements. financial these of part form notes accompanying The for the year ended30 June 2018 ofChangesStatement inEquity Sydney House Opera Balance at 1July 2017 Net result Deœned beneœtplanre-measurements Net increase inproperty, plantandequipment comprehensiveOther income Unrealised gain /(loss)onforward exchange Balance at 1July 2016 Balance at 30 June 2018 (expense) for the year Total comprehensive income / Total other comprehensive income /(expense) Unrealised gain /(loss)onforward exchange Net result Deœned beneœtplanre-measurements Net increase inproperty, plant andequipment comprehensiveOther income (expense) for the year Total comprehensive income / Total other comprehensive income /(expense) Balance at 30 June 2017 Consolidated NOTE 10(v) 10(v) 11(b) 11(b) ()126(1,226) 1,226 6(b) 6(b) Accumulated 8,3 2,033,259 382,832 8,0 2,178,729 385,707 8,0 2,178,729 385,707 5,1 2,177,503 459,516 73,809 72,545 Funds $’000 2,839 ,7 145,470 2,875 ,6 (1,226) 1,264 36 36 38 – – 145,470 –

Revaluation 145,470 Surplus (1,226) $’000 Asset – – – – – – Reserve Hedge $’000 (430) (120) (120) (36) 310 310 310 84 84 84 – – – – – – 2,636,983 2,564,316 2,564,316 2,415,661 148,655 145,470 145,816 72,545 72,667 $’000 2,839 Total 310 122 84 36 38 –

107 108 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements for the year ended30 June 2018 Changes (cont.) InEquity Of Statement Sydney House Opera The accompanying notes form part of these financial statements. financial these of part form notes accompanying The Balance at 30 June 2017 (expense) for the year Total comprehensive income / Total other comprehensive income /(expense) Unrealised gain /(loss)onforward exchange Net increase inproperty, plant andequipment comprehensiveOther income Net result Balance at 1July 2016 Balance at 30 June 2018 (expense) for the year Total comprehensive income / Total other comprehensive income /(expense) Balance at 1July 2017 Unrealised gain /(loss)onforward exchange Net increase inproperty, plant andequipment comprehensiveOther income Net result Parent NOTE 11(b) 11(b) 6(b) ()126(1,226) 1,226 6(b) 2,875 72,583 Accumulated 8,3 2,033,259 382,832 8,0 2,178,729 385,707 8,0 2,178,729 385,707 459,516 73,809 Funds $’000 ,7 145,470 2,875 ,2 (1,226) 1,226 – 145,470 – – 145,470 –

Revaluation 177,503 21,7 Surplus (1,226) $’000 Asset – – – – Reserve Hedge $’000 (430) (120) (120) (36) 310 310 310 84 84 84 145,470 – – 72,583 – – 2,636,983 2,564,316 2,564,316 2,415,661 148,655 145,780 72,667 $’000 2,875 Total 310 84 84 –

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements The accompanying notes form part of these financial statements. financial these of part form notes accompanying The for the year ended30 June 2018 ofCashStatement Flows Sydney House Opera Cash received from Government Cash sponsorship anddonationsreceived Interest received Receipts from operations Receipts Opening cash andcash equivalents providersservice Payments to suppliers, employees andpersonnel Payments Total receipts Closing cash andcash equivalents Net increase /(decrease) incash Net cash ¬ows from investing activities plant andequipment Proceeds from sale ofproperty, Purchases ofproperty, plantandequipment Cash ¬ows from investing activities Net cash ¬ows activities from operating Total payments Cash ¬ows activities from operating NOTE 4 4

1935 1834 (149,385) (148,344) (149,385) 1935 1834 1935 (148,344) (149,385) (148,344) (149,385) 7,5)(884 7,5)(28,834) (70,359) (28,834) (70,359) 7,5)(882 (70,359) (28,842) (70,359) 234,416 123,880 103,177 2755,3 42,745 59,737 42,745 14,672 85,031 ,17 7,41 5 $’000 2018 ,3 ,0 ,3 1,506 1,236 1,506 1,236 6,123 – Consolidated (16,992) 160,186 90,585 63,285 42,745 $’000 11,842 4,810 2017 8

234,416 123,880 103,177 14,672 85,031 ,17 7,41 5 $’000 6,123 2018 –

(148,344) (28,842) (16,992) 160,186 90,585 63,285 Parent 42,745 59,737 11,842 $’000 4,810 2017 8

109 110 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements 1. Summary ofSigni˜cant1. Accounting Summary Policies for the year ended30 June 2018 of the Financial Statements Notes to andforming part the Trust on20September 2018. 30 June2018 have beenauthorised for issue by These œnancialstatements for theperiodended within theState ofNew South Wales. as onebusiness.area Its ofoperationsiswholly The Consolidated Entity operates exclusively personnel to services theParent. The Agency’s sole objective isto provide and for the employee-related liabilities. who provide to personnel services theParent no. 40, andisresponsible for theemployees Government Sector Employment Act 2013 Agency underSchedule 1, Part 2ofthe The Agency isaPublic ServiceExecutive not-for-proœt accounting standards. for-proœt andappliestherequirements entity of The OperaHouse hasdetermined thatitisanot- range ofprogramming andcommunity activities. House a undertakespublic fundraising to support TheOpera arts. activities withintheperforming cultural andcommunity operations supports are paidto theGovernment andsurplus from Australia andaround theworld. Nodividends experiences to peoplefrom Sydney, NSW, of cultural, tourism, community andcommercial Corporation (PNFC) that provides abroad range entity, classiœedasaPublic Non-Financial The Parent isanot-for-proœt NSWGovernment House”, or“theOperaHouse”. as the“Consolidated Entity”, or“Sydney Opera Sta• Agency (theAgency), together referred to controlled entity, Sydney OperaHouse Trust Opera House Trust (theParent) andits year ended30June2018 comprise Sydney The consolidated œnancialstatements for the entity (a) Reporting indicated otherwise. and expressed inAustralian currency, unless have beenrounded to thenearest $1,000 Figures shown intheœnancialstatements relevant notes to theœnancialstatements. management hasmadeare disclosed inthe Judgments, key assumptions and estimations Finance andAudit Act 1983. in accordance withSection 41(1) ofthePublic and records inrelation tooperations allofits The OperaHouse haskept proper accounts below.further used for measuring fair value are discussed except where speciœedotherwise. Themethods accordance withthehistorical cost convention, fair value. œnancialstatement items are in Other value through proœt orloss” are measured at assets, andœnancialassetsliabilitiesat“fair Property, plantandequipment,collection – – – on anaccrualbasisandinaccordance with: œnancial statements,whichhave beenprepared The œnancialstatementsare general-purpose (b) Basis ofpreparation

directions issued by theTreasurer. other applicable œnancialreporting Audit Regulation; and 2015 Audit Act 1983 andthePublic Finance and the requirements ofthePublic Finance and Accounting Interpretations; (AASBs orAASs), whichinclude Australian applicable Australian Accounting Standards Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements – net oftheamount ofGST, except: Income, expenses andassetsare recognised (GST) tax services Accounting(f) for goodsand manager based onpastclaimexperience. expense (premium) isdetermined by thefund insurance for Government agencies.The Treasury Managed Fund Scheme ofself- are primarilyconducted through theNSW The Consolidated Entity’s insurance activities (e) Insurance are eliminated. expenses arisingfrom intra-group transactions, transactions, andanyunrealised income and control ceases. Intra-group balances and control commences untilthedate onwhich œnancial statementsfrom thedate onwhich of subsidiaries are included intheconsolidated Consolidated Entity. Theœnancialstatements Subsidiaries are entitiescontrolled by the (d) Basis ofconsolidation Australian Accounting Interpretations. Australian Accounting Standards thatinclude The œnancialstatementsandnotes comply with (c) ofcompliance Statement – operating cash ªows. from, orpayable to, theATO are classiœedas and œnancingactivitiesthatare recoverable components of cash ªows arising from investing cash ªows onagross basis.However, the GST GST cash ªows are included inthestatement of

an item ofexpense; and of cost ofacquisition ofanasset oraspart O³ce (ATO) ofthe isrecognised aspart not recoverable from theAustralian Taxation Consolidated Entity asapurchaser thatis the amount ofGST incurred by the the amount ofGST included. receivables andpayables are stated with such accounts. or Australian Accounting Standards require œnancial statementsonlyifspeciœclegislation Separate reserve accounts are recognised inthe current andpriorperiodretained funds. “AccumulatedThe category Funds” includes all plant andequipment. entity’s policy ontherevaluation ofproperty, of non-current assets.Thisaccords withthe increments anddecrementsontherevaluation The asset revaluation surplus isused to record (h) Equity non-œnancial assets. value measurements ofœnancialand note 11for disclosures regarding further fair the changehasoccurred. Refer note 6and periodduring which the endofreporting between levels ofthefair value hierarchy at The Consolidated Entity recognises transfers – – – techniques asfollows: based ontheinputsused inthevaluation disclosure purposes, thevaluation techniques the Consolidated Entity categorises, for inputs. Under AASB 13Fair Value Measurement, inputs andminimises theuse ofunobservable used maximises theuse ofrelevant observable measuring fair value, thevaluation technique and non-œnancialassetsliabilities.When measurement offair values, for both œnancial accounting policiesanddisclosures require the A number oftheConsolidated Entity’s (g) Fair value hierarchy

(unobservable inputs). (unobservable marketon observable data Level 3 – inputsthatare not based either directly or indirectly. included withinLevel 1thatare observable, Level 2 – inputsother thanquoted prices measurement date. Consolidated Entity can access atthe for identical assets/liabilities thatthe Level 1 – quoted prices inactive markets 111 112 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements have beenappliedfor theœrsttimein2017-18: revised Australian Accounting Standards that year except asaresult ofthefollowing new or consistent withthose oftheprevious œnancial The accounting policiesappliedin2017-18 are timein 2017-18 E¥ective forthe¦rst (i) Accounting Standards including new orrevised Australian Changes inaccounting policy,(j) œnancial statements. previous periodfor inthe allamounts reported information ispresented inrespect ofthe orrequirespermits otherwise, comparative Except when an Australian Accounting Standard (i) Comparative information –AASB regarding 2016-2 – –AASBregarding 2016-4 – to AASB 107 Statement of Cash Flows Flows Cash of Statement 107 AASB to – Disclosure Initiative: Amendments Amendments Initiative: Disclosure – Not-for-Pro˜t Entities Entities Not-for-Pro˜t to Australian Accounting Standards Standards Accounting Australian to Generating Specialised Assets of of Assets Specialised Generating been updated inNote 6. 2017.1 January Thereference has entities. Thestandard takes e•ectfrom non-cash generating assets for not-for-proœt of therecoverable amount ofprimarily of value inuse, thenature andto clarify depreciated replacement cost asameasure of Assetsto remove references to AASB 2016-4 amendsAASB 136Impairment are not material to theconsolidated entity. of these changesanddetermined that they Consolidated Entity hasassessed theimpact beginning onorafter2017. 1January The periods standard appliesto reporting arising from œnancingactivities.The statements to evaluate changesinliabilities disclosures thatenableusers ofœnancial Tier requirements to provide 1reporting œnancial statementsinaccordance with AASB 2016-2requires entitiespreparing – Recoverable Amount of Non-Cash- of Amount Recoverable – to Australian Accounting Standards Standards Accounting Australian to Amendments Amendments Amendments Amendments Consolidated Entity asdiscussed below. not yet e•ective, but willberelevant to the Standards have not beenappliedandare The following new Australian Accounting determines otherwise. Accounting Standards, unlessTreasury permitted to early-adopt new Australian NSW public sector entitiesare not Issuedbutnot yet(ii) e¥ective –AASB 9 – AASB 2017-2 regarding Amendments – consolidated entity. determined thatthey are not material to the assessed theimpactofthese changesand Operations. TheConsolidated Entity has Assets Held-for-Sale andDiscontinued accordance withAASB 5Non-current as owners ofdiscontinued operationsin for distribution to owners intheircapacity that are classiœedasheldfor sales orheld interests inotherapply to entities anentity's thatthedisclosurespecifying requirements EntitiesDisclosure by ofInterests inOther AASB 2017-2 clariœesthescope ofAASB 12 2014-2016 Cycle Further Annual Improvements to Australian Accounting Standards – can implementthis standard from 1July. date asat30June entities withreporting beforenot mandatory 2018 1January and this standard after 1July2018. AASB 9is chosen to exercise theoption to implement consolidated entity. Consolidated Entity has determined thatthey are not material to the assessed theimpactofthese changesand assets. TheConsolidated Entity has classiœcation andmeasurement ofœnancial improve theapproach for andsimplify assets andliabilities.These requirements classiœcation andmeasurement ofœnancial AASB 9 introduces new requirements for the Financial

Instruments

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements –AASB 15, AASB – – – AASB 16 AASB 16 – Not-For-Pro˜t Not-For-Pro˜t AASB 2016-3 andAASB 2016-7 regarding after 1July2019. AASB andwillimplementthisstandard 16 Entity hasinitiallyassessed theimpactof to beprovided by lessors. TheConsolidated standard also requires enhanced disclosures ofleasestypes di•erently. Theamended œnance leases, andto account for those two continue leases asoperatingor to classify the underlyingasset isoflow value. Lessors with aterm ofmore months,unless than12 recognise assets andliabilitiesfor allleases accounting modelandrequires alessee to new standard introduces asinglelessee beginning onorafter2019. 1January The AASB for 117 periods annual reporting AASB replaces 16 current Leases standard mandatory beforemandatory 2019. 1January the consolidated entity. Thisstandard isnot and determined thatthey are not material to initially assessed theimpactofAASB 1058 Customers. TheConsolidated Entity has with AASB 15Revenue fromContracts with to not-for-proœt entities,inconjunction income recognition requirements thatapply This standard clariœesandsimpliœesthe AASB before 2019. 1January entity. Thisstandard isnot mandatory they are not material to theconsolidated the impactofAASB 15anddetermined that Consolidated Entity hasinitiallyassessed bundled products The andservices. especiallythosearrangements, o•ering undercontractgoods orservices Customers with AASB 15willa•ectallentitiesproviding Contracts from Revenue 1058 Leases Income of of Income Entities

2014 -5, AASB 2015-8, – Interpretation 22 Interpretation – regarding AASB 2016-8 Amendments – mandatory beforemandatory 2019. 1January the consolidated entity. Thisstandard isnot determined thatthey are not material to assessed theimpactofAASB 2016-8 and Customers. TheConsolidated Entity has and AASB 15Revenue from Contracts with entities into AASB 9Financial Instruments implementation guidance for not-for-proœt requirements andauthoritative AustralianAASB 2016-8inserts for Not-for-Pro˜t Entities Australian Guidance Implementation to Australian Accounting Standards – Transactions and Advance Consideration Advance and Transactions beginning on or after 1 January 2018.beginning onorafter 1January is onlyapplicable for annual periods Interpretation 22anddetermined thatthis has initiallyassessed thefull impactof foreign currency. TheConsolidated Entity or payment ofadvance consideration ina for transactions thatinclude thereceipt Interpretation 22clariœestheaccounting Foreign Currency Currency Foreign

113 114 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements 2. Revenue on anetbasis. in such cases, therevenue earnedisreported rewards associated withthesale ofgoodsand not have exposure to thesigniœcant risksand asanagent,theConsolidatedacts Entity does date). Incases where theConsolidated Entity completion (based onlabour hours incurred to is provided orby reference to thestageof Revenue isrecognised whentheservice Rendering of services (ii) onanetbasis. reported goods andinsuch cases, therevenue earned is risks andrewards associated withthesale of does not have exposure to thesigniœcant Entity asanagent,theConsolidated acts Entity of theassets. Incases where theConsolidated the signiœcant risksandrewards ofownership revenue whentheConsolidated Entity transfers Revenue from thesale ofgoodsisrecognised as Sale of goods (i) income are discussed below. the accounting policiesfor therecognition of receivable. Additional commentsregarding consideration orcontribution received or Income ismeasured atthefair value ofthe (a) Recognition andmeasurement relevant agreement. basis inaccordance withthesubstance ofthe Royalty revenue isrecognised onanaccrual lease terms. accounted for onastraight-line basisover the Rental income arisingfrom operatingleases is amount oftheœnancialasset.carrying period,where appropriate,shorter to thenet expected life oftheœnancialinstrument ora the estimated future cash receipts over the interest rate istherate thatexactly discounts e•ective interest method.Thee•ective Interest revenue isrecognised usingthe Investment,(iii) rental androyalty income Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements – when allofthefollowing conditions are satisœed: Revenue arisingfrom donationsisrecognised building development andother funding. form ofoperatingendowment, maintenance, Government contributions are granted inthe to thereceipt have beenmet. normally obtained whentheobligations relating Control over andcontributions grants is comprising andcontributions. thegrants Entity obtains control over theassets recognised asrevenue whentheConsolidated andotherGrants contributions are generally Grants andcontributions (iv) – – be purchased ifnot donated. be reliably determined would andtheservices and onlywhenafair value ofthosecan services Contributions are ofservices recognised when on receipt. These conditions are typicallysatisœed

receive thedonation; control ofthedonationorrightto the Consolidated Entity hasobtained Consolidated Entity; and comprising thedonationwillªow to the it isprobable thateconomic beneœts measured reliably. the amount ofthedonationcan be œnancial statements. Details are provided innote to 12 these in thecurrent œnancialyear, orinfuture years. policy. Thefunds may beappliedto expenditure Consolidated Entity’s income recognition they are received, inaccordance withthe œnancial statementsintheyear that as income withintheConsolidated Entity’s bequests. These transactions are recorded philanthropic funding such asdonationsand The OperaHouse receives external andbequests fundraising (vi) Donations, in theappropriate expense orasset accounts. relatedand services to thisincome are reªected as “contra sponsorship”. Therespective goods by way ofcash, orofnon-cashknown beneœts entitled. Sponsorship may beneœts bereceived tobeneœts whichtheConsolidated Entity is timing, form andvalue ofthesponsorship sponsorship the contracts, whichspecify with theterms andconditions ofthesigned by theConsolidated Entity inaccordance Sponsorship revenue isrecognised asincome (v) revenue Sponsorship 115 116 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements Total Total Other Retail andlicensing feesBooking andcharges Food andbeverage Tours Venue hire Theatre services Gross box o³ce Other grants andcontributions grants Other Other Total Strategic asset maintenance Capital – Renewal Framework NSW Government – Capital andmaintenance Total Annual endowment NSW Government – Recurrent (e) andcontributions Grants Contra sponsorship (d) Sponsorship revenue Total value through proœt orloss Interest revenue from œnancialassetsnot atfair (c) Investment revenue (b) Sale ofgoodsandservices Total Cash sponsorship

108,868 123,880 83,909 3673,9 36733,592 33,667 33,592 33,667 2701,5 27012,758 12,780 12,758 12,780 4491,4 44913,248 14,439 13,248 14,439 2701,5 27012,758 12,780 12,758 12,780 75,201 6122,5 61223,751 26,152 23,751 26,152 $’000 12,193 2,050 6,635 4,585 ,3 ,3 ,3 4,935 2,232 4,935 2,232 ,3 ,3 ,3 4,935 2,232 4,935 2,232 4711,4 47117,146 14,711 17,146 14,711 ,6 ,4 ,6 9,643 7,968 9,643 7,968 2018 5,165 ,8 ,3 ,8 1,939 1,784 1,939 1,784 1,497 875 875 Consolidated 85,684 45,592 63,285 12,000 13,006 $’000 3,003 1,400 6,915 1,400 5,041 3,912 1,910 2017

108,868 123,880 83,909 75,201 $’000 12,193 2,050 6,635 4,585 5,165 1,497 2018 875 875

85,684 45,592 63,285 Parent 12,000 13,006 $’000 3,003 1,400 6,915 1,400 5,041 3,912 1,910 2017

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements been capitalised asanasset andclassiœedasWIPof$1,606k (2017: $710k). Personnel expenses service andemployee-related expenses donot include those employee-related coststhathave 3. Expenses Total Less: charged to maintenance Employee-related expenses expenses Other Workers compensation insurance Payroll tax taxandfringebeneœts Long leave service Superannuation – deœnedbeneœtplans Superannuation – deœnedcontribution plans (including employee leave) Salary, wages andallowances Personnel expenses service (b) Personnel expenses services Temporary assistance Less: charged to maintenance Personnel expenses services Total (a) Employee-related expenses 5,9)(55,427) (58,594) (61,888) 6,3)(62,724) (68,134) 353 (3,356) (3,523) 451 (4,388) (4,531) $’000 ,4 6,046 6,246 2018 (630) 28 (359) (208) (560) 8)(94) (88) – – – – – Consolidated (56,678) $’000 2017 732 168 6,8)(60,134) (63,881) – 425 (2,554) (4,215) – ,4 6,046 6,246 – 6,9)(62,688) (68,096) – –

(61,850) $’000 2018 – – – – – – – – –

(56,642) Parent $’000 2017 – – – – – – – – –

117 118 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements Total maintenance charge Plus: personnelandemployee-related services Total Building andequipmentrepairs andmaintenance System andnetworkmaintenance (d) Maintenance Consultants Consumables andminorequipment Administration expenses Utilities andcleaning Publicity andadvertising feesArtist andpresentation expenses Total Audit fee – internal Audit fee – external Bad anddoubtful debt expense – outgoing payments – minimum lease payments Rent payments onoperatingleases Bank andcredit card charges Building andgeneralinsurance Tour packages andevents fees forOther services (c) expenses Other

4,9)(940 4,9)(49,480) (49,394) (49,480) (49,394) (23,649) 1,3)(448 1,3)(34,448) (16,636) (34,448) (16,636) 17,402) (1 1,5)(584 1,5)(15,884) (17,257) (15,884) (17,257) 553 495 553 (4,925) (5,583) (4,925) (5,583) 637 572 637 (5,732) (6,367) (5,732) (6,367) 627 606 627 (6,046) (6,247) (6,046) (6,247) (5,705) 126 121 126 (1,261) (1,206) (1,261) (1,206) (1,039) (4,747) 558 696 558 (6,976) (5,518) (6,976) (5,518) $’000 2018 (362) 76 77 76 (737) (766) (737) (766) 56 90 56 (930) (536) (930) (940) (536) (736) (940) (736) (102) 16 19 16 (139) (136) (139) (136) (94) (6) Consolidated (35,185) (41,231) (5,569) (5,420) (1,033) $’000 (400) (100) 2017 (171) –

(23,649) 17,402) (1 (5,705) (1,039) (4,747) $’000 (362) 2018 (102) (94) (6)

(35,185) (41,231) (5,569) (5,420) Parent (1,033) $’000 (400) (100) 2017 (171) –

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements Refer to note 6 and note 7 for details regarding property, plant and equipment assets, depreciation and amortisation. and depreciation assets, equipment and plant property, regarding details for 7 note and 6 note to Refer Total ofleasehold improvementsAmortisation Intangible assets Amortisation Plant andequipment Depreciation Total Lease make goodexpense Provision (e) andmake amortisation Depreciation, good (9,235) 844 733 844 (7,383) (8,454) (7,383) (8,454) $’000 2018 24 21 24 (251) (204) (251) (204) 57 48 57 (438) (547) (438) (547) (751) 3)(0 3)(30) (30) (30) (30) Consolidated (8,102) $’000 (689) 2017

(9,235) $’000 (751) 2018

Parent (8,102) $’000 (689) 2017

119 120 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements operations asliquidandagedfollows: are deposits consideredAll short-term by theConsolidated Entity inday-to-day 4. Cash andCash Equivalents Total deposits Short-term Cash atbankandonhand (per Statement ofCash Flows) Closing cash andcash equivalents (per Statement ofFinancial Position) Cash andcash equivalents to ofcash statement ¬ows (b) Reconciliation ofcash andcash equivalents (a) Cash andcash equivalents Total 6 Between – months 12 3 Between – 6months 6892,2 68922,323 36,839 22,323 36,839 0582,2 05820,422 20,578 20,422 20,578 ,17 7,41 5 $’000 57,417 57,417 2018 Consolidated 42,745 42,745 42,745 $’000 2017

6006,000 36,000 36,839 $’000 ,17 7,41 5 $’000 57,417 57,417 2018 2018 3 16,323 839

22,323 Parent 42,745 42,745 42,745 $’000 $’000 2017 2017

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements Refer note 11(d) for details regarding interest rate risk and a sensitivity analysis for financial assets and liabilities. and assets financial for analysis sensitivity a and risk rate interest regarding details for 11(d) note Refer employee-related provisions Increase /(decrease) inpersonnel and services Increase /(decrease) inpayables Net cash ¬ow activities from operating Decrease ininventories (Increase) /decrease inreceivables /lossonderecognitionNet (proœt) ofassets/liabilities Capital sponsorship andmakeDepreciation, amortisation good Bad anddoubtful debt expense Deœned beneœtplanre-measurements Adjustments for revenue andexpenses recognised inequity Net result net cash ¬ows activities from operating (c) Reconciliation ofthe netresult to 1,0)213(969 2,173 (19,609) 2,173 (19,609) 2552897,8 2,875 72,583 2,839 72,545 85,031 $’000 15,103 9,235 2018 7,547 159 38 – 6 7 Consolidated (2,652) 11,842 $’000 8,102 2017 808 607 (87) 36 16 –

85,031 $’000 15,103 9,235 7,547 2018 159 – – 6 7

(2,652) Parent 11,842 $’000 8,102 2017 808 607 (87) 16 – –

121 122 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements Refer notes 11(b) and (d) for details regarding exposure to credit and currency risk, impairment losses related to trade and other receivables receivables other and trade to related losses impairment risk, currency and credit to exposure regarding details for (d) and 11(b) notes Refer amount where thee•ectofdiscounting isimmaterial. receivablesShort-term withnostated interest rate are measured attheoriginalinvoice derecognised orthrough process. theamortisation of receivables. Any changesare recognised inthenetresult for theyear whenimpaired, cost usingthee•ectiveamortised interest method,lessanallowance for anyimpairment value, usually based onthetransaction cost orface value. Subsequent measurement isat are not quoted inanactive market. These œnancialassetsare recognised initiallyatfair Receivables are non-derivative œnancialassetswithœxed ordeterminable payments that (a) Recognition andmeasurement 5. Trade Receivables andOther andPrepayments and the reconciliation of movements in allowance for impairment of receivables. of impairment for allowance in movements of reconciliation the and Allowance for impairmentofreceivables Trade receivables Total receivables Other GST receivable Accrued income Total Prepaid expenses Prepaid superannuation – deœnedbeneœtschemes (c) Prepayments (b) Trade Receivables andOther

$’000 2,364 3,244 6,441 ,6 ,7 ,6 2,172 1,960 2,172 1,960 2018 1,876 0 ,3 0 1,139 609 1,139 609 488 2 1,253 628 – Consolidated $’000 7,680 2,418 1,437 2017 3,117 981 (1)

$’000 3,244 6,441 1,876 1,876 2018 2 1,450 628 – –

Parent $’000 1,437 ,77 7,87 1,437 2017 3,117 (1) –

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements (SSS) andtheState Authorities NonContributory Superannuation Scheme (SANCS). State Authorities Superannuation Scheme (SASS), theState Superannuation Scheme personnel received services hasbeenadvised by Pillar Administration. These are the The funding positionat30June2018 ofthethree deœnedbeneœtschemes related to (d) Prepaid superannuation The defined benefit liability for the Consolidated Entity’s defined benefit plans has been included in trade and other payables (refer to note note to (refer payables other and trade in included been has plans benefit defined Entity’s Consolidated the for liability benefit defined The 8(b)). The defined benefit liability for the Parent has been included in personnel services payable (refer to note 8(d)). note to (refer payable services personnel in included been has Parent the for liability benefit defined The 8(b)). Total SASS bene˜tliability De˜ned SANCS SSS bene˜tasset De˜ned 50,242 55,687 9475,5 4,8)(49,983) (48,986) 50,953 49,467 $’000 5,445 5,445 2018 Estimated Reserve 775 Account Funds 51,926 , 74 7,7 5 $’000 5,848 5,848 2017 973

5,2)(57,246) (55,324) (49,755) (5,569) 559 631 15 (453) (125) (6,301) (5,569) $’000 2018 (769) Accrued (50,944) Liability (6,301) $’000 (961) 2017

$’000 (125) 2018 488 363 482 6

Contributions Prepaid $’000 (453) 2017 528 970 981 11

123 124 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements 6. Property, Plant andEquipment are capitalised. Otherwise they areare expensed. capitalised. Otherwise network costing orasset classmore than$5,000) and above individually (or ofa forming part Property, plantandequipmentcosting $5,000 e•ectively discounted over theperiodof credit. equivalent, i.e. thedeferred payment amount is normal credit terms,cost its isthe cash price Where payment for anasset isdeferred beyond atthemeasurementmarket date. participants sell anasset inanorderly transaction between Fair value istheprice thatwould bereceived to at theirfair value atthedate ofacquisition. nominal consideration, are initiallyrecognised construction. Assets acquired atnocost, orfor acquire theasset acquisition atthetimeofits or fair value oftheother consideration given to amount ofcash orcash equivalentspaidorthe are initiallyrecognised atcost. Cost isthe Property, plantandequipmentassetsacquired Initial Recognition(i) (a) Recognition andmeasurement from fair its date. value atreporting asset intheclassdoesnot di•ermaterially to ensure amount ofeach thatthecarrying plant andequipmentwithsu³cient regularity The Consolidated Entity revalues property, its informationfurther regarding fair value. inputs.Also,unobservable refer to 6(c) for relevant inputsandminimise observable cost approach, income approach) thatmaximise using valuation techniques (market approach, based onamarket participants’ perspective, Fair value ofproperty, plantandequipmentis is afeasible higherrestricted alternative use. there are norestrictions onuse orwhere there use may beafeasible alternative use, where In limited circumstances, thehighestandbest the highestandbestuse istheexisting use. taking into account these considerations, imposed by government. Inmostcases, after including anysocio-political restrictions characteristics oftheasset beingmeasured, is not remote, andtake into account the best use must beavailable ataperiodthat and œnanciallyfeasible. Thehighestand that isphysically possible, legally permissible the highestandbestuse by market participants Property, plantandequipmentare measured at plant andequipment Revaluation(ii) of property, Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements the revaluation surplus inrespect ofthatasset istransferred to accumulated funds. Where anasset thathaspreviously beenrevalued isdisposed of, anybalance remaining in another withinaclass ofnon-current assets,but not otherwise. As anot-for-proœt entity, revaluation incrementsanddecrements are o•set against one the same classofassets,they are debited directly to theasset revaluation surplus. that, to theextent thatacredit balance exists intheasset revaluation surplus in respect of Revaluation decrementsare recognised immediately asexpenses inthenetresult, except immediately asrevenue inthenetresult. of asset previously recognised asanexpense inthenetresult, theincrement isrecognised to theextent thatanincrement reverses arevaluation decrement inrespect ofthatclass Revaluation increments are credited directly to theasset revaluation surplus, except that, related accumulated depreciation are separately restated. When revaluing non-current assetsusingthecost approach, thegross amount andthe between fair value anddepreciated historical cost isunlikely to bematerial. which for these assetsapproximates fair value. hasassessed Theentity thatanydi•erence useful livesNon-specialised assetswithshort are measured atdepreciated historical cost, The value ofwork inprogress represents capital works not completed at30June2018. from theirfair value at30June2018. collection donot di•ersigniœcantly and buildingplantequipmenttheart services, valuesplant andequipment.Management isoftheopinionthatcarrying ofland,building In addition,anannual assessment tovalue isperformed assess thecarrying ofproperty, ofassetrevaluations category A summary isasfollows: Art collection Art Plant andequipment services Building andbuilding Land Asset Category Sue Hewitt Australia Limited division ofAon RiskServices 3years Services) – anoperating RHAS (Rodney HymanAsset Rider Levett Bucknall Consulting Ltd Pty Cumberland Property Independent Valuer 5 years 5 years 3 years Valuation Frequency Minimum 31 March 2015 31 March 2016 4 April 2017 31 March 2016 Last ValuationLast Date 125 126 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements expenses note 3(e). The depreciation expense hasbeenincluded in depreciated separately over theiruseful lives. material identiœablecomponentsofassetsare period.All the endofeachannual reporting and depreciation methodare reviewed at The estimated useful lives, residual values is theshorter, usingthestraight-line method. of thelease orestimated useful life, whichever improvements are depreciated over theperiod to estimated its residual value. Leasehold of eachasset over expected its useful life line basisto write o•thedepreciable amount asset. Depreciation iscalculated onastraight- plant andequipment.Landisnot adepreciable Depreciation isprovidedproperty, oncertain andamortisation Depreciation (iv) maintenance plan. However allbuildings require along-term date anddetermined thatitisnot impaired. assessed thebuilding for impairmentatbalance fair value asat30June2018. Management has Building andbuildingare services measured at material. Selling costsare deemedimmaterial. impairment can onlyarise ifselling costsare that, for anasset already measured atfair value, higher offair value lesscoststo sell. Thismeans 136 modiœestherecoverable amount test to the Impairment of Assets isunlikely to arise. AASB impairmentunderAASBgenerating units, 136 As anot-for-proœt withnocash- entity plant andequipment Impairment of property,(iii) assets are: rates onotherDepreciation andamortisation depreciated. is recognised asanasset andsubsequently and inoperation,theassociated WIPbalance depreciation. Once acapital work iscompleted Work-in-progress doesnot attract (WIP) should not berecognised onthese assets. management isoftheopinionthatdepreciation these assetsisreviewed annually. In2017-18, The decisionnot to recognise depreciation for for collection. theOperaHouse building andart not besubject to depreciation. Thisisthecase not have limited useful lives andtherefore may nature ofmanyheritageandcultural assets may Property,116 Plant andEquipment states the public sector entitiesthataccompanies AASB The implementationguidance for not-for-proœt if over $5,000, are capitalised and depreciated. component ofan asset, inwhichcase thecosts, they relateor to thereplacement ofapart charged asexpenses asincurred, except where Day-to-day costsormaintenance servicing are (v) Maintenance improvements Leasehold 10, 20 Grand organ Forklifts andvehicle 20 Plant andequipment 10, 20and33.3 Computer software Rate % Computer hardware ofassets Category 20 0.5 1 and33.3 Range between Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements (b) amount ofproperty, Carrying plant andequipment Property, plant andequipment – at fair value Work inprogress – atfair value collection Art – atfair value Plant andequipment – at fair value Less: accumulated depreciation andimpairment amountGross carrying Plant andequipment andbuildings Land – at fair value amountGross carrying Building and building services At fair value Land ,3,9 ,8,0 ,3,9 2,387,200 2,433,090 2,387,200 2,433,090 ,9,9 ,4,0 ,9,9 2,247,200 2,293,090 2,247,200 2,293,090 2,613,941 1079 1242 1079 (122,472) (130,749) (122,472) (130,749) 4,0 4,0 4,0 140,000 140,000 140,000 140,000 281,800 151,051 $’000 22,811 ,8 ,8 ,8 6,989 6,989 6,989 6,989 2018 Consolidated 2,552,551 249,828 127,356 31,006 $’000 2017

2,613,941 281,800 151,051 $’000 22,811 2018

2,552,551 249,828 127,356 Parent 31,006 $’000 2017

127 128 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements The comparative reconciliation for theyear ended30June2017isset out below. Reconciliation ofthefair value ofproperty, plantand equipmentisset out below. Fair value at endofyear Depreciation andamortisation Lease make goodexpense Fair value at endofyear Depreciation Lease make goodexpense Revaluation Reclassiœcation Disposals andwrite-o•s Additions Fair ofyear value atstart 2017 and Parent Consolidated Revaluation Reclassiœcation Disposals andwrite-o•s Additions Fair ofyear value atstart 2018 and Parent Consolidated 2,433,090 Land and Land and Land ,8,0 127,356 2,387,200 ,8,0 127,356 2,387,200 ,4,9 2,1 9626992,388,940 6,989 19,642 120,816 2,241,493 building building 145,469 45,890 $’000 $’000 238 (8,658) (30) – – (7,633) (30) – – (718) – (165) – – – 480(15,724) 14,830 - equipment equipment Plant and Plant and 151,051 226(78,176) 32,286 $’000 $’000 6 69,981 262 91 – – progress progress Work in Work in 31,006 31,006 27,088 22,811 $’000 $’000 – – – – – – – – collection collection $’000 $’000 ,8 2,613,941 6,989 6,989 ,8 2,552,551 6,989 Art Art Art (8,658) (30) – – – (7,633) (30) – 145,469 – (894) (718) – – – (165) 70,243 – – 27,417 – – 2,552,551 $’000 $’000 Total Total – –

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements (c) Fair value hierarchy There were notransfers betweenLevel 1and2during theyear. Buildings Land Property, plant andequipment,excluding WIP 2017 Plant andequipment Art collection Art Fair value at endofyear Buildings Land Property, plant andequipment,excluding WIP 2018 Plant andequipment Art collection Art Fair value at endofyear Level 1 $’000 – – – 6,989 – – – – – 6,989 – – Level 2 $’000 6,989 6,989 ,4,0 2,247,200 2,247,200 – – 2,6 120,862 120,862 – ,9,9 2,293,090 2,293,090 – – 1,6 114,467 114,467 – 2,508,062 ,4,5 2,554,545 2,547,557 4,0 140,000 140,000 4,0 140,000 140,000 Level 3 $’000 6,989 – 6,989 – 2,515,051 Total fair $’000 value

129 130 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements being valued. recent experience inthelocation andcategories oftheproperty, plantandequipment independent valuers, havingappropriate recognised professional qualiœcations and The fair value ofproperty, plantandequipmentwas determined by external, (d) Valuation andprocesses techniques, inputs Plant andequipment collection Art Buildings Land Type cost are not disclosed withinthefair value hierarchy. revaluation andiscarried atcost asaproxy for fair value. Assets are carried at amountand equipmentwithagross ofless than $100kisnot carrying subject to historic costs, thenadjusted to take into account theasset’s useful life. Plant assets iscalculated based on Australian Bureau ofStatistics Indexes appliedto make market comparisons unreliable. Theoptimised replacement cost ofthe specialised orbespoke nature ofmuch oftheOperaHouse’s plantandequipment comparison where possible;otherwise thecost approach hasbeenused. The amount isgreatercarrying than$100k,hasbeendetermined usingadirect sales Market orcost approach: thefair value ofplantandequipment,where thegross market prices for similaritems. Market approach: thefair value ofcollection assets isdetermined usingquoted going maintenance program andthelongdesigneconomic life oftheassets. measured quantities.Nodiminution invalue hasbeenrecognised due to theon- with measured quantitiesandtheapplication ofcurrent market rates to the using thestandard Australian Institute Surveyors ofQuantity (AIQS)elements building fabric, structure, œnishesandœttings,assesses these components cost approach given theunique nature ofthebuilding. Thevaluation includes the Cost approach: thefair value ofbuildings isdetermined usingareproduction as heritagerestrictions, zoning,location andfrontage. compared to theConsolidated Entity’s land,considering other key factors such a rate persquare metre ofªoorspace area hasbeendeduced for eachsale and speciœc piece oflandistruly comparable. Arate persquare metre oflandand areas andthenadjusted usingvarious inputs,asno andunobservable observable involving landwithintheSydney central business district andfringecommercial comparison approach. Market evidence isobtained through transactions Market approach: thefair value oflandhasbeendetermined usingthedirect Valuation technique Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements (e) Reconciliation ofrecurring level 3fair value measurements Additions /reclassiœcations Fair value asat1July2016 2017 2018 Fair value asat 30 June 2017 Depreciation andamortisation Disposals in other comprehensive income Revaluation increments/(decrements) recognised Fair value asat 30 June 2018 Depreciation andamortisation Disposals Fair value asat1July2017 recognised inother comprehensive income Revaluation increments/(decrements) Additions /reclassiœcations 2,293,090 2,247,200 2,247,200 Buildings ,0,9 140,000 2,101,493 145,469 45,890 $’000 238 – – – – – 140,000 140,000 140,000 $’000 Land Land (5,947) (693) – – 14,243 – (6,048) (348) – – – – – equipment Plant and 120,863 120,863 114,467 113,259 $’000 – – – 131 132 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements No intangibleassetswere found to beimpaired. All intangibleassetswere assessed for impairmentasat30June2018. the assetsare carried atcost lessanyaccumulated amortisation. market. Asthere isnoactive market for theConsolidated Entity’s intangibleassets, Intangible assetsare subsequently measured atfair value onlyifthere isanactive costing more than$5,000) they are are expensed. capitalised. Otherwise Intangibles costing $5,000 andabove individually (or ofanetwork forming part determined to bemore appropriate. straight-line basisover œve years, unlessanother useful life issubsequently for internal use andrecognised ona initiallyatcost, and are beingamortised The intangibleassetsheldby theConsolidated Entity comprise software held (a) assets Intangible 7. Assets Intangible Reconciliation value ofthecarrying ofintangiblesisset out below: Net carrying amount Net carrying Less: accumulated andimpairment amortisation At cost Software Intangibles Intangibles – fair value at endofyear Amortisation Disposals and write-o•s Reclassiœcation Additions Intangibles – fair ofyear value atstart (b) assets amount ofintangible Carrying

359 302 359 (3,042) (3,589) (3,042) (3,589) $’000 ,3 ,1 ,3 4,616 4,737 4,616 4,737 2018 1,574 1,148 1,148 57 48 57 (438) (547) (438) (547) 121 894 – – Consolidated $’000 1,574 1,574 2017 1,118 – –

$’000 1,574 1,148 1,148 2018 121 – 894 –

Parent $’000 1,574 1,574 2017 1,118 – –

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements Refer notes 11(b) and (d) for details regarding exposure to currency and liquidity risk related to trade and other payables. other and trade to related risk liquidity and currency to exposure regarding details for (d) and 11(b) notes Refer The Agency provides personnel services to the Parent (note 3(b)). The arising expense obligations are classified as personnel services services personnel as classified are obligations expense arising The 3(b)). (note Parent the to services personnel provides Agency The expenses by the Parent. For the Consolidated Entity, these are classified as employee-related expenses (note 3(a)). (note expenses employee-related as classified are these Entity, Consolidated the For Parent. the by expenses original invoice amount where thee•ectofdiscounting isimmaterial. interest payables method.Short-term withnostated interest rate are measured atthe cost orface value. Subsequent cost usingthee•ective measurement isatamortised advance. Payables are recognised initiallyatfair value, usually based onthetransaction Entity andother amounts,including interest, advance ticket sales andother income in These amounts represent liabilitiesfor provided goodsandservices to theConsolidated (a) Recognition andmeasurement 8. Trade Payables andOther Total Deœned beneœtliability payablesOther Advance external ticket sales Accrued expenses Trade creditors Total Income inadvance Total payable services personnel Total non-current Personnel payable services Non-Current Total current Personnel payable services Current (d) Personnel Payable Services Hirer deposits Advance ticket sales (c) Deferred Revenue (b) Trade Payables andOther

22,509 $’000 6,835 ,0 ,8 ,0 3,388 4,202 3,388 4,202 9,024 ,3 ,6 ,3 2,262 2,332 2,262 2,332 1,809 2018 9,216 1,813 824 124 – – – – – Consolidated 14021,415 21,450 $’000 32286212,823 8,682 13,212 6,599 1,858 1,353 1,372 2017 4,151 453 – – 13,018 – – –

48114,549 14,881 13,018 $’000 6,835 9,024 1,863 1,890 1,863 1,377 2018 824 –

Parent 12,901 12,901 19,715 $’000 6,599 1,648 1,648 1,858 1,353 2017 4,151 479 –

133 134 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements 9. Provisions than the beneœts accruedthan thebeneœts infuture. that sickleave taken inthefuture willbegreater rise to aliability, asitisnot considered probable Unused non-vesting sickleave doesnot give annualits leave liability. approach to approximate thepresent value of Consolidated Entity’s use ofthenominal the Actuarial advice obtained supports required to bemeasured atpresent value. render therelated service. Assuch, itis periodin whichtheemployeesannual reporting wholly before monthsafter 12 theendof Annual leave isnot expected to besettled amounts ofthebeneœts. recognised andmeasured attheundiscounted in whichtheemployees render are theservice monthsafterwithin 12 theendofperiod thatarebeneœts) expected to besettled wholly Salaries andwages (including non-monetary of theParent. Agency inthestand-aloneœnancialstatements Entity’s œnancial statements and a toliability the toa liability theemployee intheConsolidated Provisions for personnel are services stated as annual leave, sickleave andon-costs andwages, salaries Personnel services, (ii) Leave andAnnual Leave. and NSWTC 15-09Accounting forLong Service NSW TC 17-07 Accounting forSuperannuation accordance withAASB 119Employee Bene¦ts, Employee are beneœts recognised in Recognition andmeasurement(i) (a) Employee bene˜ts service areservice discounted to theirpresent value. the periodinwhichemployees render the that isdue more monthsafter than12 theendof Contributions to adeœnedcontribution plan reduction infuture payments isavailable. asset to theextent thatacash refund ora Prepaid contributions are recognised asan entitlingthemtoservices thecontributions. expense whenemployees have rendered superannuation plansare recognised asan Contributions to deœnedcontribution obligation amounts. to pay anyfurther a separate but entity hasnolegal orconstructive Consolidated Entity pays œxed contributions into a post-employment beneœtplanwhereby the A deœnedcontribution superannuation planis superannuation contribution plans De¦ned (iv) date are not discounted. monthsofreporting 12 Amounts expected to besettled whollywithin 2.60%).(2017 was a10-year government bondrate of2.50% date The bondrate used atthereporting the estimated timingofexpected payments. the yieldthatmatches asclosely aspossible discount leave. longservice Thisrate represents on Australian Government bondsare used to leave longservice its liability. Market yields approach to approximate thepresent value of Consolidated Entity’s use ofthenominal the Actuarial advice obtained supports Long leave (iii) service

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements to present value. date are discounted monthsafter12 reporting Termination falling beneœts due more than estimated reliably. and thenumber ofacceptances can be it isprobable thattheo•erwillbeaccepted, Termination are beneœts onlyrecognised if made to encourage voluntary redundancy. termination asaresult beneœts ofano•er the normalretirement age, orto provide plan to eitherterminate employment before ofwithdrawal,possibility to aformal detailed demonstrably committed, without realistic expense whentheConsolidated Entity is Termination are beneœts recognised asan (v) Termination bene¦ts

and theriskspeciœcto theliability. assessments ofthetimevalue ofmoney at therate thatreªectsthecurrent market money ismaterial, provisions are discounted estimated. Ifthee•ectoftimevalue of obligation andtheamount can bereliably of resources willberequired to settle the past events, itisprobable thatanoutªow or constructive obligation asaresult of the Consolidated Entity hasapresent legal provisions areOther recognised when: (b) provisions Other 135 136 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements the condition they were inatthelease commencement date. premises located atLevels 4and5, PittSt, Leichhardt andSt Peters Store inSydney to Under thelease agreementstheConsolidated Entity isrequired to reinstate theleased Reconciliation ofthefair value ofthelease make goodprovision isset out below: $1,323k aftermonths. 12 $3,146k isexpected to betaken months,withtheremaining withinthenext12 The current employee provision beneœts includes annual recreation leave, ofwhich (c) Current andnon-current provisions Carrying amount at theCarrying endofthe year Provision released Additional provision oftheyearCarrying amount atthestart Total provisions Total non-current provisions Employee beneœts Lease make goodprovision Non-current Total current provisions Fringe beneœts Employee beneœts Lease make goodprovision Current

14,572 20911,597 12,089 $’000 12,511 2,061 2018 1,863 323 297 297 198 99 (225) – – Consolidated 12,050 13,896 $’000 1,846 1,648 2017 354 297 522 198 99 –

$’000 2018 297 297 297 198 198 99 99 (225) – – – – –

Parent $’000 2017 297 297 522 198 198 99 99 – – – –

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements 10. Employee Bene˜ts De˜ned plans are recognised inproœt orloss. other expenses related to deœnedbeneœt beneœt payments. Netinterest expense and the periodasaresult ofcontributions and (asset)duringin thenetdeœnedbeneœtliability (asset),takingintoliability account anychanges of theperiodto the then-netdeœnedbeneœt the deœnedbeneœtobligation atthebeginning applying thediscount rate used to measure (asset) forbeneœt liability theperiodby interest expense (income) onthenetdeœned The Consolidated Entity determines thenet immediately inother comprehensive income. (if any, excluding interest),are recognised interest) andthee•ectofasset ceiling losses, thereturn onplanassets (excluding liability, whichcomprise actuarial gains and Re-measurements ofthe netdeœnedbeneœt in future contributions to theplan. any future refunds from theplanorreductions of economicavailable beneœts intheform of recognised asset islimited to thepresent value potential asset for theConsolidated Entity, the available. Whenthecalculation results ina cash refund/reduction infuture payments is are recognised asanasset to theextent that and periodsofservice. Prepaid contributions levels, experience ofemployee departures consideration isgiven to future andwage salary requirements. When determining theliability, considering anyapplicable minimum funding annuallyis performed by aqualiœedactuary, The calculation ofdeœnedbeneœtobligations any unrecognised costs. pastservice superannuation fund assets atthatdate andless date lessthefairat thereporting value ofthe as thepresent value ofdeœnedbeneœtobligation statement ofœnancialposition,andismeasured superannuation plansisrecognised inthe orassetA liability inrespect ofdeœnedbeneœt andœnalaverageservice salary. deœned lump sumbased beneœts onyears of Deœned beneœtsuperannuation plansprovide (a) bene˜tsuperannuation plans De˜ned All theschemes are closed to new members. disablement andwithdrawal. sum onretirement, orpensionbeneœts death, years of membership. Membersreceive lump derived from amultiple and ofmembersalary – atleastacomponent oftheœnalbeneœtis These schemes are alldeœnedbeneœtschemes – – – – superannuation schemes: of theclosed NSW public sector Fund (theFund) holdsintrust theinvestments The SAS Trustee Corporation (STC) Pooled (b) Nature ofthe provided bene˜ts by the Fund by theAgency. employees ofthe OperaHouse are provided for a deœnedbeneœtsuperannuation planasall Consolidated Entity. TheParent doesnot have deœned beneœtsuperannuation planofthe The following disclosures relate to the to besettled. islikelyas thisbestreªectswhentheliability occurs. isdisclosed Theliability asnon-current of adeœnedbeneœtplanwhenthesettlement recognises gains andlosses onthesettlement in proœt orloss.TheConsolidated Entity isrecognised immediatelyloss oncurtailment beneœt thatrelates toorthegain pastservice or theresulting changein when aplaniscurtailed, ofaplanareWhen thebeneœts changedor

Superannuation Scheme (SANCS). State Authorities Non-contributory Police Superannuation Scheme (PSS) State Superannuation Scheme (SSS) (SASS) State Authorities Superannuation Scheme 137 138 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements following roles: of Fund beneœciaries.TheTrustee hasthe legal obligation to act solely inthebest interests governance oftheFund. TheTrustee hasa The Fund’s Trustee isresponsible for the forresponsibilities the governance ofthe Fund (d) ofother Description entities’ will be available on the the Fund’sreport website. asat30June2018.performed Once completed, 2015. Thenext actuarialinvestigation willbe investigation wasasat30June performed everyperformed three years. Thelastactuarial An actuarialinvestigation oftheFund is Commonwealth’s retirement incomes policy. Board’s adherence to theprinciplesof and internal processes thatmonitor theTrustee legislative obligations ontheTrustee Board These provisions are inadditionto other the prudentialcontrols oftheSISlegislation. Board activitiesinamannerconsistent with monitors andaudits theFund andtheTrustee The New South Wales Government prudentially arebeneœts adequately protected. to members,andthatmembers’and reporting incomes policy relating to preservation,vesting principles oftheCommonwealth’s retirement to ensure thattheFund willconform to the New South Wales Government undertakes Under aHeadsofGovernment agreement, the superannuation guarantee purposes. as complying funds for concessional taxationand treats exempt public sector superannuation funds Act 1993 (SIS).TheSISLegislation (Supervision) Commonwealth Superannuation Industry sector superannuation schemes underthe The schemes intheFund are exempt public 1987, andtheirassociated regulations. Superannuation Scheme Act Non-Contributory (Superannuation) Act 1906,State Authorities Superannuation Act 1987, Police Regulation Superannuation Act 1916,State Authorities governed by thefollowing NSW legislation: The schemes intheFund are establishedand frameworkregulatory (c) ofthe Description

or settlementsduring theyear. There were nofundcurtailments amendments, ofsigni˜cant events Description (f) risk. or liquidity signiœcant concentration ofinvestment risk a diversiœed asset mix.TheFund hasno with independentfund managersandhave The deœnedbeneœtfund assetsare invested – – – – – risks relating toare: thedeœnedbeneœts exposes theEmployer. Themore signiœcant There are anumber ofrisksto whichtheFund (e) ofrisks Description – – –

cost ofproviding thedeœnedbeneœts. changes could bemadewhichincrease the Legislative risk – Theriskthatlegislative requiring additionalemployer contributions. deœned beneœtamountsandthereby more rapidlythanassumed, increasing for active memberswillbebased) willrise salaries (on whichfuture beneœtamounts growth risk Salary – Theriskthatwages or assumed, increasing future pensions. pensions willincrease atarate greater than Pension indexation risk – Theriskthat pensions. live longerthanassumed, increasing future Longevity risk – Theriskthatpensioners to o•set thisshortfall. Employer willneedto increase contributions returns willbelower thanassumed andthe Investment risk – Theriskthatinvestment Compliance with other applicable regulations assets; and Management andinvestment oftheFund required inaccordance withtheFund rules; to thebeneœciariesfrom Fund assetswhen Administration oftheFund andpayment Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements Taxes, premiums andexpenses paid Fair value ofthe Fund at endofthe assets year paid Beneœts Contributions by participants Employer contributions Actual return onfund assets lessinterest income Interest income Fair value ofthe Fund at beginning ofthe assets year (h) Reconciliation ofthe fair value ofFund assets (g) Reconciliation ofthe /(asset) netde˜nedbene˜tliability Net de˜ned bene˜t liability / (asset) at start ofyear /(asset) at start Net de˜nedbene˜tliability Net de˜ned bene˜t liability /(asset) at endofyearNet de˜nedbene˜tliability Employer contributions Adjustment for e•ectofasset ceiling Actuarial (gains) /losses arisingfrom experience liability Actuarial (gains) /losses arisingfrom changesinœnancialassumptions demographic assumptions Actuarial (gains) /losses arisingfrom changesin Actual return onfund assetslessinterest income Net interest /(asset) onthenetdeœnedbeneœtliability Current cost service $’000 5,848 ,4 ,4 71,226 1,040 5,445 SASS (940) 31 6)(,5)(4,338) (3,955) (62) (321) 18 2)(8)(535) (384) (23) (128) 3)(1 6 114 160 (11) (35) 452 124 142 321 141 72 12 – – – 3 2

SANCS $’000 1,166 (217) (11) (6) 23954,338 3,955 62 33 81,736 28 67 0122 50 – – 2)(14) (26) – – 1 1 74874,482 67,468 224 (3,431) (2,274) $’000 ,1 4,877 4,810 98 (527) (968) (481) (160) SSS 291 42 – – $’000 , 11 7,7 7 1,906 (363) Total (156) 294 216 – –

139 140 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements available tointheform theentity ofreductions infuture employer contributions. The adjustment for thee•ectofasset ceiling hasbeendetermined based onthemaximum economic beneœt Adjustment for e™ectofasset ceiling at endofthe year Change inthee•ectofasset ceiling Interest onthee•ectofasset ceiling Adjustment for e™ectofasset ceiling at beginningofthe year Reconciliation ofthe e™ectofthe asset ceiling(j) (i) Reconciliation ofthe de˜nedbene˜tobligation Present value ofde˜nedbene˜tobligations at beginningofthe year Current cost service Interest cost Contributions by participants demographic assumptions Actuarial (gains) /losses arisingfrom changesin Actuarial (gains) /losses arisingfrom changesinœnancialassumptions Actuarial (gains) /losses arisingfrom experience liability Beneœts paid Beneœts Taxes, premiums andexpenses paid Present value ofde˜nedbene˜tobligations at endofthe year 6,300 $’000 5,569 SASS (940) 18 2)(8)(535) (384) (23) (128) 3)(1 6 114 160 (11) (35) 154 141 72 – – 265 – – 3 2

SANCS $’000 (217) 962 769 193 33 31281,455 1,278 23 67 0122 50 – 3 438 433 5 1 1 48,986 49,983 224 (3,431) (2,274) 21,758 16,515 $’000 ,1 4,877 4,810 (160) SSS 291 42 22,023 55,324 16,708 57,245 $’000 Total (156) 294 216

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements level are listed shares; listed unittrusts. identical assets orliabilities.Theassetsinthis Level 1 – quoted prices inactive markets for date is: the reporting The percentage invested ineachasset classat As such, thedisclosures below relate to total assetsoftheFund. or appropriate to disaggregate andattribute Fund assets to individual entities. managers. Assets are not separately invested for eachentity, anditisnot possible All theFund assets are invested by STC atarm’s lengththrough independentfund (k) Fair value ofthe Fund assets Total Alternatives Property International equities Total Alternatives Property International equities Australian equities International œxed interest Australian œxed interest securitiesShort-term Australian equities International œxed interest term securities Short Asset Category As at 30 June 2018 Australian œxed interest 100.00% 22.20% 23.70% 10.50% 26.10% 8.90% 3.30% 5.30% managers make limited use of derivatives. or gearingoftheinvestment portfolio. Assuch, and cannot beused for speculative purposes againsthedge theportfolio market movements, facilitate e³cientcash-ªow managementorto states thatderivatives may onlybeused to investment mandateeach manager's clearly be used by investment managers.However, Derivatives, including futures andoptions, can distressed debt; hedgefunds. unlisted shares; unlisted infrastructure; The assetsinthislevel are unlisted property; are not basedmarket onobservable data. Level 3 – inputsfor theasset that orliability identical assets or liabilities. quoted prices are available inactive markets for and corporate bonds;unlisted trusts where are cash; notes; government, semi-government directly orindirectly. Theassetsinthislevel forobservable theasseteither orliability Level 2 – inputsother thanquoted prices 41,801,063 10,891,350 ,9,2 2,9 ,3,1 4,141,113 5,332,818 420,897 9,894,829 ,3,2 1842,193,068 41,854 2,234,921 ,7,0 ,1,4 548,908 8,719,442 9,271,405 ,0,6 ,8,6 2,215,695 2,185,469 4,401,164 1,396,107 ,1,8 8,1 0,3 2,314,335 608,934 788,018 3,711,287 $’000 Total

0632214,678,915 20,663,272 8,499,476 Level 1 $’000 8,116 2,391,501 1,387,991 Level 2 $’000 6,458,876 Level 3 $’000 3,055 373 – – – 141 142 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements – – owned by thedirectOf properties theFund: NSW Government bonds. 30 June2018 include $97.7 millionin The fair value oftheFund assetsasat assets oftheFund. The disclosures below relate to total ˜nancial instruments (l) Fair value ofentity’s own

million (30June2017: $261million). with afair value (100% interest)of$287 50% owned ofaproperty bypart theFund Health Administration Corporation occupies $250 million). a fair value of$280 million(30June2017: 100% owneda property by theFund with SAS Trustee Corporation of occupies part at 30 June 2018 assumptions(m) Signi˜cant actuarial mortality Pensioner increase Rate ofCPI increases) promotional rate (excluding 2.65% increaseSalary Discount rate Assumption request from theTrustee. assumptions are available on each age. Alternatively, the rates for pension mortality willshow the The report investigation iscomplete. Trustee's website whenthe will beavailable onthe investigation which report be disclosed intheactuarial Fund. These assumptions will investigation ofthePooled used for the2018 actuarial assumptions are those to be The pensionermortality 2.50% pathereafter. 2.25% 2018-19 and2019-20; thereafter. 2.70% 2018-19 and3.20% pa Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements * Assumes the short-term pensioner mortality improvement factors for years 2018-2023 also apply for years after 2023 after assumptions asoutlined above, whilstretaining allother assumptions. years for apply also The deœnedbeneœtobligation hasbeenrecalculated by changing the 2018-2023 years for factors improvement mortality pensioner short-term the Assumes * assumptions, andscenarios GandHrelate to sensitivityto demographicassumptions. Scenarios Ato Frelate to sensitivityofthetotal deœnedbeneœtobligation to economic contribution taxprovision thatiscalculated based ontheasset level at30June2018. is presented below. Thetotal deœnedbeneœtobligation disclosed isinclusive ofthe The entity’s total deœnedbeneœtobligation asat30June2018 underseveral scenarios analysis (n) Sensitivity ** Assumes the long-term pensioner mortality improvement factors for years post 2023 also apply for years 2018 to 2023 to 2018 years for apply also 2023 post years for factors improvement mortality pensioner long-term the Assumes ** Deœned beneœtobligation ($'000) Salary inªationrate Salary Rate ofCPIincrease Discount rate Salary inªationrate Salary Discount rate Deœned beneœtobligation ($'000) Rate ofCPIincrease Rate ofCPIincrease Discount rate Deœned beneœtobligation ($'000) inªationrate Salary Deœned beneœtobligation ($'000) Base case Base case Base case Base case saoeaoertspu .%p above rates less0.5% pa above rates plus 0.5% pa as above as above as above saoeaoertspu .%p above rates less0.5% pa as above above rates plus 0.5% pa as above as above as above as above as above 55,324 55,324 55,324 55,324 –1.0% discount rate as above –1.0% pa lower mortality +0.5% of rate increase rate +0.5% salary CPI increase Scenario G Scenario C Scenario A Scenario E as above as above as above as above as above as above 58,388 55,444 55,918 61,917 * +1.0% discount rate as above +1.0% pa higher mortality –0.5% of rate increase rate –0.5% salary CPI increase Scenario H Scenario D Scenario B Scenario F as above as above as above as above as above as above 49,853 54,823 52,510 55,212 ** 143 144 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements in accordance withAASB 1056 Superannuation Entities: The following ofthe30June2018 œnancialpositionoftheFund isasummary calculated (q) Surplus /de˜cit required after eachannual review. Funding positionsare reviewed annually andfundingmay arrangements beadjusted as employer, STC andNSWTreasury. the triennial actuarialreview. Contribution rates are set after discussions betweenthe Funding are arrangements reviewed atleastevery three years following therelease of (p) Funding arrangements No explicit asset-liability matching strategy isused by theTrustee. strategy. Italso monitors cash ªows torequirements. manageliquidity The Trustee monitorsasset-liabilityriskcontinuously its insettinginvestment its (o) matching strategies Asset-liability *There is no allowance for a contribution tax provision with the accrued benefits figure for AASB 1056. Allowance for contributions tax is is tax contributions for Allowance 1056. AASB for figure benefits accrued the with provision tax contribution a for allowance no is *There made when setting the contribution rates. contribution the setting when made Net (surplus) /de˜cit Net market value ofFund assets Accrued beneœts* (5,446) $’000 SASS 4,972 (474)

SANCS (1,040) $’000 (350) 690 7,2)(77,711) (71,226) (41,761) 94535,126 29,465 $’000 SSS (42,585) $’000 Total

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements The weighted average duration ofthedeœnedbeneœtobligationyears. is12 (u) pro˜le ofde˜ned bene˜tobligation Maturity Superannuation Entities are: The economic assumptions adopted for the30June2018 Standard AASB 1056 (s) Economic assumptions Recommended contribution rates for theConsolidated Entity for thecurrent year are: (r) Contribution recommendations Expected employer contributions (t) Expected contributions for 2019 N/A contributions multiple ofmember SASS Expected rate ofCPIincrease (excluding promotional increases) salary Expected increase salary rate backing other liabilities Expected rate ofreturn onFund assets backing current pensionliabilities Expected rate ofreturn onFund assets Weighted average assumptions

N/A % membersalary SANCS N/A contributions multiple ofmember SSS $’000 SASS 2.7% pato 30June 2019 then3.2% pa –

thereafter 6.4% pa 2.2% pa SANCS 7.4% pa $’000 – $’000 SSS – $’000 Total –

145 146 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements De˜ned bene˜tcostDe˜ned Net interest Current cost service Actual return onFund assetslessinterest income Actuarial (gains) /losses onliabilities (w) comprehensive Other income (v) Pro˜t andlossimpact Total re-measurement inother comprehensive income Change inthee•ectofasset ceiling $’000 SASS (483) (162) (321) 153 141 12 –

SANCS $’000 (27) 6)(,5)(4,338) (3,955) (62) 3)(8)(578) (384) (32) 33 33 67 (26) – $’000 ,1 4,878 4,811 SSS 472 42 16 $’000 Total (38) 202 (14) 216

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements 11. Financial Instruments close of business on reporting date.close ofbusiness onreporting reference to quoted current bidprices atthe fair value inanactive market isdetermined by The fair value ofinvestments thatare traded at process.or though theamortisation result for theyear whenimpaired, derecognised method. Changes are recognised inthenet cost usingthee•ectiveamortised interest of transaction costs,andthenmeasured at investments are initiallyrecognised inclusive are classiœedas“held-to-maturity”. These intention to andability holdto maturity that theConsolidated Entity hasthepositive determinable payments andœxed maturity Non-derivative œnancialassets withœxed or Consolidated Entity’s risk. are set to percounterparty minimiselimits the total investments withcounterparty. Exposure yield, maturity, credit ratingand counterparty onallinvestments,report including theamount, Management Policy requires managementto The Consolidated Entity’s Treasury Risk re-evaluates thisateachœnancialyear-end. recognition and,whenallowed andappropriate, classiœcation œnancialassetsatinitial ofits The Consolidated Entity determines the Investments(i) (a) Recognition andmeasurement been hadthere not beenanimpairment loss. exceeds amount would whatthecarrying have cost cannot amount result that inacarrying losses ofœnancialassetscarried at amortised is objective evidence. Reversals ofimpairment through thenetresult for theyear, where there Any reversals ofimpairmentlosses are reversed the netresult for theyear. amount oftheimpairmentlossisrecognised in discounted atthee•ective interest rate. The present value ofestimated future cash ªows, between theasset’s amount andthe carrying the amount oftheallowance isthedi•erence For cost, œnancialassetscarried atamortised will not beableto collect allamountsdue. objective evidence thattheConsolidated Entity for impairmentisestablishedwhenthere is an annual review for impairment.An allowance fair value through proœt orloss,are subject to All œnancialassets,except those measured at Impairment assets of ¦nancial (ii) 147 148 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements discharged orcancelled orexpires. the obligation speciœed inthecontract is isderecognisedA œnancialliability when in theasset. Consolidated Entity’s continuing involvement the asset isrecognised to theextent ofthe risks andrewards ortransferred control, transferred norretained substantially allthe Where theConsolidated Entity hasneither – – Entity transfers theœnancialasset: œnancial assets expire; oriftheConsolidated contractual to rights thecash ªows from the A œnancialasset isderecognised whenthe liabilities¦nancial assets of ¦nancial and Derecognition (iii)

not retained control. rewards, iftheConsolidated Entity has transferred substantially alltherisksand where theConsolidated Entity hasnot rewards have beentransferred; or where substantially alltherisksand there untiltheforecast transaction occurs. or losspreviously recognised remains inequity is discontinued prospectively. Thecumulative gain terminated orexercised, thenhedgeaccounting criteria for hedgeaccounting, expires, orissold, If thehedgeinstrument nolongermeets value are recognised inthenetresult for theyear. that thehedgeisine•ective, changesinfair extent thatthehedgeise•ective. To theextent hedge are recognised directlyto inequity the hedging instrument designated asacash ªow Changes inthefair value ofthederivative changes therein are accounted for asbelow. derivatives are measured atfair value and when incurred. Subsequent to initialrecognition, costs are recognised inthenetresult for theyear recognised atfair value; attributable transaction currency riskexposures. Derivatives are initially œnancial instruments to foreign hedgeits The Consolidated Entity holdsderivative instruments ¦nancial Derivative (iv) Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements Refer note 11(d) for details regarding exposure to currency and liquidity risk to derivative financial instruments. financial derivative to risk liquidity and currency to exposure regarding details for 11(d) note Refer Parent andtheConsolidated Entity isasfollows: Reconciliation ofunrealised (loss)/gains onforward exchange contracts for the to theextent thehedgeise•ective. In thecurrent year, these unrealised losses have beendeferred inthehedgingreserve exchange contracts relating to anticipated future transactions is36k(2017: 120k). date theaggregateAs atreporting amount ofunrealised lossonforward foreign foreign exchange contracts to cover foreign currency payments due onfuture contracts. date.expire monthsafter within12 reporting TheConsolidated Entity enters into forward The Consolidated Entity entered into contracts for thepurchase ofvarious currencies that outstanding as at reporting date: outstanding asatreporting The following tabledetailstheforward foreign currency hedgecontracts items whentheanticipated purchase transaction takes place. Basis adjustments are amounts ofnon-œnancialhedged madeto thecarrying foreign exchange contracts to managerisk. exposures are managedwithinapproved policy parameters, usingforward currencies, hence exposures to exchange rate ªuctuations arise. Exchange rate The Consolidated transactions Entity undertakes certain denominated inforeign (b) Derivatives used for hedging Total USD GBP EURO contracts forward Foreign currency Total unrealised (loss) /gain exchange onforward contracts Unrealised (loss)/gain onforward exchange contracts oftheyearCarrying amount atthestart $’000 2018 1,152 2 ,2 91 (1,309) (961) 1,226 921 175 6472 56

$’000 1,865 Asset 2017 2017 167 (1,188) $’000 2018 (175) 5)(487) (52)

Liability (1,985) $’000 (189) 2017 2017 $’000 $’000 2018 10 (430) (120) 2018 (36) (36) 3)(83) (39) 4310 84 (22) – (15) 3

Net Position $’000 $’000 (120) (120) 2017 2017 2017

149 150 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements auditors onacontinuous basis. controls, andto monitor risks.Compliance withpoliciesisreviewed by theinternal andanalysepolicies are establishedto identify therisksfaced, to setand risklimits and reviews andagrees policiesfor managingeachofthese risks.Riskmanagement The Consolidated Entity hasoverall responsibility for theoversight ofriskmanagement, œnancial statements. risk. Further quantitative andqualitative disclosures are included throughout these below, together withobjectives, policiesandprocesses for measuring andmanaging The Consolidated Entity’s mainrisksarisingfrom œnancialinstrumentsare outlined instruments, including derivative œnancialinstruments, for speculative purposes. the operations.TheConsolidated Entity doesnot enter into ortrade œnancial These œnancialinstrumentsarise directly from operationsorare required to œnance The Consolidated Entity’s principalœnancialinstrumentsare outlined below. (c) Financial instrument categories * Excludes statutory receivables and prepayments such as GST (not within scope of AASB 7). AASB of scope within (not GST as such prepayments and receivables statutory Excludes * ** Excludes statutory payables and unearned revenue such as GST (not within scope of AASB 7). AASB of scope within (not GST as such revenue unearned and payables statutory Excludes ** Derivative œnancialinstruments Trade andother payables Financial liabilities Derivative œnancialinstruments Trade andother receivables Cash andcash equivalents Financial assets ** * NOTE 11(b) 11(b) 8(b) 5(b) 4 Designated ande•ective Designated ande•ective Loans andreceivables Measurement basis hedging instrument hedging instrument (at amortised cost) cost) (at amortised (at amortised cost) (at amortised Financial liabilities N/A 25921,449 22,509 $’000 57,417 5,813 2018 ,8 1,985 1,188 1,152 Carrying amount Carrying

42,745 $’000 6,427 1,865 2017

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements – instruments: the following risksfrom theuse ofœnancial The Consolidated Entity hasexposure to (d) management Financial risk – Committee onacontinuous basis. to theAuditmanagement andreported andRisk risks. Compliance withpolicies isreviewed by set andcontrols, risklimits andto monitor the risksfaced by theConsolidated Entity, to andanalysepolicies are establishedto identify for managingthese risks. Riskmanagement management, andreviews andagrees policies responsibility for overseeing andmonitoring risk and RiskCommittee, whichhasoverall The OperaHouse hasestablished an Audit included throughout these œnancialstatements. quantitative andqualitative disclosures are for measuring andmanaging risk.Further Entity’s objectives, policiesandprocesses below, together withtheConsolidated from œnancialinstruments are outlined The Consolidated Entity’s mainrisksarising œnancial instruments,for speculative purposes. trade œnancialinstruments, including derivative The Consolidated Entity doesnot enter into or to œnance theConsolidated Entity’s operations. Consolidated Entity’s operationsorare required œnancial instrumentsarise directly from the instruments are outlined above. These The Consolidated Entity’s principalœnancial –

credit risk liquidity risk liquidity market risk (net ofanyallowance for impairment). by amount oftheœnancialassets thecarrying maximum exposure to credit riskisrepresented course ofbusiness. TheConsolidated Entity's and authority heldthrough deposits thenormal Consolidated Entity, including cash, receivables principally from theœnancialassetsof contractualmeet its obligations, andarises to aœnancialinstrument failscounterparty to the Consolidated Entity ifacustomer or Credit riskistheofœnanciallossto Credit risk (i) 151 152 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements receivables at the reporting date byreceivables atthereporting business segment was: The Parent andtheConsolidated Entity's maximum exposure to credit riskfor trade Trade receivables (2017: 2.66%), whileover theyear theaverage interest rate was 1.97% (2017: 2.61%). atbalanceThe deposits date were earninganaverage interest rate of1.95% At periodend,theConsolidated Entity hadplacedfunds allits ondepositwithT-Corp. for theANZoperatingaccount (2017: 1.50%). rate atyear-end was 1.50% for Westpac operatingaccounts (2017: 1.50%) and1.41% and cash heldinbankaccounts. Interest isearnedondailybankbalances. Theinterest Commonwealth Bank (CBA). Cash is recorded atnominalvalues for cash onhand Cash comprises cash onhandandbankbalances withWestpac, ANZand Cash andcash equivalents *Excludes statutory receivables and prepayments such as GST (not within scope of AASB 7). AASB of scope within (not GST as such prepayments and receivables statutory *Excludes exposure date was: to credit riskatreporting maximum credit exposure. TheParent andtheConsolidated Entity's maximum amount oftheConsolidatedThe carrying Entity'sœnancialassetsrepresents the Exposure to credit risk Trade andother receivables Cash andcash equivalents Other Sydney OperaHouse performances Precinct businesses Venue hire andrelated services Tours Sponsorship * NOTE 5(b) 4 63,230 $’000 $’000 57,417 1,960 5,813 2018 2018 544 246 618 481 Carrying amount Carrying 53 18

42,745 49,172 $’000 $’000 6,427 2,172 2017 2017 308 596 544 582 54 88

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements the year was asfollows: The movement intheallowance for impairmentinrespect oftrade receivables during date was: reporting The ageingoftheParent andtheConsolidated Entity’s trade receivables at losses Impairment Not pastdue 2017 2018 Balance at endofyear Add: additional provision Less: provision release Less: baddebts written o• Opening balance < 3monthspastdue Not pastdue 3-6 monthspastdue < 3monthspastdue 3-6 monthspastdue > 6monthspastdue > 6monthspastdue $’000 1,960 1,284 Total 2,172 1,381 359 579 511 18 – –

impaired $’000 $’000 1,960 1,284 2018 1,381 2,171 Not Not 359 579 511 (1) 17 – – – – – 1

Considered impaired $’000 $’000 2017 (1) (1) – – – – – – – – – – – 1 1

153 154 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements assets ispastdue orimpaired. have dates. maturity Noneofthese varying on at-call varies. deposits Theterm deposits term ofthedeposit. Theinterest rate payable rate payable isnegotiated andisœxed for the aredeposits for œxed terms, andtheinterest by Standard & Poor’s, Fitch orMoody’s. Bank banks, havingregard to theratingprovided has also placed funds ondepositwithmajor credit ratingagencies. TheConsolidated Entity have investment gradecredit ratingsfrom major and limitinginvestments that to counterparties is managedthrough setting investment limits Entity’s œnancialassets,other thanreceivables, Credit riskassociated withtheConsolidated ˜nancial assets Other debtor orgroup ofdebtors. concentrations ofcredit riskto asingletrade terms. isnot Theentity materially exposed to made on30-day oralternative agreed-upon interest isearnedontrade debtors. Sales are conditions anddebtor credit ratings.No current andexpected changesineconomic This evidence includes pastexperience, and all amountsdue willnot beableto becollected. receivables, based onobjective evidence that estimate ofincurred losses inrespect oftrade allowance for impairment thatrepresents their o•. TheConsolidated Entity hasraised an that are known to beuncollectible are written amounts, including letters ofdemand.Debts Directions are followed to recover outstanding Procedures asestablishedintheTreasurer’s trade debtors isreviewed onanongoingbasis. receivable atbalance date. Collectability of All trade debtors are recognised asamounts œnancial asset directly. irrecoverable andiswritten o•against the at thatpoint,theamount isconsidered no recovery oftheamount owing ispossible; unless theConsolidated Entity issatisœed that receivables isused to record impairmentlosses The allowance account inrespect oftrade for late payment. Accounts allows theMinister to award interest rendered invoice. NSWTC 11-12 Payment of later than30days from receipt ofacorrectly terms are not speciœed,payment ismadeno in NSWTC 11-12 Payment of Accounts. Iftrade settled inaccordance with thepolicy set out owing to suppliers (which are unsecured) are received, whetherornot invoiced. Amounts to bepaidinthefuture for goodsorservices The liabilitiesare recognised for amountsdue assessment ofrisk. based onpriorperiods’ dataandcurrent exposure toriskisdeemedinsigniœcant liquidity pledged ascollateral. TheConsolidated Entity’s defaults ofloanspayable. Noassetshave been During thecurrent andprioryear, there were no June 2018, theloanfacility hasnot been utilised. NSW Treasury Corporation (TCorp). Asat30 a globalborrowing limitof$44 millionthrough July 2015, theConsolidated Entity established within both thecurrent andpriorperiod.On16 otherwise not incurred anybankoverdrafts in theform ofcorporate credit cards, but has The Consolidated Entity hasexposure to debt investmentsas short-term oratcall. funding andªexibility, withcash advances held to maintainabalance betweencontinuity of liquidassets. Theobjectiveof highquality is maturities planningto ensure adequate holding risk through monitoring future cash ªows and Consolidated Entity continuously manages obligations whenthey fall due. The Entity willbeunableto payment meetits riskisthethatConsolidatedLiquidity Liquidity risk (ii) Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements Consolidated Entity: The following are contractual maturitiesofœnancial liabilitiesfor theParent andthe Inªow Outªow Forward exchange contracts used for hedging: Derivative ˜nancialliabilities Trade andother payables Non-derivative ˜nancialliabilities 2017 2018 Outªow Forward exchange contracts used for hedging: Derivative ˜nancialliabilities Trade andother payables Non-derivative ˜nancialliabilities Inªow 2,4)(22,544) (22,545) Amount 2,0)(22,509) (22,509) (21,570) 2,5)(21,450) (21,450) (1,985) $’000 (1,188) 1,865 Total 1,152 6 months (21,534) (1,405) or less $’000 (1,130) 1,095 1,321 months 6 to 12 6 to 12 $’000 (580) 544 (36) (34) 33 (1) – – and 2years Between 1 $’000 (24) 24 – – – – – – 155 156 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements interest rate for cash atbankisset out below: at bank.Theimpactto theParent andtheConsolidated Entity ofa0.25% change in a•ecting theTCorp Hour-Glass cash facility price asset out below) islimited to cash The Parent andtheConsolidated Entity’s exposure to interest rate risk(other thanthat œnancial position.TheConsolidated Entity doesnot enter into commoditycontracts. The interest rate riskisnot expected to signiœcantly a•ecttheoperatingresults and risk onpurchases thatare denominated inacurrency other thanAustralian dollars. returns. TheConsolidated Entity’s exposure to market riskisprimarilythrough currency and control market riskexposures withinacceptable parameters, whileoptimising the interest ratesprices. andequity Theobjective ofmarket riskmanagementisto manage will ªuctuate because ofchangesinmarket prices, such asforeign exchange rates, Market riskisthethatfair value orfuture cash ªows ofaœnancialinstrument Market risk (iii) or lossfor theParent andtheConsolidated Entity: derivatives thatare cash-ªow hedgesare expected to occur, andthee•ectonproœt The following tableindicates theyears inwhichthecash ªows associated with Cash atBank Liabilities Assets Foreign exchange contracts 2017 Liabilities Assets Foreign exchange contracts 2018 Change ininterest rate +/- 0.25% Amount (1,985) $’000 (1,188) 1,865 Total (120) 1,152 (36) $’000 2018 Impact onpro˜t/loss 51

6 months or less (1,405) $’000 (1,130) 1,095 1,321 (84) (35) $’000 2017 51

months 6 to 12 6 to 12 $’000 (580) 544 (36) (34) 33 (1) and 2years Between 1 $’000 (24) 24 – – – – Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements * The forward exchange contracts relate to future forecast payments. forecast future to relate contracts exchange forward The * for 2017. that allother variables remain constant. Theanalysis was onthesame performed basis Parent andtheConsolidated Entity by theamountsshown below. Thisanalysis assumes date wouldreporting have increased /(decreased) andproœt equity orlossofthe A 2.5% strengthening of the Australian dollaragainst thefollowing currencies atthe analysis Sensitivity date was asfollows, based onnotional amounts: The Parent andtheConsolidated Entity's exposure to foreign currency riskatreporting Exposure to currency risk dateswith maturity alignedto thecontracted payment dates. Consolidated Entity uses forward exchange contracts to currency hedgeits risk, hedge anysubstantial future foreign currency purchases whencontracted. The denominated are EURO, GBPandUSD. TheConsolidated Entity’s policy isto fully other thanAustralian dollars.Thecurrencies inwhich these transactions are primarily The Consolidated Entity isexposed to currency riskonpurchases madeincurrencies Currency(iv) risk USD GBP EURO Forward exchange contracts 2017 2018 Net exposure Net exposure Forward exchange contracts * * Equity Equity $’000 29 24 4 1 Pro˜t orloss EURO 1,309 $’000 1,309 $’000 961 961 2018 – – – – $’000 Equity Equity $’000 GBP 189 189 175 175 49 32 12 5 Pro˜t orloss $’000 $’000 2017 USD 487 487 52 52 – – – – 157 158 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements October 2015. TheConsolidated Entity hasnodirect investments. equity trading purposes. TheConsolidated Entity divested TCorp its Hour-Glass facilities in investment inTCorp Hour-Glass investment facilities, heldfor strategic ratherthan The Consolidated Entity was previously exposed to “other price primarilythrough risk” risk (v) price Other The analysis was onthesame performed basisfor 2017. amounts shown below. Thisanalysis assumes thatallother variables remain constant. date wouldreporting have increased /(decreased) andproœt equity orlossby the A 2.5% weakening oftheAustralian dollaragainst thefollowing currencies atthe USD GBP EURO Equity Equity $’000 (30) (25) (4) (1) Pro˜t orloss $’000 2018 – – – – Equity Equity $’000 (34) (51) (12) (5) Pro˜t orloss $’000 2017 – – – – Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements * Excludes statutory receivables and prepayments such as GST (not within scope of AASB 7). AASB of scope within (not GST as such prepayments and receivables statutory Excludes * ** Excludes statutory payables and unearned revenue such as GST (not within scope of AASB 7). AASB of scope within (not GST as such revenue unearned and payables statutory Excludes ** statement ofœnancialposition,are asfollows: value amountsshown ofœnancialassetsandliabilities,together withthecarrying inthe value because nature ofmanytheœnancialinstruments.Thefair oftheshort-term instruments recognised inthestatement ofœnancialpositionapproximates thefair Financial instruments are generallyrecognisedcost ofœnancial atcost. Theamortised amount Fair carrying valueversus (i) (e) Fair value Trade andother receivables Trade andother payables – HedgeLiabilities – HedgeAssets Forward exchange contracts used for hedging; Cash andcash equivalents ** * Carrying Carrying 2,0)(259 2,5)(21,450) (21,450) (22,509) (22,509) amount 40,685 $’000 (1,188) 57,417 5,813 1,152 Fair value 40,685 $’000 (1,188) 57,417 5,813 2018 1,152 Carrying Carrying amount 27,602 42,745 (1,985) $’000 6,427 1,865 Fair value 27,602 42,745 (1,985) $’000 6,427 1,865 2017 159 160 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements There were notransfers betweenLevel 1and2during theyear ended30June2018. There were notransfers betweenLevel 1and2during theyear ended30June2017. (ii) Fair inthestatement valuerecognised (ii) position of ¦nancial – Derivatives payable atFinancial liabilities fair value – Derivatives receivable at fair valueFinancial assets 2017 – Derivatives payable atFinancial liabilities fair value – Derivatives receivable at fair valueFinancial assets 2018 Level 1 (1,985) $’000 (1,188) 1,865 (120) 1,152 (36) Level 2 $’000 – – – – – – Level 3 $’000 – – – – – – (1,985) $’000 (1,188) 1,865 Total (120) 1,152 (36)

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements Special purpose netsurplus remained inthespecialpurpose fundraising account. assigned to operatingexpenses inlinewiththeAnnual GivingProgram objectives. The netsurplus from generalpurpose (2017: fundraising in2018 of$217k $422k) was fund anew initiative. These funds are restricted to speciœcobjectives. circumstances, generallywhenthedonationissubstantial andisgiven to Special purpose donationsare accepted outsidethese activities incertain – – – – – raise funds for thefollowing activities(general purpose donations): The Sydney OperaHouse Annual GivingProgram hasbeenestablishedto which isaperpetualfund. The OperaHouse launched Annual its GivingFund inMarch 2007, (a) Fundraising 12. Fundraising12. andBequests

Balance endofyear Balance to accumulated funds Application offunds to activities Net surplus from fundraising Costs offundraising Interest received onproceeds Gross proceeds from fundraising appeals Balance 1July Support theRenewal oftheSydney OperaHouse. Extend our First Nations programming andinitiatives; and O•er free public programs andactivities; Develop our education andcommunity programs; Create, present andproduce world-classforms; work across allart $’000 2018 84 (2,204) (804) 1,538 1,180 33 (414) (373) 928 552 376 15 $’000 1,325 (879) 1,431 2017 1,715 552 24

161 162 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements – – – The accumulated funds attheendof2018: Entity's œnancialstatement were: The transactions relating to theLindsay Bequestincluded withintheConsolidated Opera House. studentsofopera,thedetermination todeserving beleftto thediscretion ofthe from investment ofthefunds may beawarded annually to oneormore œnancially The bequest ofthelate Joy Lindsay (Lindsay provides Bequest) thatincome derived (c) Lindsay Bequest Entity's œnancialstatement were: The transactions relating to theFoster Bequestincluded withintheConsolidated in œeldsrelating to thetraining for, andperformance of, ofopera. theart that income derived from investment ofthefunds may beappliedto anaward for study The Trust Deedrelating to thebequest ofthelate Colin Foster (Foster provides Bequest) (b) Foster Bequest

Balance endofyear Surplus Distribution Interest income Balance 1July Balance endofyear Surplus Distribution Interest income Funds received Balance 1July Lindsay Bequest (refer note 12(c)) was $720k (2017: $715k) Foster Bequest(refer note 12(b)) was $119k(2017: $118k); (2017: $552k) was specialpurpose andrestricted to speciœcobjectives; Annual GivingProgram (refer note 12(a))was $928k (2017: $552k) ofwhich$928k $’000 $’000 2018 2018 720 (13) 715 119 118 (2) 18 – 5 3 1 $’000 $’000 2017 2017 695 715 118 115 20 20 – – – 3 3

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements The unexpired terms ofthepremises lease rangefrom 2to 5years. The estimate has been madebased onmarket value oncommercially leased property. thatwillberequiredbeneœts to restore theleased premises to theiroriginalcondition. value oftheConsolidated Entity’s bestestimate ofthefuture sacriœce ofeconomic expiry. Theasset andprovision for decommissioning costs represents thepresent Consolidated Entity iscontractually bound to restore theleased premises uponlease Leasehold decommissioning costshave beencapitalised anddepreciated where the leasehold improvements over andamortised theunexpired periodofthelease term. The cost ofimprovement iscapitalised anddisclosed to oronleasehold as property lease term. Operating lease payments are recognised asexpenses onastraight-line basisover the The Consolidated Entity hasnoœnance leases. and operatingleases underwhichthelessor e•ectively retains allsuch risksandbeneœts. lessee substantiallyincidentalto alltherisksand beneœts ownership oftheleased assets, A distinctionismadebetweenœnance leases thate•ectively transfer from thelessor to the (b) lease commitments Operating from theAustralian Taxation O³ce (2017: $5,082k). projects. Thecommitments include GST input taxcreditsof$3,212k recoverable Capital commitments contracted for atyear-end relate to building development date but not recognisedreporting asliabilitiesare as follows: Capital expenditures oftheParent andtheConsolidated Entity contracted for atthe (a) Capital commitments 13. Commitments Total (including GST) Later thanoneyear andnot later thanœve years Not later thanoneyear Payable 35,338 53856,468 35,338 $’000 2018 0 56,685 $’000 2017 217

163 164 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements to theAustralian Taxation O³ce (2017: $910k). food andbeverage andretail premises. Thecommitments include GST of$748k payable Operating lease commitments receivable comprise lease withvendors arrangements for Australian Taxation O³ce ($2017: $263k). The commitments include GST input taxcreditsof$175k recoverable from the Operating lease commitments payable comprise leases for o³ce andstorage premises. but not recognised asliabilitiesorassetsare asfollows: Leases oftheParent andtheConsolidated Entity contracteddate asatthereporting Total (including GST) Later thanœve years Later thanoneyear andnot later thanœve years Not later thanoneyear Receivable Total (including GST) Later thanœve years Later thanoneyear andnot later thanœve years Not later thanoneyear Payable $’000 8,229 5,476 1,049 2018 1,927 1,832 872 2 2,816 921 6 10,014 $’000 2,889 1,004 5,414 1,784 1,878 2017 7

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Financial Statements 15. Related Disclosures Party 14. Contingent andAssets Liabilities the Consolidated Entity isasfollows: Key managementpersonnel compensation of (b) KMPCompensation either individually orcollectively. control theactivitiesofConsolidated Entity, authority andresponsibility to plan,direct and These individuals are considered to have the the Board ofTrustees andtheExecutive Team. KMP to consist of:theMinister for thecluster, 124, theConsolidated Entity hasdetermined its Based onTreasury Circular TC17-12 andAASB of the Consolidated Entity (a) Key Management Personnel (KMP) operations. Thequantumofthese claimscannot accurately bedetermined. The Consolidated Entity dealswithlegal claimsandlitigation inthenormalcourse of Total remuneration employee beneœts Long-term employee beneœts Short-term $’000 ,4 2,424 2,745 2018 ,0 2,365 2,707 37 $’000 2017 2017 59 Opera House in2017-18 (2017:$289k). KMP donated atotal of$105kto theSydney (see Note 8(d)). personnel provided services by theAgency has outstandingpayables inrelation to the In additionto theabove, theParent entity employee above. beneœts to Trustees’ guests isincluded inshort-term not abeneœt.Thevalue oftickets provided attendance isconsidered arequirement and Sydney OperaHouse Trust events, therefore 2007. Part ofTrustees’ duties involve attending to cease beingremunerated from 1January during theyear (2017: nil).TheTrustees resolved No remuneration was paidto theTrustees 165 Sydney OperaHouse Annual FY18 Report 166 Financials and Reporting | Sydney Opera House Financial Statements 16. Events After Reporting Date Events Reporting 16. After with thefollowing NSWGovernment Entities: Consolidated Entity enters into transactions Over course theordinary ofbusiness, the agencies are considered to berelated parties. ultimate parent. Therefore allNSWGovernment the State ofNew South Wales, whichisthe The Consolidated Entity iscontrolled by (c) transactions Related party need to bedisclosed. There are noevents date that after reporting – Department ofPremier andCabinet Department – ofEducation Department – Sydney Water – NSW Self Insurance Corporation – Revenue OŠce ofState – ofPlanning andEnvironment Department – NSW Destination – Crown Entity – Water andsewerage services Insurance policies State taxes andduties andcontributionsGrants andcontributionsGrants andcontributionsGrants national orlocal signiœcance”. “a meetingplace for matters ofinternational, centre and Opera House arts asaperforming with themanagementandadministration ofthe Opera House Trust Act, whichcharge theTrust andfunctionsthe objects undertheSydney delivered apublic beneœt.These events uphold of approximately $184k,asthey generally these events withacumulative discount of Education. TheOperaHouse supported Music 2017, presented by theDepartment The largest event was theFestival ofChoral revenue received from these events was $1,213k. Government entitiesandschools. Combined hosted 14events for oronbehalf ofother NSW Over theœnancialyear, theConsolidated Entity statements œnancial End of Sydney OperaHouse Annual FY18 Report Climbing the Sails – The Australian Ballet Australian The – Sails the Climbing , Sydney OperaHouse. Photo by DanielBoud 168 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements For the year ended30 June 2018 Statements Financial Trust Sta‘ Agency Sydney House Opera Notes oftheFinancial to Statements andforming party Statement ofCash Flows Statement ofChanges inEquity Statement ofFinancial Position Statement ofComprehensive Income Independent Auditor’s Report Statement inaccordance withSection 41C Index 1. 14. Events AfterDate Reporting 7. 13. 12. Contingent Liabilities 11. 10. 9. 8. 6. 2. 5. 4. Reconciliation OperatingResult Of To 3. Summary ofSigniœcant Accounting Policies Employee Provisions Receivables Financial Instruments Employee Related Expenses Employee DeœnedBeneœts Payables Auditor’s Remuneration Related Party Disclosure Commitments Revenue ahFosUe nOeaigAtvte 181 Cash Flows Used InOperatingActivities

200 200 200 200 180 180 169 201 184 183 170 197 176 187 175 172 174 177 177 181 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements . Theœnancialstatementshave beenprepared inaccordance withtheprovisions ofthe 2. 1. resolution oftheSydney OperaHouse Trust, we state that: 20 September 2018 Chief Financial OŠcer Jon Blackburn Chief Executive OŠcer Louise Herron AM Pursuant to Section 41Cofthe Sydney House Opera Trust Agency Sta™ of the inaccordanceStatement with Section 41c œnancial statementsto bemisleadingorinaccurate. Further, we are not aware ofanycircumstances thatwouldincluded inthe render anyparticulars Inour opinion,theaccompanying œnancialstatements exhibit atrue andfair view oftheœnancial performance for theyear thenended. position oftheSydney OperaHouse Trust Sta• Agency asat30June 2018, andœnancial Treasurer’s Directions Treasurer’s Finance and Audit Act, 1983 Act, Audit and Finance Public Finance and Audit Act, 1983 Act, Audit and Finance Public . Public Finance and Audit Act, 1983 Act, Audit and Finance Public , the Public Finance and Audit (General) Regulation 2015 Regulation (General) Audit and Finance Public , andinaccordance witha andthe Public Public 169 170 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements rest ofthisreport. My opinionshould beread inconjunction withthe – – In myopinion,theœnancialstatements: Policies andother information. explanatory notes comprising aSummary ofSigniœcant Accounting the Statement ofCash Flows for theyear thenended, June 2018, theStatement ofChanges inEquity and 2018, theStatement ofFinancial Position asat30 Comprehensive Income for theyear ended30June Comprehensive Income andStatement ofOther Sta• Agency), whichcomprise theStatement of of theSydney OperaHouse Trust Sta• Agency (the I have audited theaccompanying œnancialstatements Opinion To MembersoftheNew South Wales Parliament Sydney House Opera Trust Agency Sta™ Independent Auditor’s Report

Public Finance andAudit Regulation 2015. Finance andAudit Act 1983 are inaccordance withsection 41BofthePublic Accounting Standards year thenendedinaccordance withAustralian cashœnancial performance andits ªows for the of theSta• Agency asat 30June2018, andofits true andfair view oftheœnancialposition a give (PF&A Act) andthe of thisIndependentAuditor’s theother Report, responsible for theother information. At the date The Chief Executive oftheSta• Agency is and myIndependentAuditor’s thereon. Report 30 June2018, other thantheœnancialstatements forincluded intheannual report theyear ended information comprisesOther theinformation InformationOther my audit opinion. su³cient andappropriate to provide abasisfor I believe theaudit evidence Ihave obtained is – – – Wales are not compromised intheirroles by: Auditor-General andtheAudit O³ce ofNew South Parliament promotes independence by ensuring the accordance withAPES110. I have fulœlled myother ethical responsibilities in – – with therequirements ofthe: I amindependentoftheSta• Agency inaccordance Statements’ section ofmyreport. Responsibilities for theAudit oftheFinancial the standards are described inthe‘Auditor’s Auditing Standards. Myresponsibilities under I conducted myaudit inaccordance withAustralian Basis for Opinion

non-audit services. precluding theAuditor-General from providing public sector agencies mandating theAuditor-General asauditor of Auditor-General the executive government, can remove an providing thatonlyParliament, andnot Accountants’ (APES110). Board’s ‘Code APES110 ofEthicsfor Professional Accounting Professional andEthical Standards Australian Auditing Standards Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements cease operations. be dissolved by anAct ofParliament orotherwise accounting except where theSta• Agency will concern andusingthegoingconcern basisof disclosing asapplicable, matters related to going Agency’s to ability continue asagoingconcern, Executive isresponsible for assessing theSta• In preparing theœnancial statements,theChief due to fraud orerror. that are free from material misstatement, whether and fair presentation oftheœnancialstatements determines isnecessary to enablethepreparation for such internal control astheChief Executive Accounting Standards andthePF&A Act, and statements inaccordance withAustralian preparation andfair presentation oftheœnancial The Chief Executive isresponsible for the for the Financial Statements ChiefThe Executive’s Responsibilities I have inthisregard. nothing to report information, thatfact. Imust report there isamaterial misstatement oftheother If, based onthework Ihave Iconclude performed, audit, appearsto orotherwise bematerially misstated. œnancial statementsormyknowledge obtained inthe other information ismaterially inconsistent withthe information and,indoingso, consider whetherthe statements, myresponsibility isto read theother In connection withmyaudit oftheœnancial other information. express anyform ofassurance conclusion onthe cover theother information. Accordingly, Idonot doesnotMy opinionontheœnancialstatements Finance andAudit Act 1983. in Accordance withSection 41CofthePublic information Ihave received comprise theStatement Sydney, September 21 2018 Director, Financial Audit Services Karen Taylor – My objectives are to: Audit ofthe Financial Statements Auditor’s Responsibilities for the – – – My opiniondoesnot provide assurance: The description ofmyauditor’s forms part report. www.auasb.gov.au/auditors_responsibilities/ar4.pdf and Assurance Standards Boardwebsite at: the œnancialstatementsislocated attheAuditing A description ofmyresponsibilities for theaudit of users take based ontheœnancialstatements. be expected to inªuence theeconomic decisions individually orinaggregate, they could reasonably Misstatements are considered material if, Misstatements can arise from fraud orerror. will always detect material misstatements. accordance withAustralian Auditing Standards but doesnot guarantee anaudit conducted in Reasonable assurance isahighlevel ofassurance, –

material misstatement, whether due to fraud or error œnancial statementsasawholeare free from obtain reasonable assurance about whetherthe my opinion. issue anIndependentAuditor’s including Report any website where they may bepresented publication oftheaudited œnancialstatements on about thesecurity andcontrols over theelectronic e•ectively, e³cientlyandeconomically that theSta• Agency carried out activities its hyperlinked to/from theœnancialstatements. about anyother information whichmay have been 171 172 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements The accompanying notes form part of these financial statements. financial these of part form notes accompanying The for the year ended30 June 2018 ofComprehensiveStatement Income Sydney House Opera Trust Agency Sta™ Net result Total expenses Employee-related expenses Expenses Total revenue Personnel revenue services Revenue NOTE ()6,9 62,688 68,096 2(b) 6,3)(62,724) (68,134) 3 6,3)(62,724) (68,134) 80662,688 68,096 $’000 2018 (38) statements of œnancial Beginning $’000 2017 (36)

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements The accompanying notes form part of these financial statements. financial these of part form notes accompanying The for the year ended30 June 2018 Comprehensive ofOther Statement Income (cont.) Sydney House Opera Trust Agency Sta™ Other comprehensiveOther income Net result Total comprehensive income comprehensiveOther income result net to Deœned beneœtplanre-measurements reclassified be not will that Items NOTE 8(w) $’000 2018 (38) 38 38 – $’000 2017 (36) 36 36 –

173 174 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements as at 30 June 2018 ofFinancial PositionStatement Sydney House Opera Trust Agency Sta™ The accompanying notes form part of these financial statements. financial these of part form notes accompanying The Total equity Reserves Accumulated funds Equity Total current liabilities Provisions payablesOther Current liabilities Liabilities Assets Net assets Total liabilities Total non-current liabilities Provisions Non-current liabilities Total current assets Prepaid superannuation Trade andother receivables Current assets NOTE 6(b) ()1,8 14,549 14,882 5(b) 5(c) ()1,1 11,951 12,412 7(b) 7(b) 13,505 53915,530 15,369 53915,530 15,369 $’000 1,864 2018 1,093 1,864 487 – – – – 13,882 $’000 1,648 1,648 1,931 2017 981 – – – –

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements The accompanying notes form part of these financial statements. financial these of part form notes accompanying The for the year ended30 June 2018 ofChangesStatement inEquity Sydney House Opera Trust Agency Sta™ Balance at 30 June 2017 Total comprehensive income Deœned beneœtre-measurements comprehensiveOther income Net result for the period Balance at 1July 2016 Balance at 30 June 2018 Total comprehensive income Deœned beneœtre-measurements comprehensiveOther income Net result for the period Balance at 1July 2017 NOTE 8(w) 8 Accumulated Funds $’000 (36) (38) 36 36 38 38 – – – – Equity Equity $’000 Total (36) (38) 36 36 38 38 – – – – 175 176 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements The accompanying notes form part of these financial statements. financial these of part form notes accompanying The for the year ended30 June 2018 ofCashStatement Flows Sydney House Opera Trust Agency Sta™ Cash at the andcash equivalents endofthe period Cash andcash equivalentsatthebeginningofperiod Net increase incash Net cash from ˜nancingactivities Net cash from investing activities Net activities cash from operating Total payments Employee-related Payments Total receipts Personnel services Receipts Cash ¬ows activities from operating NOTE 4 $’000 2018 – – – – – – – – – – $’000 2017 – – – – – – – – – –

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements accounting policies ofsigni˜cant 1. Summary for the year ended30 June 2018 of the Financial Statements Notes to andforming part wholly withintheState ofNew South Wales. toservices theParent. area Its ofoperationsis business segment intheprovision ofpersonnel The Agency operates exclusively asone Opera House” or“theOperaHouse”. Consolidated Entity isreferred to as“Sydney the œnancialstatementsofParent. The œnancial statementsare consolidated into controlled by the Parent. Accordingly, these thatis entity The Agency isareporting toservices theParent. activities other than theprovision ofpersonnel functions. TheAgency undertakes noother Trust (theParent) to enableitto exercise its personnel to services theSydney OperaHouse entity, establishedspeciœcally to provide The Agency isregarded asaspecialpurpose GPO Box 4274, Sydney, NSW, 2001. principal Its o³ce is located at Point,Bennelong no cash-generating units) domiciled in Australia. (as proœt isnotprincipalobjective its andithas Order 2014. The Agency is a not-for-proœt entity (GSE Act)andtheAdministrative Arrangements Government Sector Employment Act 2013 no. 40 Agency underSchedule 1, Part 2ofthe Agency), isaNSWPublic Service Executive Sydney OperaHouse Trust Sta• Agency (the entity (a) Reporting Australian Accounting Interpretations. Australian Accounting Standards, whichinclude The œnancialstatementsandnotes comply with (d) of compliance Statement – – œnancial position: following material items inthestatement of on thehistorical cost basis,except for the The œnancialstatementshave beenprepared (c) Basis ofmeasurement Sydney OperaHouse on20September 2018. issue by theChief Executive O³cer (CEO) ofthe The œnancialstatements were authorised for – – – on anaccrualsbasisandinaccordance with: œnancial statements,whichhave beenprepared The œnancialstatementsare generalpurpose (b) Basis ofpreparation

obligations for therelevant liabilities. at thepresent value ofthe future estimated date,from thereporting whichare stated expected to besettled latermonths than12 Non-current, aswell aslong-term provisions fair value offund assets;and accrued deœnedbeneœtobligations lessthe which are stated atthepresent value ofthe Deœned beneœtsuperannuation liabilities, by theTreasurer. the Financial Directions Reporting issued Regulation; and 2015 Audit Act 1983 andPublic Finance andAudit the requirements ofthePublic Finance and Accounting Interpretations; (AASBs orAASs), whichinclude Australian applicable Australian Accounting Standards 177 178 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements relevant notes to theœnancial statements. that managementhasmadeare disclosed inthe Judgments, key assumptions andestimations to theœnancialstatements. the nextœnancialyear are included inthenotes risk ofresulting inamaterial adjustment within thathave asigniœcantestimation uncertainties Similarly, information about assumptions and relevant notes to theœnancialstatements. in theœnancialstatementsare disclosed inthe signiœcant e•ect on theamountsrecognised applying accounting policiesthathave themost Information about critical judgmentsin and inanyfuture periodsa•ected. period inwhichtheestimates are revised accounting estimates are recognised inthe reviewed onanongoingbasis.Revisions to Estimates andunderlyingassumptions are may di•erfrom these estimates. liabilities, income andexpenses. Actual results amountsofassets, as well asthereported a•ect theapplication ofaccounting policies, judgments, estimates andassumptions that Standards requires management to make in conformity withAustralian Accounting The preparation ofœnancialstatements (g) Use ofestimates andjudgments thousand dollarsunlessotherwisestated. All amountshave beenrounded to thenearest functional currency. Australian dollars,whichistheAgency’s All œnancialinformation ispresented in Functional(f) currency andpresentation Manager based onpastclaimexperience. expense (premium) isdetermined by theFund insurance for government agencies.The Treasury Managed Fund Scheme ofself- are primarilyconducted through theNSW The Consolidated Entity’s insurance activities (e) Insurance operating cash ªows. from, orpayable to, theATO are classiœedas and œnancingactivitieswhichare recoverable components of cash ªows arising from investing cash ªows onagross basis.However, theGST Cash ªows are included inthestatement of – – the amount ofGST, except: Revenues andexpenses are recognised netof (GST) tax (i) Goodsandservices intheœnancialstatements. amounts reported presented in respect of the previous period for all requires otherwise, comparative information is Except whenanAccounting Standard or permits (h) Comparative information

with theamount ofGST included. receivables andpayables are stated an item ofexpense; and O³ce (ATO) of isrecognised aspart recoverable from theAustralian Taxation Agency asapurchaser thatisnot the amount ofGST incurred by the Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements as discussed below. yet e•ective, but willberelevant to theAgency Standards have not beenappliedandare not The following new Australian Accounting unless Treasury determines otherwise. early adopt new Australian Accounting Standards, NSW public sector entitiesare not permitted to Issuedbutnot yet(ii) e¥ective have beenappliedfor theœrsttimein2017-18. revised Australian Accounting Standards that year except asaresult ofthefollowing new or consistent withthose oftheprevious œnancial The accounting policiesappliedin2017-18 are timein 2017-18 E¥ective forthe¦rst (i) andInterpretations Standards New orrevised Australian Accounting (j) – AASB 9 Financial Instruments AASB 9Financial Instruments – – AASB 2016-2 regarding Amendments AASB regarding 2016-2 Amendments – standard after 1July2018. AASB 9isnot to exercise the option to implementthis a•ect thisAgency. TheAgency haschosen this standard isnot expected to materially of these changes and determined that assets. Agency hasassessed theimpact classiœcation and measurement ofœnancial improve theapproach for andsimplify assets andliabilities.These requirements classiœcation and measurement ofœnancial AASB 9 introduces new requirements for the to materially a•ecttheAgency. transactions, thisstandard isnot expected balances ordirectly engage inanycash Since theAgency doesnot holdanycash beginning onorafter2017. 1January periods standard appliesto reporting arising from œnancingactivities.The statements to evaluate changesinliabilities disclosures thatenableusers ofœnancial Tier requirements to provide 1reporting œnancial statementsinaccordance with AASB 2016-2requires entitiespreparing ofCash Statement AASB Flows 107 Disclosure Initiative:to Amendments to Australian Accounting Standards – – AASB 2016-8 regarding Amendments regarding AASB 2016-8 Amendments – AASB 1058 – AASB 15, AASB 2014-5, AASB 2015-8, – is not mandatory beforeis not mandatory 2019. 1January materially a•ectthis Agency. Thisstandard that thisstandard isnot expected to full impactofAASB 2016-8anddetermined Customers. TheAgency hasassessed the and AASB 15Revenue from Contracts with entities into AASB 9Financial Instruments implementation guidance for not-for-proœt requirements and authoritative AustralianAASB 2016-8inserts Not-for-Pro˜t Entities Australian Guidance Implementation for to Australian Accounting Standards – before 2019. 1January the Agency. Thisstandard isnot mandatory determined thatthey are not material to assessed theimpactofAASB 1058and with Customers . TheAgency hasinitially with AASB 15Revenue fromContracts to not-for-proœt entities,inconjunction income recognition requirement that applies This standard clariœesandsimpliœesthe Income ofNot-for-Pro˜t Entities before 2019. 1January the Agency. Thisstandard isnot mandatory and determined thatthey are not material to has initiallyassessed theimpactofAASB 15 bundled products TheAgency andservices. especiallythosearrangements, o•ering undercontractgoods orservices AASB 15willa•ectallentitiesproviding Revenue from Contracts with Customers AASB 2016-7 andAASB 2016-3 regarding can implementthisstandard from 1July. date asat30June entities withreporting beforemandatory 2018 1January and 179 180 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements 3. Employee-related Expenses The revenue iso•set by acorresponding expense. Personnel revenue services isincome for provided services to theParent by theAgency. contingencies relating to thesupply ofpersonnelare services resolved. can bereliably measured. Revenue isnot considered reliably measurable untilall that itisprobable thattheeconomicwillªow beneœts to theAgency andtherevenue and measured atthefair value oftheconsideration received orreceivable to theextent Revenue isincome thatarises inthecourse activities.Revenue ofordinary isrecognised (a) Recognition andmeasurement 2. Revenue Long leave service Superannuation – deœnedbeneœtplans Superannuation – deœnedcontribution plans Salaries andwages (including recreation leave) Personnel revenue services Other expenses Other Workers compensation insurance Payroll tax taxandfringebeneœts (b) Personnel Revenue Services 5,9)(55,427) (58,594) 6,3)(62,724) (68,134) 80662,688 68,096 80662,688 68,096 353 (3,356) (3,523) 451 (4,388) (4,531) $’000 $’000 2018 2018 (630) 28 (359) (208) (560) 8)(94) (88) $’000 $’000 2017 2017 732 168

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements Cash Flows Activities Used inOperating 4. Reconciliation Result ofOperating to in Note 9. Details regarding theAgency’s œnancialriskmanagementpoliciesare disclosed amount where thee•ectofdiscounting isimmaterial. receivablesShort-term withnostated interest rate are measured attheoriginalinvoice when impaired, derecognised process. orthrough theamortisation impairment ofreceivables. Any changesare recognised inthenetresult for theyear cost usingthee•ectiveis atamortised interest method,lessanallowance for any fair value, usually based onthetransaction cost orface value. Subsequent measurement that are not quoted inanactive market. These œnancialassetsare recognised initiallyat Receivables are non-derivative œnancialassetswithœxed ordeterminable payments (a) Recognition andmeasurement 5. Receivables Net activities cash from operating Increase /(decrease) inprovisions Increase /(decrease) inemployee-related andother payables (Increase) /decrease inreceivables andprepayments Movement items in applicable of˜nancialposition statement Deœned beneœtplanre-measurements Adjustments for revenue andexpenses recognised inequity Net result $’000 2018 (677) 11 (2,813) (161) (38) 838 38 – $’000 2,777 2017 (36) 36 36 –

181 182 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements (refer to note 6). note to (refer The defined benefit liability for the Consolidated Entity’s defined benefit plans has been included in payables – employee benefits benefits employee – payables in included been has plans benefit defined Entity’s Consolidated the for liability benefit defined The (SSS) andtheState Authorities Non-Contributory Superannuation Scheme (SANCS). State Authorities Superannuation Scheme (SASS), theState Superannuation Scheme personnel received services hasbeenadvised by PillarAdministration. These are the The funding positionat30June2018 ofthethree deœnedbeneœtschemes related to Prepaid superannuation Total SASS bene˜tliability De˜ned SANCS SSS bene˜tasset De˜ned Prepaid superannuation Personnel receivable services (c) Prepaid superannuation (b) Trade andother receivables 50,242 55,687 9475,5 4,8)(49,983) (48,986) 50,953 49,467 $’000 5,445 5,445 2018 Estimated Reserve 775 Account Funds 51,926 , 74 7,7 5 $’000 5,848 5,848 2017 973

5,2)57,246 (55,324) (49,755) (5,569) 559 (6,301) (5,569) $’000 2018 (769) Accrued (50,944) Liability (6,301) $’000 (961) 2017

48214,549 14,882 48214,549 14,882 $’000 $’000 $’000 2018 2018 2018 (124) (124) 363 487 487 482 487 5 Contributions Prepaid $’000 $’000 $’000 (453) (453) 2017 2017 2017 528 970 981 981 981 11

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements fringe beneœts tax) when there is certainty asto theamount andtiming ofsettlement. tax)whentherefringe beneœts iscertainty Payables include accrued wages, salaries andrelated on-costs(such aspayroll taxand measured attheoriginalinvoice amount where thee•ectofdiscounting isimmaterial. the e•ective interest payables method.Short-term withnostated interest rate are transaction cost orface value. Subsequent cost using measurement isatamortised and other amounts.Payables are recognised initiallyatfair value, usually based onthe These amounts represent liabilitiesfor provided goodsandservices to theAgency (a) Recognition andmeasurement 6. Payables Details regarding the Agency’s financial risk management policies are disclosed in Note 9. Note in disclosed are policies management risk financial Agency’s the regarding Details Deœned beneœts liability Deœned beneœts GST payable Accrued salaries andwages andassociated on-costs (b) payables Other $’000 1,093 2018 969 124 – $’000 1,280 1,931 2017 453 198

183 184 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements 7. Employee Provisions than the beneœts accruedthan thebeneœts infuture. that sickleave taken inthefuture willbegreater rise to aliability, asitisnot considered probable Unused non-vesting sickleave doesnot give present value annual ofits leave liability. of thenominalapproach to approximate the theAgency’sActuarial advice supports use required to bemeasured atpresent value. render therelated service. Assuch, itis periodin whichtheemployeesannual reporting wholly before monthsafter 12 theendof Annual leave isnot expected to besettled amounts ofthebeneœts. recognised andmeasured attheundiscounted in whichtheemployees render are theservice monthsafterwithin 12 theendofperiod thatarebeneœts) expected to besettled wholly Salaries andwages (including non-monetary associated on-costs Wages annual andsalaries, leave, and (i) Leave andAnnual Leave. and NSWTC 15-09Accounting forLong Service NSW TC 17-07 Accounting forSuperannuation accordance with;AASB 119Employee Bene¦ts, Employee are beneœts recognised in (a) Recognition andmeasurement 12 months of reporting date are not discounted. monthsofreporting 12 Amounts expected to besettled whollywithin 2.60%).(2017 was a10-year government bondrate of2.50% date The bondrate used atthereporting of expected payments. as closely aspossibletheestimated timing This rate represents theyieldthatmatches are used to discount leave. longservice Market yieldsonAustralian Government bonds present value leave longservice ofits liability. of thenominalapproach to approximate the theAgency’sActuarial advice supports use Long leave (ii) service Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements . areservice discounted to theirpresent value. the periodinwhichemployees render the that isdue moremonthsafter than12 theendof Contributions to adeœnedcontribution plan reduction infuture payments isavailable. asset to theextent thatacash refund ora Prepaid contributions are recognised asan entitlingthemtoservices thecontributions. expense whenemployees have rendered superannuation plansare recognised asan Contributions to deœnedcontribution obligation amounts. to pay anyfurther separate but entity hasnolegal orconstructive the Agency pays œxed contributions into a is apost-employment beneœtplanwhereby A deœnedcontribution superannuation plan superannuation contribution plans De¦ned (iii) to present value. date are discounted monthsafter12 reporting Termination falling beneœts due more than of acceptances can beestimated reliably. that theo•erwillbeaccepted, andthenumber arebeneœts onlyrecognised ifitisprobable encourage voluntary redundancy. Termination asaresultbeneœts ofano•ermadeto retirement age, orto provide termination to terminate employment before thenormal withdrawal, to aformal detailedplaneither committed, without realistic of possibility expense whentheAgency isdemonstrably Termination are beneœts recognised asan Termination(iv) bene¦ts 185 186 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements $1,323k aftermonths. 12 Expected annual leave to betaken monthsis$3,146k, withinthenext12 withtheremainder of Payroll tax Long leave service Annual leave Employee andrelated on-costs bene˜ts Current provisions Total current provisions Others (b) Current andnon-current provisions Deœned beneœts liability (note liability Deœned beneœts 6(b)) Accrued salaries, wages andassociated on-costs(note 6(b)) Provisions – non-current Provisions – current Aggregate employee andrelated on-costs bene˜ts Payroll tax Long leave service Employee andrelated on-costs bene˜ts Non-current provisions Total provisions Total non-current provisions 53915,333 15,369 42613,599 14,276 12,412 $’000 24211,951 12,412 ,4 4,480 4,545 ,6 6,812 6,862 1,864 1,005 2018 1,864 1,864 969 124 – – $’000 11,951 1,648 1,648 1,648 1,281 2017 659 453 – –

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements 8. Employee Bene˜ts De˜ned recognised inproœt orloss. expenses related to deœnedbeneœtplansare payments. Netinterest expense andother period asaresult ofcontributions andbeneœt (asset)duringnet deœnedbeneœtliability the (asset), takinginto account anychangesinthe period to thethennet-deœnedbeneœtliability beneœt obligation atthebeginningof discount rate used to measure thedeœned (asset)forliability theperiodby applyingthe expense (income) onthenetdeœnedbeneœt The Agency determines thenetinterest immediately inother comprehensive income. (if any, excluding interest),are recognised interest) andthee•ectofasset ceiling losses, thereturn onplanassets (excluding liability, whichcomprise actuarial gains and Re-measurements ofthe netdeœnedbeneœt contributions to theplan. refunds from theplanorreductions infuture availablebeneœts intheform ofanyfuture asset islimited to thepresent value ofeconomic potential asset for theAgency, therecognised available. Whenthecalculation results ina cash refund/reduction infuture payments is are recognised asanasset to theextent that and periodsofservice. Prepaid contributions levels, experience ofemployee departures consideration isgiven to future andwage salary requirements. When determining theliability, considering anyapplicable minimum funding annuallyis performed by aqualiœedactuary, The calculation ofdeœnedbeneœtobligations any unrecognised costs. pastservice superannuation fund assets atthatdate andless date lessthefairat thereporting value ofthe as thepresent value ofdeœnedbeneœtobligation statement ofœnancialposition,andismeasured superannuation plansisrecognised inthe orassetA liability inrespect ofdeœnedbeneœt andœnalaverageservice salary. deœned lump sumbased beneœts onyears of Deœned beneœtsuperannuation plansprovide (a) Background All theschemes are closed to new members. disablement andwithdrawal. sum onretirement, orpensionbeneœts death, years ofmembership. Membersreceive lump derived from amultiple and ofmembersalary - atleastacomponent oftheœnalbeneœtis These schemes are alldeœnedbeneœtschemes – – – – superannuation schemes: of theclosed NSWpublic sector Fund (theFund) holdsintrust theinvestments The SAS Trustee Corporation (STC) Pooled by the Fund (b) Nature ofthe provided bene˜ts islikelyreªects whentheliability to besettled. has beendisclosed asnon-current asthisbest plan whenthesettlement occurs. Theliability losses onthesettlement ofadeœnedbeneœt proœt orloss.TheAgency recognises gains and isrecognised immediatelyloss oncurtailment in beneœt thatrelates toorthegain pastservice or theresulting changein when aplaniscurtailed, ofaplanareWhen thebeneœts changedor

Superannuation Scheme (SANCS). State Authorities Non-Contributory Police Superannuation Scheme (PSS) State Superannuation Scheme (SSS) (SASS) State Authorities Superannuation Scheme 187 188 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements the report will be available on the the Fund’sreport website. asat30June2018.performed Once completed, 2015. Thenextactuarialinvestigation willbe investigation wasasat30June performed everyperformed three years. Thelastactuarial An actuarialinvestigation oftheFund is incomes policy. principles oftheCommonwealth’s retirement monitor theTrustee Board’s adherence to the the Trustee Board andinternal processes that are inadditionto other legislative obligations on controls oftheSISlegislation.These provisions in amannerconsistent withtheprudential audits theFund andtheTrustee Boardactivities The NSWGovernment prudentially monitors and adequately protected. to membersandthatmembers’ are beneœts relating to preservation, vesting, andreporting Commonwealth’s retirement incomes policy the Fund willconform to theprinciplesof NSW Government undertakesto ensure that Under aHeadsofGovernment agreement, the superannuation guarantee purposes. as complying funds for concessional taxationand treats exempt public sector superannuation funds Act 1993 (SIS)(Supervision) . TheSISLegislation Commonwealth Superannuation Industry sector superannuation schemes underthe The schemes intheFund are exempt public 1987, andtheirassociated regulations. Superannuation Scheme Act Non-Contributory (Superannuation) Act 1906,State Authorities Superannuation Act 1987, Police Regulation Superannuation Act 1916,State Authorities governed by thefollowing NSW legislation: The schemes intheFund are establishedand (c) ofthe Description framework regulatory

– – – following roles: of Fund beneœciaries.TheTrustee hasthe obligation to actsolely inthebestinterests governance oftheFund. The Trustee hasalegal The Fund's Trustee isresponsible for the forresponsibilities the governance ofthe Fund (d) ofother Description entities’

regulations. Compliance withother applicable assets; and Management andinvestment oftheFund required inaccordance withtheFund rules; to thebeneœciariesfrom Fund assetswhen Administration oftheFund andpayment Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements There were no fund amendments, curtailments, or settlements during orsettlements There theyear. were nofund curtailments, amendments, ofsigni˜cant events Description (f) risk. risk orliquidity have adiversiœed asset mix.TheFund hasnosigniœcant concentration ofinvestment The deœnedbeneœtfund assets are invested withindependentfund managersand – – – – – The more signiœcant risksrelating toare: thedeœnedbeneœts There are anumber ofrisksto whichtheFund exposes theEmployer. (e) ofrisks Description

Net de˜ned bene˜t liability /(asset) at endofyearNet de˜ned bene˜tliability Employer contributions ofyear /(asset) at start Net de˜nedbene˜tliability Adjustment for e•ectofasset ceiling Actuarial (gains) /losses arisingfrom experience liability Net interest /(asset) onthenetdeœnedbeneœtliability Current cost service Actuarial (gains) /losses arisingfrom changesinœnancialassumptions demographic assumptions Actuarial (gains) /losses arisingfrom changesin Actual return onfund assetslessinterest income (g) Reconciliation ofthe /(asset) netde˜nedbene˜tliability the cost ofproviding thedeœnedbeneœts. Legislative risk – Theriskthatlegislative changescould bemadewhichincrease contributions. increasing deœnedbeneœtamounts andthereby requiring additionalemployer amounts for active memberswillbebased) willrise more rapidlythanassumed, growth risk Salary – Theriskthatwages orsalaries (on whichfuture beneœt than assumed, increasing future pensions. Pension indexation risk – Theriskthatpensionswillincrease atarate greater future pensions. Longevity risk – Theriskthatpensionerslive longerthanassumed, increasing and theEmployer willneedto increase contributions to o•set thisshortfall. Investment risk – Theriskthatinvestment returns willbelower thanassumed $’000 SASS 31 6)(,5)(4,338) (3,955) (62) (321) 18 2)(8)(535) (384) (23) (128) 3)(1 6 114 160 (11) (35) 452 124 141 12 – – 3

SANCS $’000 (11) (6) 33 67 – 2)(14) (26) – 1 $’000 ,1 4,877 4,810 98 (527) (968) (481) (160) SSS 42 – $’000 (363) Total (156) 216 –

189 190 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements Fair value ofthe Fund at endofthe assets year Taxes, premiums andexpenses paid paid Beneœts Contributions by participants Employer contributions Actual return onfund assetslessinterest income Interest income Fair value ofthe Fund at beginningofthe assets year Present value ofde˜nedbene˜tobligations at endofthe year Taxes, premiums andexpenses paid paid Beneœts Actuarial (gains) /losses arisingfrom experience liability Actuarial (gains) /losses arisingfrom changesinœnancialassumptions demographic assumptions Actuarial (gains) /losses arisingfrom changesin Contributions by participants Interest cost Current cost service Present value ofde˜nedbene˜tobligations at beginningofthe year (i) Reconciliation ofthe de˜nedbene˜tobligation (h) Reconciliation ofthe fair value ofthe Fund assets 6,300 $’000 5,848 ,4 ,4 71,226 1,040 5,445 5,569 SASS (940) (940) 18 2)(8)(535) (384) (23) (128) 3)(1 6 114 160 (11) (35) 154 142 321 141 72 72 – 3 2 2

SANCS $’000 1,166 (217) (217) 962 769 23954,338 3,955 62 33 81,736 28 31281,455 1,278 23 0122 50 – – 0122 50 – 1 1 1 48,986 49,983 74874,482 67,468 224 (3,431) (2,274) 224 (3,431) (2,274) $’000 (160) SSS 291 291 42 – 55,324 57,245 $’000 , 11 7,7 7 1,906 Total (156) 294 294 216 –

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements the disclosures below relate to total assetsoftheFund. appropriate to disaggregate andattribute Fund assets to individual entities.Assuch, managers. Assets are not separately invested for and it isnot eachentity possibleor All Fund assets are invested by STC atarm’s lengththrough independentfund (k) Fair value ofFund assets employer contributions. maximum economic beneœtavailable to intheform theentity ofreductions infuture The adjustment for thee•ectofasset ceiling hasbeendetermined based onthe Adjustment for e™ectofasset ceiling at endofthe year Change inthee•ectofasset ceiling Interest onthee•ectofasset ceiling Adjustment for e™ectofasset ceiling at beginningofthe year (j) Reconciliation ofthe e™ectofthe asset ceiling(j) Total Alternatives Property International equities Australian equities International œxed interest term securities Short Asset Category As at 30 June 2018 Australian œxed interest 41,801,063 10,891,350 ,9,2 2,9 ,3,1 4,141,113 5,332,818 420,897 9,894,829 ,3,2 1842,193,068 41,854 2,234,921 ,7,0 ,1,4 548,908 8,719,442 9,271,405 ,0,6 ,8,6 2,215,695 2,185,469 4,401,164 1,396,107 ,1,8 8,1 0,3 2,314,335 608,934 788,018 3,711,287 $’000 Total $’000 SASS

– – 265 – – 0632214,678,915 20,663,272

8,499,476 Level 1 $’000 SANCS 8,116 $’000 193 67 3 438 433 5 2,391,501 1,387,991 Level 2 $’000 21,758 16,515 $’000 ,1 4,877 4,810 SSS 6,458,876 Level 3 22,023 16,708 $’000 $’000 3,055 Total 373 – – –

191 192 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements managers make limited use ofderivatives. or gearingoftheinvestment portfolio. Assuch and cannot beused for speculative purposes againsthedge theportfolio market movements facilitate e³cientcash ªow managementorto states thatderivatives may onlybeused to investment mandateeach manager's clearly be used by investment managers.However, Derivatives, including futures andoptions, can distressed debt; hedgefunds. unlisted shares; unlisted infrastructure; The assetsinthislevel are unlisted property; are not basedmarket onobservable data. Level 3 – inputsfor theasset that orliability identical assets or liabilities. quoted prices are available inactive markets for and corporate bonds;unlisted trusts where are cash; notes; government, semi-government directly orindirectly. Theassetsinthislevel forobservable theasseteither orliability Level 2 – inputsother thanquoted prices level are listed shares; listed unittrusts. identical assets or liabilities.Theassetsinthis Level 1 – quoted prices in active markets for date is: the reporting The percentage invested ineachasset classat Total Alternatives Property International equities Australian equities International œxed interest Australian œxed interest securitiesShort-term 22.20% 23.70% 10.50% 26.10% 8.90% 3.30% 5.30% 100% at 30 June 2018 assumptions(m) Signi˜cant actuarial – – owned by thedirectOf properties theFund: bonds. 2018 includes $97.7 millioninNSWgovernment The fair value oftheFund assetsasat30June the Fund. The disclosures below relate to total assetsof instruments (l) Fair value ofentity’s own ˜nancial

mortality Pensioner increase Rate ofCPI increases) promotional rate (excluding 2.65% increaseSalary Discount rate Assumption million (30June2017: $261million). with afair value (100% interest)of$287 50% owned ofaproperty bypart theFund Health Administration Corporation occupies 2017: $250million). with afair value of$280 million(30June 100% ownedof aproperty by theFund SAS Trustee Corporation occupies part request from theTrustee. assumptions are available on each age. Alternatively, the rates for pension mortality willshow the The report investigation iscomplete. Trustee's website whenthe will beavailable onthe investigation which report be disclosed in theactuarial Fund. These assumptions will investigation ofthePooled used for the2018 actuarial assumptions are those to be The pensionermortality 2.50% pathereafter. 2.25% 2018-19 and2019-20; 3.20% pathereafter. 2.70% 2018-19 and Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements outlined above, while retaining allother assumptions. The deœnedbeneœtobligation hasbeenrecalculated by changing theassumptions as assumptions, andscenarios GandHrelate to sensitivityto demographicassumptions. Scenarios Ato Frelate to sensitivity ofthetotal deœnedbeneœtobligation to economic contribution taxprovision whichiscalculated based ontheasset level at30June2018. is presented below. Thetotal deœnedbeneœtobligation disclosed isinclusive ofthe The Entity's total deœnedbeneœtobligation asat30 June2018 underseveral scenarios analysis (n) Sensitivity * Assumes the short-term pensioner mortality improvement factors for years 2018-2023 also apply for years after 2023 after years for apply also 2018-2023 years for factors improvement mortality pensioner short-term the Assumes * ** Assumes the long-term pensioner mortality improvement factors for years post 2023 also apply for years 2018 to 2023 to 2018 years for apply also 2023 post years for factors improvement mortality pensioner long-term the Assumes ** Deœned beneœtobligation ($'000) inªationrate Salary Rate ofCPIincrease Discount rate Discount rate Deœned beneœtobligation ($'000) inªationrate Salary Rate ofCPIincrease Rate ofCPIincrease Discount rate Deœned beneœtobligation ($'000) inªationrate Salary Deœned beneœtobligation ($'000) Base case Base case Base case Base case as above as above as above as above as above as above as above as above as above 55,324 55,324 55,324 55,324 –1.0% discount rate as above –1.0% pa lower mortality +0.5% of rate increase rate +0.5% salary CPI increase plus 0.5% pa plus 0.5% pa above rates above rates Scenario G Scenario C Scenario A Scenario E as above as above as above as above as above as above 58,388 55,444 55,918 61,917 * +1.0% discount rate as above +1.0% pa higher mortality –0.5% of rate increase rate –0.5% salary CPI increase less 0.5% pa less 0.5% pa above rates above rates Scenario H Scenario D Scenario B Scenario F as above as above as above as above as above as above 49,853 54,823 52,510 55,212 ** 193 194 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements Allowance for contributions tax is made when setting the contribution rates. contribution the setting when made is tax contributions for Allowance . Entities Superannuation 1056 AASB for figure benefits accrued the with provision tax contribution a for allowance no is There * in accordance withAASB 1056 The following of the is 30 a June summary 2018 œnancial position of the Fund calculated (q) Surplus /de˜cit required after eachannual review. Funding positionsare reviewed annually andfundingmay arrangements beadjusted as employer, STC andNSWTreasury. the triennial actuarialreview. Contribution rates are set after discussions betweenthe Funding are arrangements reviewed atleastevery three years following therelease of (p) Funding arrangements asset-liability matching strategy isused by theTrustee. strategy. Italso monitors cash ªows torequirements. manageliquidity Noexplicit The Trustee monitorsasset-liabilityriskcontinuously its insettinginvestment its (o) matching strategies Asset-liability Accrued beneœts Net (surplus) /de˜cit Net market value ofFund assets * Superannuation Entities Superannuation : (5,446) $’000 SASS 4,972 (474)

SANCS (1,040) $’000 (350) 690 7,2)(77,711) (71,226) (41,761) 94535,126 29,465 $’000 SSS (42,585) $’000 Total

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements Superannuation Entities Superannuation The economic assumptions adopted for the30June2018 Standard AASB 1056 (s) Economic assumptions Recommended contribution rates for theAgency for thecurrent year are: (r) Contribution recommendations Expected employer contributions (t) Expected contributions for 2019 Expected rate ofCPIincrease (excluding promotional increases) salary Expected increase salary rate Expected rate ofreturn onFund assetsbackingother liabilities pension liabilities Expected rate ofreturn onFund assetsbackingcurrent Weighted average assumptions N/A contributions multiple ofmember SASS

are: N/A % membersalary SANCS N/A contributions multiple ofmember SSS $’000 SASS 2.7% pato 30June 2019 then3.2% pa –

thereafter 6.4% pa 2.2% pa SANCS 7.4% pa $’000 – $’000 SSS – $’000 Total –

195 196 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements The weighted average duration ofthedeœnedbeneœtobligationyears. is12 (u) pro˜le ofde˜nedbene˜tobligation Maturity Net interest Current cost service Total re-measurement inother comprehensive income Change inthee•ectofasset ceiling Actual return onFund assetslessinterest income Actuarial (gains) /losses onliabilities (w) comprehensive Other income cost bene˜t De˜ned (v) Pro˜t andlossimpact $’000 SASS (483) (162) (321) 153 141 12 –

SANCS $’000 (27) 6)(,5)(4,338) (3,955) (62) 3)(8)(578) (384) (32) 33 33 67 (26) – $’000 ,1 4,878 4,811 SSS 472 42 16 $’000 Total (38) 202 (14) 216

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements 9. Financial Instruments Risk Committee onacontinuous basis. to theAuditmanagement andreported and risks. Compliance withpolicies isreviewed by to set and controls risklimits andto monitor the risksfaced by theConsolidated Entity, andanalysepolicies are establishedto identify for managingthese risks. Riskmanagement management, andreviews andagrees policies responsibility for overseeing andmonitoring risk and RiskCommittee, whichhasoverall The OperaHouse hasestablished an Audit included throughout these œnancialstatements. quantitative andqualitative disclosures are for measuring andmanagingrisk.Further with objectives, policiesandprocesses instruments are outlined below, together The Agency’s mainrisksarisingfrom œnancial for speculative purposes. including derivative œnancialinstruments, not enter into ortrade œnancialinstruments, to œnance theoperations.TheAgency does arise directly from operationsorare required are outlined below. These œnancialinstruments The Agency’s principalœnancialinstruments these œnancialassetsandliabilities. value. Thisisbecause nature of oftheshort-term amount isconsidered to approximate fair its and trade andother payables, thecarrying cost. Foramortised trade andother receivables œnancial instruments are subsequently carried at measurement orfor disclosure purposes. All liabilities must beestimated for recognition and The fair value ofœnancialassetsand – – – techniques asfollows: based ontheinputsused inthevaluation disclosure purposes, thevaluation techniques Value Measurement, theAgency categorises, for use inputs.Under ofunobservable AASB 13Fair of relevant inputsandminimises observable the the valuation technique used maximises theuse assets andliabilities.Whenmeasuring fair value, values, for both œnancialandnon-œnancial disclosures require themeasurement offair The Agency’s accounting policiesand (a) Fair value hierarchy

observable marketobservable inputs). data(unobservable Level 3 – inputsthatare not based on either directly orindirectly. included withinLevel 1thatare observable, Level 2 – inputsother thanquoted prices access atthemeasurement date. identical assets/liabilitiesthattheAgency can Level 1 – quoted prices inactive markets for 197 198 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements been hadthere not beenanimpairment loss. exceeds amount would whatthecarrying have cost cannot resultamount that inacarrying losses ofœnancialassetscarried at amortised is objective evidence. Reversals ofimpairment through thenetresult for theyear, where there Any reversals ofimpairmentlosses are reversed the netresult for theyear. amount oftheimpairmentlossisrecognised in discounted atthee•ective interest rate. The present value ofestimated future cash ªows, between theasset’s amount andthe carrying the amount oftheallowance isthedi•erence For cost, œnancialassetscarried atamortised able to collect allamountsdue. objective evidence thattheAgency willnot be for impairmentisestablishedwhenthere is an annual review for impairment.An allowance fair value through proœt orloss,are subject to All œnancialassets,except those measured at (b) of˜nancialassets Impairment discharged orcancelled orexpires. the obligation speciœed inthecontract is isderecognisedA œnancialliability when involvement intheasset. to theextent oftheAgency’s continuing or transferred control, theasset isrecognised retained substantially alltherisksand rewards Where theAgency hasneithertransferred nor – – transfers theœnancialasset: the œnancialassetsexpire, oriftheAgency contractual to rights thecash ªows from A œnancialasset isderecognised whenthe ˜nancial liabilities (c) and Derecognition of˜nancialassets

if theAgency hasnot retained control. substantially alltherisksandrewards, where theAgency hasnot transferred rewards have beentransferred; or where substantially alltherisksand Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements * Excludes statutory receivables and prepayments such as GST (not within scope of AASB 7). AASB of scope within (not GST as such prepayments and receivables statutory Excludes * enter into commoditycontracts. The Agency hasnoexposure to foreign currency orinterest rate riskanddoesnot risk asallœnancialinstrumentsrelate to employee payments madeby theParent. because ofachangeinmarket prices. TheAgency doesnot have exposure to market Market riskisthethatfair value oftheœnancialinstrument willªuctuate (g) Market risk breaches onanyamountspayable. Noassetshave beenpledgedascollateral. to besettledmonths.Duringthecurrent within12 periodthere were nodefaults or they fall due. TheAgency isnot exposed to interest rate riskandamounts are expected the future for employee received. services Amounts owing to employees are settled as when they fall due. Theœnancialliabilitiesrecognised are for amounts due to bepaidin riskisthethatAgencyLiquidity willbeunableto payment meetits obligations risk Liquidity (f) any œnancialguarantees. that are pastdue orimpaired. Nocollateral isheldby theAgency andithasnot granted salaries ofemployee andentitlements provided. services There are noœnancialassets All receivables oftheAgency are for provided services to theParent, comprising œnancial assets. The maximum exposure to credit riskisrepresented by amountsofthe thecarrying Credit riskarises whenthere ofdefault isthepossibility oncontractual obligations. (e) Credit risk ** Excludes statutory payables and unearned revenue such as GST (not within scope of AASB 7). AASB of scope within (not GST as such revenue unearned and payables statutory Excludes ** Receivables Financial assets Other payablesOther Financial liabilities (d) Financial instrument categories * ** 5(b), 5(c) NOTE 6(b) Measurement basis Amortised cost Amortised mrie ot1,6 15,530 15,369 cost Amortised (1,093) $’000 2018 Carrying amount Carrying

(1,734) $’000 2017

199 200 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements the Agency. are expected to result inmaterial claimagainst outstanding orother contingent liabilities that At date there were reporting nolegal matters Contingent12. Liabilities 2018 was $6,660 (2017: $6,450). for theAgency for theperiodended30June Agency isassumed by theParent. Theaudit fee The audit fee for audit thestatutory ofthe 11. Auditor’s Remuneration for date. atreporting There were nocommitments contracted 10. Commitments Compensation was asfollows: KMP compensated by theAgency. The Executive Team membersare theonly (b) KMPCompensation either individually orcollectively. the activitiesofConsolidated Entity, and responsibility to plan,direct andcontrol individuals are considered to have theauthority Trustees andtheExecutive Team. These the Minister for thecluster, theBoard of of Sydney OperaHouse Trust (theParent), Key Management Personnel (KMP)to consist AASB 124, theAgency hasdetermined its Based onTreasury Circular TC16-12 and of the Agency (a) Key Management Personnel (KMP) 13. Related Disclosure Party oa eueain2752,424 2,745 Total Remuneration employee beneœts long-term Other employee beneœts Short-term $’000 2018 ,0 2,365 2,707 38 $’000 2017 2017 59 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Sydney Opera House Trust Sta Agency Financial Statements Government Entities: into Transactions withthefollowing NSW courseordinary business, theAgency enters are consideredOver to berelated parties. Therefore allNSWGovernment agencies South Wales, whichistheultimate parent. The Agency iscontrolled by theState ofNew For detaileddisclosures please refer to Note 5(b). relation to thepersonnel provided. services outstanding receivables from theParent in In additionto theabove, theAgency has disclosed inNote 2was from theParent. During theyear, allrevenue received and (c) transactions Related party –NSW Self Insurance Corporation – Revenue OŠce ofState – Insurance polices State taxes andduties

need to bedisclosed. There are noevents date that after reporting 14. Events the After Date Reporting statements œnancial End of 201 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting The Merry Widow Merry The , OperaAustralia. Photo by DanielBoud Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting For the year ended30 June 2018 Reporting Government Workplace HealthandSafety Wage Movements andSalary Senior Executives Risk Management Reconciliation Action Plan Public Interest Disclosures Privacy Management Overseas Travel Multicultural Policies andServicesPlan Legal Land Title Holdings Investment Performance 225 Insurance Heritage Management Government Information andPublic Access (GIPA) Act 2009 Fire Safety Compliance Equal Employment Opportunity Environmental Sustainability Electronic Service Delivery Disability Inclusion Plan Digital Information Security Policy Attestation Customer Research Customer Experience Consultants Code ofConduct Budget Account Payment Performance Indicators Index

209 204 240 240 208 208 246 246 234 243 229 233 233 233 207 232 223 225 237 247 216 214 218 241 215 212 203 204 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting Aged Analysis at the End ofEach Quarter amounts involved are asfollows: The schedule ofaccounts payable for thefour oftheœnancialyear quarters andthe Performance Indicators Account Payment Quarter September All suppliers December March June September Small business suppliers December March June within due date) Current (i.e. $’000 3,298 2,570 1,056 987 270 275 72 – daysoverdue Less thanLess 30 $’000 20 76 31 – – – – –

30 to 60days overdue $’000 34 72 – – – – – 1

60 to 90 days overdue $’000 14 15 – – – – 7 1

More than 90 daysoverdue $’000 116 121 73 – – – – 5

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting Doing Business WithUs. set-up process. Information isavailable onthewebsite underCorporate Information, are ableto register withtheOperaHouse asasmallbusiness during thenew supplier the OperaHouse asat30June2018 with$0 beingpaidonoverdue accounts. Suppliers of accounts from smallbusinesses. There were 329smallbusinesses registered with TC theSydney 11/12), OperaHouse Trust isrequired to pay interest onlate payment In accordance withthepayments ofaccounts circular (NSWTreasury Circular NSW Accounts Due orPaid Within Each Quarter Measure Number ofaccounts due for payment All suppliers Number ofaccounts paidontime (based onnumber ofaccounts) Percentage ofaccounts paidontime olraon facut u o amn 6,1,2 4,1,9 2,8,1 $28,089,722 $27,785,417 $40,213,199 $61,219,224 Dollar amount ofaccounts due for payment Dollar amount ofaccounts paidontime (based on$) Percentage ofaccounts paidontime paid ontime Target percentage for accounts on overdue accounts Number ofpayments for interest Interest paidonoverdue accounts 5,1,9 3,0,2 2,3,2 $25,377,379 $25,435,424 $38,507,223 $56,112,890 4,096 3,837 100% Sept 94% 92% – – 4,396 100% 4,136 96% 94% Dec – – 4,300 4,482 100% 96% 92% Mar – – 4,684 100% 4,431 June 90% 95% – – 205 206 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting process improvements intheœnancialandeProcurement systems. appropriate time. Problem areas are beingreviewed andaddressed withfurther invoices whenpurchase orders were not raised intheeProcurement system atthe was $0 asperabove schedule. Payment delays resulted from di³culties incapturing businesses were eligible for interest onoverdue accounts. Thetotal interest paid date theOperaHouse had329registeredAs atreporting smallbusinesses. Two Accounts Due orPaid Within Each Quarter Measure Interest paidonoverdue accounts overdueaccounts Number ofpayments for interest on Target percentage for accounts paidontime Percentage ofaccounts paidontime(based on$) Dollar amount ofaccounts paidontime Dollar amount ofaccounts due for payment (based onnumber ofaccounts) Percentage ofaccounts paidontime Number ofaccounts paidontime Number ofaccounts due for payment Small business suppliers $770,005 $837,789 100% Sept 93% 92% 187 173 – – 10516$947,865 $1,035,176 $901,243 100% 83% 87% Dec 154 128 – – 7957$1,023,031 $769,537 100% 84% Mar 81% 152 127 – – $1,149,925 100% June 89% 87% 164 142 – – Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting Budget Building Renewal – government grantandother funding Net result for the year Gain/(Loss) from building activities Total Expenses – building activities expenses Other Depreciation andamortisation Expenses Total Revenue – building activities Building Maintenance – government grant Revenues Building Activities Operations General Gain/(Loss) from generaloperations NSW Treasury endowment andother funding Revenues Total expenses – operations general Self-generated revenue Other operatingexpenses Other People expenses Expenses Total revenue – operations general 50,000 83,816 45,215 33,816 114,385 101,067 49,911 13,318 30 June 2018 Year ended (119,082) (33,905) (58,886) (24,529) (60,195) (4,696) (9,376) $’000 58,896 18,048 13,303 14,374 30 June 2019 27,105 31,791 113,136 Year ended (40,848) (130,113) 126,439 (68,138) (61,975) (31,110) (9,738) (3,674) $’000 207 208 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting expected ofCouncil Members. guidelines onthevalues andbehaviours of a separate Code ofConduct thatprovides external also membersandspecialists, has The Trust's Conservation Council, whichhas conduct; andrelevant legislation. suspectedof interest; corrupt reporting interests; recognising andmanagingconªicts for theTrust; disclosure andbeneœts; gifts of the designationofano³cialspokesperson public resources; use ofo³cialinformation; expenditure anddecision-making; use of It encompasses: accountability for public expected standards ofbehaviour. Trustee Code ofConduct, whichoutlines The OperaHouse Trustees have aseparate commencement oftheiremployment. e-learningmodule upon a mandatory to read SOH’s Code ofConduct andcomplete Sector Employees. Allemployees are required Ethics andConduct for NSWGovernment of theOperaHouse andmodelstheCode of consistent withthevision,goalsandstandards the actionsanddecisionsofallsta•are The Code ofConduct isdesignedto ensure Code ofConduct organisational review (œve). the following areas: compliance (one) and of $50,000 orlesscost atotal of$54,160 in $50,000 ormore for FY18. Six consultancies There were noconsultancies thatreceived $50,000 orlessare grouped underatotal œgure. individually. Those involving payments of received more than$50,000 are listed guidelines, projects for whichconsultants In accordance withNSWGovernment Consultants Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting developing enrichedo•eringsandexperiences. delivering aconnected visitor experience and including creating avisitor-centric culture, themes oftheVisitor Experience strategy, the objectives set out intheœve strategic FY18. Theestablishmentofthisteam achieves member ofthecustomer teams service during The Welcome Team became thenewest welcoming experience at our venues. ambassadors whoensure asmooth and performances. They are OperaHouse personalised to service patrons attending teams provide informed courteous, and Theatre Management andFront ofHouse managers for response. assigning correspondence to relevant feedback by recording, loggingand and 11.30pm andadministers customer Door access between thehours of6.30am Stage Door. TheHostTeam managesStage stakeholders asthey enter thebuilding via provide information to internal andexternal customer-service sta•,whowelcome and The HostTeam comprises vitalfront-line Customer Teams Service the OperaHouse isto continue to evolve. mutually beneœcialrelationships are crucialif sta•, patrons andthebroader public. Strong, commercialcorporate partners, supporters, Resident Companies, government, private and customers andstakeholders. Thatincludes should beviewed through thelensofour 2013 states thateverything we doandsay The Sydney OperaHouse Enterprise Strategy Customer Experience customer relationship managementsystem. managed inasinglerepository, theTessitura All customer feedback isrecorded and and improvement. and suggestions aspositive tools for change welcomes andvalues complaints,compliments of customer feedback. TheOperaHouse throughservice e•ective management House aimsto achieve excellence incustomer and Customer First Commitment, theOpera In linewithour Customer Feedback Policy Customer Feedback Service inducted withcustomised training. and Code ofConduct awareness. New sta•are resolution; Front ofHouse refresher courses; and warden duties; customer conªict service; covering: safety; manual handling;evacuation and development inFY18, including programs The OperaHouse continued to invest intraining and guests. behalf oftour groups, independenttravellers tourism operators andhospitality bookingon visitors andmaintainsclose relationships with The Tourism team delivers guided tours to performances, tours, products andservices. seeking information andpurchases for our operations,liaises withcustomers support o³ce, contact centre, emailandweb- The Ticketing Servicesteam, through box 209 210 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting feedback to arangeofdi•erent performancesduring the year. The tablebelow feedback lists by category. Theevent/performance reªects category Unsolicited Feedback by for Category FY18 244 complimentswere recorded,compliments). anincrease(218 onFY17 of12% 624 complaintswere registered thisyear, adecrease (853complaints). of27%onFY17 Overall Unsolicited Feedback FY10-FY18 Total (including accessibility andsecurity) Other Website Tourism Ticketing Services Retail andfood andbeverage Venues andprecinct Seating Pricing Policies andprocedures Event/performance Wilson Car Park Marketing Front ofHouse feesBooking Audience behaviour Category Feedback Type of Adverse Favourable FY18 624 244 Y7FY16 FY17 5 1,688 853 1 2 289 228 218 FY15 798 Favourable 244 68 56 23 32 51 FY14 – – – – – – – 9 4 1 195 741 FY13 8 4 6 132 166 144 189 1 522 715 Adverse 624 136 119 60 30 33 53 24 25 37 57 21 9 6 6 8 Y2F1 FY10 FY11 FY12 744 631 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting 13,091 passengers. House isanessentialfor service elderlyandlessmobilepatrons. Thisyear itcarried bus thattakesThe complimentary customers betweenCircular Quay andtheOpera House Opera CourtesyThe Shuttle Bus Courtesy Shuttle Bus Passengers FY09-FY18 – – – – – Key FY18initiatives to improve thecustomer experience included:

Year Passengers No. of tapestry in the Utzon Room intheUtzon andacollaborationtapestry withwatch designerBausele. New retail products rolled out inFY18included items inspired by theJørn Utzon will enhance theguest experience for our theatre patrons andevent guests; and innovativeIts food anddesignconcepts, alongwithexceptional standards service The Trippas White Group was thesuccessful respondent oftheHouse Tender. day andengage adi•erent demographicoflocals andtourists; morning. Thepopular yoga andœtness classes have become agreatthe way to start on theSteps isanew way Sunrise to experience theOperaHouse earlyinthe Average visitationperscreening isabout 350people; Opera House’s easternsails Bennelong year-round atsunset andabout anhour later. First Nations stories inaspectacular seven-minute projection, illuminating the Continuation andcontent refresh, adailyexperience ofBadu Gili thatexplores successful conduit for Resident Companies andlast-minute ticket sales; shows oftheguest andtours. journey Theteam hasbecome avitalpart anda exceptional guest through services welcoming visitors andproviding comprehensive Continuation oftheWelcome Team after asuccessful trial period.Theteam delivers 3011,9 7951,4 86918,146 18,639 19,645 17,965 17,692 13,091 FY18 Y7FY16 FY17 FY15 FY14 FY13 18,800 Y2F1 Y0FY09 FY10 FY11 FY12 16,300 80017,000 18,000 211 212 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting informing considerations andnegotiations. including thepotential value exchange, brand œtofpotential new corporate partners, Driver/outcomes: Theresearch determined the Subject: Brand prospecting Brand Asset Valuator Agency: Young & Rubicam – drivers andconsiderations for eachsegment. identiœed, alongwithrelevant brandbarriers, Sydney market. Target market segmentswere of existing andpotential customers inthe understand theneeds,values andmotivations qualitative research was conducted to Driver/outcomes: Thequantitative and with theOperaHouse Subject: Sydneysider engagement Agency: TheLab pieces ofpaidresearch: In FY18,several theOperaHouse undertook Customer Research summer entertainment o•erings. summer entertainment programming team to make decisionsaround markets, inorder for theinternal OperaHouse attendance driversentertainment ofkey target was conducted to understandcommercial Driver/outcomes: Thequalitative research Subject: Commercial summer programming Agency: TheLab market segments. drivers for Sydney, nationalandinternational understanding, knowledge andengagement year-on-year analysis ofbrandawareness, with theOperaHouse. Brand research provided awareness andbrandœtofcorporate partners understand thebrandalignment,impact,public qualitative research was conducted to Driver/outcomes: Thequantitative and Subject: Brand andsponsorship research Agency: Hall & Partners |OpenMind Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting of satisfaction. give ascore below œve, indicating ahighlevel over thepastfew years. They infrequently from allcompanies have remained consistent gave comprehensive feedback. Thescores sta• engaged strongly withtheprocess and Participating companies andOpera House up highlighted issues. with area managersresponsible for following House’s Resident Companies account manager, improvement. Theprocess isledby theOpera House was implemented to highlightareas for both theResident Company andtheOpera In 2017, anew initiative ofsetting KPIs for (total satisfaction, noroom for improvement). from one(total dissatisfaction) to seven Presenters ranked theirsatisfaction level Renewal integration andcommunications. marketing andother including services; services facilities; safety; food andbeverage services; Frontservices; ofHouse operations;building feedback on:event deliveryprocess; technical As inprevious years, thesurvey sought not participate. Orchestra andBangarra Dance Theatre did Sutherland Theatre. TheAustralian Chamber for sixweeks, due to theclosure oftheJoan delayed asthecompany was onlyinthevenue TheAustralianparticipated. Ballet review was Company Shakespeare andBell Company Orchestra, OperaAustralia, Sydney Theatre Resident Companies. TheSydney Symphony Annual performance reviews continued with Presenter Satisfaction Measurement Surveys 213 214 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting Requirements isnot required. – Information securitymanagement systems – Information technology – Security techniques compliance withAS ISO/IEC 27001:2015 House previously determined thatcertiœed standards; thecontrolling agency for theOpera account oftheISO/IEC 27000 family of Security Management System thattakes The OperaHouse maintainsanInformation Information Security Policy. accordance withtheNSWGovernment Digital Information Security Management System in Opera House whichisrequired to develop an There isnoagency underthecontrol ofthe systems oftheOperaHouse are adequate. to thedigitalinformation anddigitalinformation The controls inplace to mitigate identiœedrisks year willreªect this. and theattestation for the2018-2019 œnancial Security Management System isnow inplace, Security Policy. Acompliant Information in theNSWGovernment Digital Information consistent withtheCore Requirements set out in place during the2017-2018 œnancialyear, Information Security Management System Sydney compliant OperaHouse hadapartially I, Louise Herron, amoftheopinionthat Attestation PolicySecurity InformationDigital 23 August 2018 Chief Executive OŠcer Louise Herron AM Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting – – Performances andExperiences – BuildingThe fromHighlights theplan’s second year included: – – – – – improving access inœve key areas: by theprevious three plansandfocuses on The planbuilds onthefoundations established the area ofaccessibility andthearts. experiences, aswell asproviding leadershipin equal access to our facilities, performances and 2016. Theplanfocuses ongivingallcustomers NSW Minister for Disability ServicesinMarch Strategic Plan (2016-18) was launched by the The OperaHouse’s current three-year Access Inclusion Plan Disability

have hearingloss. were accessible to those whoare deafor This was theœrst time thatallfestival talks at theAllAboutWomen festival inMarch. live captioning were provided for all14talks In collaboration with Westpac, Auslan and intheUnwrapped program. artists and thework Australian ofcontemporary including KidsandFamilies, Talks andIdeas performances across awidevariety ofgenres The Access program this year included 35 for theœrsttime. Foyerwheelchair access to theNorthern completed inSeptember 2018, providing A new accessible passageway andliftwere Community Leadership. Operations andCustomer Service;and Workplace; Performances andExperiences; The Building; – – – section onthenextpage. included intheElectronic ServiceDelivery Note also theaccessible technology initiatives – Community Leadership – andCustomerOperations Service –

Michael Clark Company. on choreography from theacclaimed Australia, theFebruary series focused withDance forA partnership Parkinson’s registering sinceinception its in2016. with thelargest group ofparticipants Connections continues to build momentum, The collaborative program Dancing music genre events. organisation hadattended rapanddance Thiswas theœrsttime concerts. attend three diverse music contemporary with alearningdisability) was invited to Buddies (a befriendingprogram for people oftheVividLIVEfestival,As part Gig diagnosed withAsperger’s Syndrome. introducing theworld view ofa13-year-old Learning team presented Kaleidoscope, The Children, Families andCreative 23,000 times. live-stream hasbeenaccessed more than Lighting of theSails.Theaudio-described minute trailer to thelive-streaming ofthe Vivid LIVEwere highlighted inathree- The key access programs associated with accessible information. also improved for usability interms of and Welcome Teams. Thewebsite was including Box O³ce, Front ofHouse provided to multiple frontline teams, the access routes. On-going training was from theForecourt inearly2016changed The removal ofnon-essential vehicles the Visitor Experience portfolio. access needshasbeenafocus areas for The customer journey for patrons with experience asachildofdeafadults. the Unwrapped series andexplored her of PersonalJodee was Mundy's part 215 216 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting centralised auditing. accounts into with onereview portal centralises more than130balance sheet was automated usingcloud software that The monthlyœnancialreconciliation process once they have beenclosed andreviewed. Ticket batches are automatically uploaded now integrates withthegeneralledgersystem. transmission system. Theticketing system systems, usinganautomated, secure bank directly from our payroll andaccounting œles for sta•andsuppliers are now sent to the œnance systems were automated. Payment e³ciency. periodseveral Duringthereporting transformative technology to increase business The OperaHouse continues to use Finance Automation Management System was approved. governs theOperaHouse Information Security was implemented. Finally, thepolicy that system, afederated singlesign-onsystem In preparation for management anFY19 identity a phishingtraining module was rolled out. To improve sta•cyber security awareness, endpoint, emailandperimeter security systems. was implemented to verifythee•ectiveness of system managementandreporting vulnerability defence-in-depth approach to cyber security, a ofourincluding application whitelisting. Aspart protection software was implemented, periodnew endpoint During thereporting responsein its to cyber security issues. sector The OperaHouse aimsto leadthearts Cyber Security Delivery Service Electronic hearing augmentation. with hearingloopandradiofrequency-based transmits speech,andcan beused inparallel in allvenues attheOperaHouse, clearly system. Thiswireless system can beused assistive listening implementing aportable to audio-described performancesby The OperaHouse reinforced commitment its Renewal projects. audio networkthatsetsthedirection for future in thisroom isbuilt onaninnovative converged and includes own its hearingloop. Technology systems, features aworld-class sound system seamlessly integrated withpagingandvideo The new rehearsal secondary room is for low-latency digitalconductor-view systems. to theconductor. Thesystem sets thestandard for musicians whohave nodirect lineofsight camera sends adigitalsignalto videomonitors ofSAVE.delivered aspart Ahigh-speed A new conductor-view system was also and theDramaTheatre. hearing loopsintheJoan Sutherland Theatre Foundation) enabled theupgradesto the House Trustee JillianSegal AM(Yarranabbe into broadcasts whenrequired. Opera foyers, dressing rooms, orincorporated can bedistributedand thatsurtitles to and companion seatscan easilyread surtitles, ensures thatpatrons usingnew wheelchair technology. An updated videosystem also hearing-impaired patrons achoice ofpreferred based hearingaugmentation system, giving aids. Thiscomplementstheradiofrequency- the venue for patrons withcompatible hearing loop system provides coverage throughout improvements for patrons. Anew hearing implemented arangeoftechnology-driven Joan Sutherland Theatre, theOperaHouse Venue Enhancement (SAVE) works inthe oftheSafety,As part Accessibility and Audio-visual andAccessible Technology Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting publicly trialled during FY19. a sales andcollection option. Thekioskswillbe ofamulti-yearpart project to evaluate kiosksas receivers. Two ticket kioskswere delivered as ergonomic triggers anddual-band WiFi improved thesta•experience by introducing screens, aswell asprint-at-hometickets. Italso barcodes to bescanned from mobilephone by reducing queueing timeandallowing ticket tickets. Thisimproved thecustomer experience to improve the speedwithwhichthey validate Handheld scanners inallvenues were updated Ticketing Technology and develop abaseline for future work. determine theimpactofthese improvements API. Performance testing was undertakento refactoredpartially to take advantage ofnew website e-commerce andits enginewas high-demand tickets. Thelinkbetweenthe bots from unfairly monopolisingaccess to A new anti-automation œrewall prevented performance andreduced pageloadtimes. distribution networkdramatically improved to website its infrastructure. A content House implemented anumber ofimprovements period,theOpera channel. Duringthereporting for tickets – especiallythrough our onlinesales shows, whichcan result inœerce competition The OperaHouse continues to program popular Website Infrastructure 217 218 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting *Performance measure reflects revised ESP target. Water use (L total) is divided by total attendance for performances and tours. tours. and performances for attendance total by divided is total) (L use Water target. ESP revised reflects measure *Performance attendance (performancesandtours) by 25%. compared17% andwater withFY17 use pertotal In FY18, absolute water consumption increased by waterConserve Use Resources EŠciently andResponsibly below, grouped underthefocus areas oftheplan. neutral organisation. Further detailisprovided National Carbon carbon- O•set Scheme-certiœed a scientiœc research project; andbecoming a projects; aNSWEnvironmental Trust grantfor the completion oftwomajorenergy-e³ciency (ESP) 2017-19. Signiœcant achievements included year Environmental ofits Sustainability Plan In FY18, theOperaHouse completed thesecond Sustainability Environmental Water Consumption (kLperattendee, kLpertransaction) Sydney House Opera 40.0 60.0 Water Use (mL) Water EŠciency Water use perattendee (kL/attendee) Water use pertransaction (kL/attendee) Opera House Safety project and Pedestrian Vehicle Access Total 0.0

FY11 43.34

45.91 FY18 FY12 38.26 88 88 6 – – – 34.71 Y7FY16 FY17 * 79 79 *

FY13 46.32 7 6 77 64 78 87 65 75

38.41 75 FY18 40 04 63 04 843 38 46 50 33 36 40 50 FY15 FY14 50.65 71 best practice. and re-aligned water managementwith correction project hasreduced consumption It isexpected thattheleakdetection and period inFY17. three monthsofFY18, compared withthesame consumption ofabout 20% for theremaining in March-April 2018 resulted inareduction in detection andcorrection program undertaken for improvement.opportunities Aleak existing managementpractices; andidentify with increased water consumption; review commissioned to pinpointfactors associated An independentwater audit was Y7FY16 FY17

39.07 31 FY14 0 864 88 104 710 17 83 83 6– 46 35 38 39 28

FY15 36.26 FY13

27.7 2 FY15 Y2F1 Y0FY09 FY10 FY11 FY12 – – – – –

FY16 38.08 FY14

29.53 70 70 FY13 FY17 95 58 54 59 40.85 58 54 59 Water pertransaction Water perattendee 31.22 Y2FY11 FY12

FY18 50.30 FY08

40.82 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting (% reduction from 5year baseline) Sydney Consumption House Opera Electricity – 2018January resulted ina9% saving: major energy-e³ciency projectscompleted in achieved oneyear earlierthan anticipated. Two a14%target reduction specifying by FY19was about 10% compared withFY17. TheESPenergy Total FY18 electricity consumption decreased by ConsumptionReduce Electricity * Reported electricity use includes all operations on Bennelong Point including food and beverage tenancies. A major construction project project construction major A tenancies. beverage and food including Point Bennelong on operations all includes use electricity * Reported -10% -16% -14% -12%

(MWh) Use*Electricity pr os 15,944 Opera House (o³ce & storage) O•site leases Total -4% -6% -8% -2% (VAPS) ceased in FY16 while energy use in the underground loading dock and basement offices commenced. Off-site leases (office and and (office leases Off-site commenced. offices basement and dock loading underground the in use energy while FY16 in ceased (VAPS) storage) are included in electricity-use targets. electricity-use in included are storage) 0% optimise building energy consumption; and a periodofcommissioning andtuningto (BMCS) implementation,whichincluded Building Management Control System FY14 16,033 FY18 9143 89 17,480 FY15 17624 Y7FY16 FY17 ,4 7,068 1 7,842 1 17,672 170 FY16 16,859 FY15 210 – of about 250average households peryear. electricity savings – equivalent electricity use control system have resulted insigniœcant the installationofbuilding management The new e³cientchillersystems coupled with

78218,282 17,872 18,113 FY14 about 30% oftotal energy use. building. Heatingandcooling accounts for responsible for heatingandcooling the the replacement offour chillerunits An upgradeoftheCentral Plant, including 4 243 241 FY17 18,525 FY13 17,376 , 0 1 7,7 1 Target FY09 FY10 FY11 FY12 3 8 7 7 209 277 273 281 335 FY17 18,106 78518,688 17,825 18,961 7,984 1 17,707 18,939 18,730 FY08 219 220 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting Waste Recovery timber o•-cuts to recraft into furniture andstorage for internal workspaces. construction program. SOH sta•also took theinitiative to recover materials such as project exceeded thistarget, withanaverage 85% diversion rate for theperiodof project aimedto recover atleast80% ofconstruction waste from landœll.The To achieve theESPwaste recovery target for Renewal, theJoan Sutherland Theatre groups. Inaddition,anewnon-compliance process was tointroduced. report practices were adjusted, andadditionalwaste education was provided for target management practices andprocedures. To address key issues identiœed,management onFY17.points Anumber ofoperationalissues prompted areview ofoperationalwaste two percentage inFY18. points However, total diversion was down seven percentage The ESPtarget for operationalwaste diverting from landœllof55% was exceeded by E¥ective Waste Management * ^ ^

Total Percentage by weight. by Percentage Note this figure does not include disposal of construction waste or large bulky waste. FY18 recycling percentage by weight calculation: calculation: weight by percentage recycling FY18 waste. bulky large or waste construction of disposal include not does figure this Note general waste – actual weight; mixed recycling – actual weight; organics – actual weight; cardboard, office paper, e-waste, lights, toners toners lights, e-waste, paper, office cardboard, weight; actual – organics weight; actual – recycling mixed weight; actual – waste general and polystyrene - industry average density (BBP) x bins. No contamination rate applied. applied. rate contamination No bins. x (BBP) density average industry - polystyrene and General waste Recycling Stream 1262 496 766 Tonne* 100% FY18 43% 57%

Percentage^ 1201 750 451 Tonne* 100% FY17 62% 38%

Percentage^ 1234.2 430 803 Tonne* 100% FY16 65% 35%

Percentage^ 1222.6 770.5 5. 36% 452.1

Tonne* 100% FY15 64%

Percentage^ 1058.3 403.6 5. 2 725.9 62% 654.7

Tonne* 100% FY14 38%

Percentage^ 1123.3 397.4

Tonne* 100% FY13 65% 35%

Percentage^ Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting launched to celebrate National Recycling Week. and Plastic-Free July. A new waste videowas Environment Day, Fashion Week Clothes Swap Clean Up Australia Day, Hour, Earth World in activities such aswidersta•participation engagement months.SEALssupported past 12 FY18. SEALsmembershiphasdoubled inthe Leaders) Action Plan was implemented for A new SEALs(Sustainable Environment Action EnvironmentalSta™ Awareness Experience platform. in conjunction withthelaunch ofAirbnb’s of sustainabilitytours over thesummer period, Sustainability Partner Airbnblaunched aseries repurposing waste. ofreducing, recyclingthe importance and such asStringdom engage children about such as and Antidote. Children andfamily productions Ideas events were afeature ofAllAboutWomen Greenªeet. Sustainability-themed Talks and FY18, o•set by biodiverse tree-planting from the year. VividLIVEwas carbon-neutral in inspire audiences andvisitors throughout The OperaHouse continued to engage and Embed, Engage andInspire were inFY18.minor incidents reported No majorenvironmentalandeight incidents the OperaHouse Green Cleaning Guidelines. chemicals onsite, theobjectives of supporting improved theidentiœcation andmanagementof software Implementation ofChemalert incident notiœcation emergency procedures. and areview conducted ofenvironmental training was deliveredIncident reporting of theriskpathway completed inFY17. completed inlinewithrecommendations register, focused onhigh-riskactivities,was An annual review oftheenvironmental risk Improve Environmental RiskManagement Frugal Forest and creative play activities http://bit.ly/carbon-neutral-pds information about theo•set credit purchased andprovidesemissions summary further Disclosure Statement (PDS) outlines an The OperaHouse’s Carbon Neutral Product ofEnergythe Department andEnvironment. audit was required, followed by assessment from To achieve NCOS anindependent certiœcation, credits. certiœed National O•set Certiœed Standard (NCOS) with 100% carbon ofits emissionso•set using metric tonnes ofcarbon dioxide equivalent, In FY18, theOperaHouse produced 17,598 Carbon Footprint of theSustainable Sydney 2030 Strategy. thegoalsandambitions destinations to support tourism, accommodation andattraction Program. Theinitiative bringstogether major of Sydney’s Sustainable DestinationPartnership The OperaHouse became aPartner oftheCity native species. improve marinebiodiversity and support proposal reef to includes amodular artiœcial House andinother harbour sites. Theproject diversity inunderwaterareas around theOpera by recording baseline dataonœshnumbers and project. Thepilot project commenced inAugust undertake athree-year scientiœc research Environmental Trust grantof$86,442 to of Technology Sydney (UTS)received aNSW The Sydney OperaHouse andtheUniversity Collaboration with Partners

221 222 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting Scope 3 Scope 2 Scope 1 indirect emissions electricity direct emissions Opera HouseOpera Greenhouse GasEmissions FY10-FY18 1 Green Power was not purchased in FY18 as 100% of emissions were offset via NCOS carbon offset credits. offset carbon NCOS via offset were emissions of 100% as FY18 in purchased not was Power Green 1 2 Flights in FY15 included international flights only. In FY17 domestic flights data has been consolidated with international flights. international with consolidated been has data flights domestic FY17 In only. flights international included FY15 in Flights 2 3 Natural gas Source Refrigerants Transport fuel diesel oil) (post 2004 Transport fuel ªights Business leases) and o•-site base building (Opera House, from buildings Electricity GreenPower electricity from Net emissions O³ce paper Total Water recycling Waste – Postage Advertising Stationery Hire cars catering Food and IT equipment services Cleaning Hotel Accom. Taxis landœll Waste – paper Publications Accom. Int'l Hotel Telecoms. Additional scope has been added to reflect organisational boundary and ensure compliance with the National Carbon Offset Standard (NCOS). Standard Offset Carbon National the with compliance ensure and boundary organisational reflect to added been has scope Additional 3 3 2 3

3 3 3 3 3 3 3 3 1 3 48616,919 14,866 4861,0 5951,6 67218,463 16,722 15,765 15,945 15,904 14,866 75817,484 17,598 FY18 440 608 6 5 8 468 481 351 267 8 9 1 7 9223 89 178 112 95 189 0.3 5 – – – – – – – – 157 1 5 – – – – – – – 154 117 96 92 62 25 83 60 38 58 55 42 83 950 49 38 28 313––––––– – – – – – – 183 23 16 43 – – – – – – – 33 14 11 – – – – – – – 18 51 – – – – – – 514 15 9 9 9 9 5 3 – – – – – – – 6 5 -1,015 Y7FY16 FY17 4 7 5 7 854 978 859 778 849 910 180 98 2––––––– – – – – – – 22 12 – – – – – – – – 4 – – – – – – – 7 17,128 17,417 113-1,133 -1,183 3 – – – – – – 534 – – – – – – – – – – – – – – – – – – – – – 5 16,898 17,374 FY15 6 5 8362,0 84518,851 18,495 20,107 18,326 7921,3 8731,9 20,288 19,193 18,773 19,637 17,932 -1,210 FY14 / / / / N/A N/A N/A N/A N/A 9 401 390 -1,174 FY13 4 105 147 5 16,764 -2,010 Y2F1 FY10 FY11 FY12 394 991 217 17 8 74319,083 17,463 -1,729 / N/A N/A 9 398 398 3 482 837 126 19 8 20,057 -1,205 N/A 91 4 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting – – – – – – FY18 initiatives andachievements included: to develop theirpotential. are valued, respected andhave opportunities and behaviour, andensuring thatallpeople workplace culture thatdisplays fair practice ) O E intheworkforceequality E by upholdinga ( y t The OperaHouse iscommitted to maintaining i n u t r o p p O Equal Employment

Opera House’s œrstMardi Gras ªoat; Sta• were inthe invited to participate to becompleted by allnew employees; Online cultural awareness training continues First Nations Work Experience week; employees are now co-facilitating the Front ofHouse teams. Three ofthese casually employed intheTicketing and Five former school-based trainees remain Front ofHouse; completed traineeships withTicketing and Four First Nations school-based students programs; infourparticipated work-experience Twenty-four First Nations students creative industries; to promote and employment inthearts Ready,Arts aFederal Government initiative We have recently establishedcontact with through First Nations recruitment networks. of roles, including bulk employment roles employment through theactive marketing Continued promotion ofFirst Nations – FY19 initiatives willinclude: – –

students; Annual careers day for First Nations programs for First Nations students;and Further work-experience andtraineeship Australian workplaces. arrived refugee background exposure to NSW highschool studentsofarecently of Education program designedto provide Arrive Work (RAW), aNSWDepartment The OperaHouse willtake inReady part 223 224 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting Table B. Trends inthe Distribution ofEEO Groups Table A.Trends inthe Representation ofEEO Groups 1 Includes casual staff for 2011. 2011. for staff casual Includes 1 2011. for staff casual Includes 1 centre ofthedistribution oftheWorkforce A Distribution Index of100indicates thatthe numbers are lessthan20(denoted by N/A). calculated where EEO group ornon-EEO group Commission. TheDistribution Index isnot by thesoftware provided by thePublic Service Distribution Index isautomatically calculated Commission Workforce Proœle Unit. The Information provided by thePublic Service groups. Sta• numbers are asat30June2018. representation anddistribution ofEEO The tablesbelow show trends inthe EEO Group EEO Group Women Women was not English People whose œrstlanguage was not English People whose œrstlanguage Islander people Aboriginal andTorres Strait Islander people Aboriginal andTorres Strait People withadisability People withadisability adjustment requiring work-related People withadisability adjustment requiring work-related People withadisability 1 1 Benchmark Benchmark Benchmark Benchmark or Target or Target 23.2% 5.6% .%17%1.3% 1.74% 3.3% 50% / N/A N/A 100 0 0 105 105 100 100 100 100 52.23% 16.54% 1.31% FY18 FY18 / / / / / / N/A N/A N/A N/A N/A N/A N/A / / / / / / N/A N/A N/A N/A N/A N/A N/A / / / / / / N/A N/A N/A N/A N/A N/A N/A 483 84 Diversity group numbers are lessthan20. Workforce Diversity group ornon-Workforce The Distribution Index isnot calculated where is lessconcentrated atlower levels. salary indicating thattheWorkforce Diversity group some cases theindex may bemore than100, this tendency is,thelower theindex willbe. In the case for other sta•.Themore pronounced more concentrated atlower levels salary thanis that theWorkforce Diversity group tends to be to thatofother sta•.Values lessthan100 mean Diversity group across levels salary isequivalent 51.8% 19.1% 0.9% 0.2% Y7FY16 FY17 Y7FY16 FY17 14.99% 10%4.%4.%4.%46% 44.5% 46.6% 45.2% 51.02% 2.37% 1.69% 0.0% 109 86 16.1% .%16 .%1.6% 1.9% 1.6% 2.0% 0.2% FY15 FY15 .%25 2.9% 2.5% 2.3% 105 76 14.3% 0.0% FY14 FY14 107 80 15.5% .%0.2% 0.2% FY13 FY13 0 101 105 87 14.6% FY12 FY12 3% 86 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting statement expected by November 2018. Regulation 2000isinplace, withthenew the Environmental PlanningandAssessment The current annual œre safety statement under nearing completion. the Building ServicesStandard Speciœcation Fire Safety Plan update hascommenced with Joan Sutherland Theatre upgrade. TheMaster systems haveofthe beencompleted aspart The new Vortex andassociated œre protection and Assessment Regulation 2000. building undertheEnvironmental Planning to beissued by November 2018 for the An annual œre safety statement isexpected new loadingdockandsprinklerpump room. the year andintegrated withthebuilding’s reel upgradeprogram was completed during The œnalstageoftheœre hydrant andhose Compliance Fire Safety – published ontheOperaHouse website: The following policieswere updated and House website. the GIPA Act. Itwas published ontheOpera outlines how theorganisation complies with The OperaHouse toInformation Access Policy contracts register. House’s disclosure logandgovernment available, together withdetails ontheOpera The access application form ispublicly and updated agency its information guide. the information itmakes publicly available Act), theOperaHouse conducted areview of Information (Public Access) Act 2009(theGIPA In accordance withsection 7oftheGovernment (GIPA Regulation) underthe GIPA Act (Public Access) Amendment Regulation 2010 Clause 7(a) ofthe Government Information Review ofProactive Release Program – Act 2009 Public Access (GIPA) Information and Government – – – referred to inSchedule 1oftheGIPA Act. did not receive anyapplication for information period, theOperaHouse During thereporting GIPA Regulation Schedule 1Information – Clause 7(c) ofthe Number ofRefused Applications for application received inFY17. the GIPA Act, but continued to dealwith the received noformal access applications under period,theOperaHouse During thereporting Clause 7(b) ofthe GIPA Regulation Number ofAccess Applications Received –

(ISMS) Policy; Information Security Management System Camera and Access Surveillance Policy Surveillance CameraandAccess ; Corporate Cards Policy; and and Surveillance Policyand Surveillance . Acceptable Information andTechnology Use 225 226 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting Table A: Numberofapplications by ofapplicant andoutcome type Clause 7(d) and Schedule 2ofthe GIPA Regulation Information about AccessStatistical Applications – Table B:Numberofapplications by ofapplication andoutcome type (other) the public Members of legal rep) (application by the public Members of group or community organisation Not-for-proœt other and partly applications information personal that are partly applications Access business Private sector information) personal (other than applications Access Parliament Members of applications information Personal Media granted in in granted in granted Access Access Access full full – – – – – – – – – granted in in granted in granted Access Access Access part part – – – – – – – – – refused in refused in refused in Access Access Access full full – – – – – – – – – Information Information Information not held not held – – – – – – – – – Information Information Information available available already already already – – – – – – – – – application application Refuse to Refuse to deal with deal with – – – – – – – – – information information information Refuse to Refuse to whether whether con˜rm con˜rm con˜rm / deny / deny / deny is held is held – – – – – – – – – Application Application Application withdrawn withdrawn – – – – – – – – – Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting matters listedmatters inSchedule 1to the Government Information (Public Access) Act 2009 Table D:Conclusive presumption ofoverriding public interest against disclosure: Table C:Invalid applications Invalid applications thatsubsequently became valid applications Total number ofinvalid applications received Application contravenes restraint order (sectionoftheAct) 110 Application isfor excluded information oftheagency (section 43oftheAct) Application doesnot comply withformal requirements (section 41oftheAct) Reason for Invalidity Aboriginal andenvironmental heritage Ministerial code ofconduct Care andprotection ofchildren Adoption Transport safety Documents a•ectinglawenforcement andpublic safety Excluded information Legal professional privilege Contempt Executive Council information Cabinet information Overriding secrecy laws No of times consideration usedNo consideration oftimes No ofapplications – – – – – – – – – – – – – – – – – 227 228 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting Information (Public Access) Act 2009 (by ofreview type andoutcome) Table G:Numberofapplications reviewed 5ofthe underPart Government Table F: Timeliness (Public Access) Act 2009 (by ofapplicant). type Table H:Applications for review 5ofthe underPart Government Information table 14to thetable Government Information (Public Access) Act 2009 Table public E:Other interest against considerations disclosure: listed matters in Review by NSWCivil &Administrative Tribunal Internal Review following recommendation undersection 93 oftheAct Review by Information Commissioner Internal review Not decidedwithintimeframe(deemed refusal) Decided after 35days (by agreement withapplicant) days timeframe(20 Decided withinthestatutory plus anyextensions) relates (section 54of theGovernment Information (Public Access) Act 2009) Applications by persons to whominformation the subject ofaccess application Applications by access applicants Exempt documents underinterstate Freedom ofInformation legislation Secrecy provisions Environment, culture, economy andgeneralmatters Business interests ofagenciesandother persons Individual judicial rights, processes andnaturaljustice Law enforcement andsecurity Responsible ande•ective government No ofoccasions whenapplication not successful Decision Decision varied – – – – No. ofapplications for review Decision Decision upheld – – – – No ofapplications Total – – – – – – – – – – – – – – – – Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting documentation and resources beingdeveloped. organisation andprovide input into heritage convened to championheritageacross the representatives from across thebusiness was advice. A Conservation Action Team of management andprovide specialistexpert the organisation – to oversee heritage Heritage Policy O³cer role – anew role in The OperaHouse created aPlanning and on heritagematters. increased andregular internal communication heritage awareness-raising program through CMP4 across thebusiness. We commenced a resources theimplementationof to support resources, andto develop training andadditional gapsin early2018knowledge to identify and practices across theorganisation commenced A review ofexisting heritage resources and Resident Companies andacommunity forum. stakeholders including sta•,on-site operators, brieœngs ontheCMPwere provided to key the OperaHouse community. Introductory moment to raise theproœle ofheritagewithin The launch oftheCMP4provided anopportune Peeran Expert Review Panel. consultation andapproval process, including Publications. Itwas theproduct ofathorough ofHeritageResourcesin thecategory and National Trust HeritageAward inMay 2018 AlanCroker,expert theCMP4won a Written by architect andrespected heritage (CMP4). House – Management aConservation Plan Plan, titledRespecting theVision:Sydney Opera Conservationfourth editionofits Management In October 2017, theOperaHouse launched the Management Heritage

John Coburn tapestries. Jørn Utzon’s andexhibiting the departure; who completed theOperaHouse after acknowledgement ofPeter Hall, thearchitect updating digitalcontent; developing an the Renewal Interpretation Strategy: The grantwillenablethree projects from Opera House beenawarded thisgrant. Historic Sites grant.Itistheœrsttime Government through theProtecting National $248,000 infunding from theCommonwealth This year, theOperaHouse was awarded Commonwealth Government Grant for theOperaHouse (see note below). of theJohn Coburn tapestries commissioned the strategy, and working towards the exhibition awarded agrantto implementactionsfrom hoardings around construction areas, being putting informative andheritage-compliant House’s digitalchannelsandinthemedia, compelling Renewal content ontheOpera past year including placinginformative and has achieved several notable actionsover the of theRenewal program. TheOperaHouse signiœcance oftheOperaHouse inthecontext protect, conserve andenhance thecultural strategy thatoutlines theactionsthatwill Renewal Interpretation Strategy, aœve-year The OperaHouse continues to implementthe to openearlyin2019. function centre withinthebuilding envelope, The marquee isto bereplaced by anew long beenidentiœedasanintrusive item. House Renewal program. Themarquee has removed oftheOpera inearly2018 aspart BroadwalkThe marquee was ontheNorthern Renewal 229 230 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting the building andorganisation. knowledge about stories andtheirimportant of individuals isunder way to capture their retirement. recordings Aprogram oforalhistory at theOperaHouse for decades, nearing and designofthebuilding, orwhoworked history, withpeopleinvolved intheconstruction The OperaHouse isatacritical momentinits Histories Oral interpretive materials. of theMoonin2019,Curtain withadditional of theSunand the exhibition oftheCurtain The OperaHouse isnow working towards original spaces. forto exhibit thecurtains public intheir was successful, resulting inarecommendation for displaying thetapestries. Thetest hang document suitable hangingprocedures required undertaken inMarch and 2018 to identify of theSunwasA test hangoftheCurtain Thestrategycurtains. isinformed by theCMP4. to develop aninterpretation strategy for the wasand conservation specialists convened Coburn (John Coburn’s son) andheritage to damage. Aworking group including Stephen when they were taken down to beconserved due and DramaTheatre respectively untilthe1980s intheJoan Sutherlandhouse curtains Theatre commissioned by Peter Hall andoperated asthe tapestries, created John by Coburn, artist were of theMoon of theSunandCurtain The Curtain and Interpretation Coburn Tapestries Conservation

more information. events and intrusive items. See page86 for heritage management,outdoor activitiesand projects including theRenewal program, in FY18andprovided advice onarangeof The Conservation Council metfour times Governance/ManagementHeritage more than30years. from sta•whohave beenworking here for and procedures ofrepair andcleaningmethods fabric ofthebuilding, documenting processes The team continues to maintainandcare for the ªagpoles attheeastern endoftheForecourt. intended, andremovalstate Utzon ofthe the podium,therefore restoring themto the paint from theo•-form concrete pierswithin cultural heritagesigniœcance, such asstripping of intrusive items detrimental to thebuilding’s of heritageprojects.They include theremoval CMP4 by prioritisingandexecuting anumber The Building team hasbeen implementingthe Building Conservation the fabric ofthesite during outdoor events. implement protective measures to safeguard House’s Building Operationsteam continues to Guidelines for Outdoor Events. TheOpera implementation oftheCMP4andHeritage excellence have beenimproved through the beverage activations andgeneraldesign area thisyear. Infrastructure zones,food and Outdoor events have beenaheritagefocus Outdoor Events Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting furniture strategy are beingexplored. Options for to implementthe partnerships stakeholder engagement andatest case. The strategy isbeinginformed by extensive on-site food andbeverage operators. Architects Panel for designreview and collaboration withtheEminent A furniture strategy isbeingdeveloped in Furniture Strategy competitions andactivities. intranet presence, paneldiscussions, activities, including anall-sta•celebration, range ofeducation andawareness-raising contractors. HeritageWeek willcomprise a sta•, operators, Resident Companies and awareness about for heritage, particularly Week, anannual week-long event to raise In FY19, theOpera House willpilot Heritage Heritage Week signiœcance into thefuture. the collections to retain andprotect their a strategy to monitor, maintainandmanage original orsigniœcant items andwillinclude developed to identify, manageandprotect Collections Management Strategy are being A Collections Management Policy anda Collections Management Future Focus Areas 231 232 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting and underwritten byand underwritten Lloyds ofLondon. against thisinsurance, whichisprovided by SLEWorldwide Australia Limited Pty members, Directors, O³cers andOperaHouse employees. Noclaimhasbeenmade insurance.liability Cover through theTreasury Managed Fund islimited to Trust engaged through Sydney OperaHouse Presents but donot have theirown public Further insurance hasbeentaken out by theOperaHouse for whoare performers no claimhasbeenmadeunderthispolicy. operations. Thisisinsurance cover not provided by theTreasury Managed Fund and as aresult ofaninnocent breach ofthemanyActs thatcontrol theOperaHouse’s placed through DualAustralia Ltd. Pty Itcovers œnesandrelated costsimposed The OperaHouse hastaken out insurance StatutoryLiability withLloyds ofLondon per employee over thepastœve years. The tablebelow shows thetotal cost ofpremiums excluding GST, arrivingatthecost compensation policy, 36new claimswere lodged. motor vehicle claim($477.50); andfour claims($2,624). liability Under theworkers In FY18, OperaHouse claims($5,268); claimspaidincluded: three one property policy protects for OperaHouse assets andproperties whichitholdslong-term leases. public andmotor liability vehicle) andAllianz(workers compensation). Theproperty Treasury Managed Fund, aself-insurance scheme administered by GIO(property, Insurance coverage oftheOperaHouse ispredominantly provided by theNSW Insurance Cost peremployee Total employees Total Cost Miscellaneous Workers compensation Legal liability Property Motor vehicle ,2,2 1,414,923 1,526,121 5,5 8,0 323,520 283,500 351,650 591,150 0,2 9,8 5,6 6,5 691,909 664,455 458,165 399,083 502,121 63056,580 76,380 4,820 1,688 FY18 904 $

670,710 5,050 1,634 FY17 FY17 866 $ ,17795 7,7 1,51 8,4 5,6 732,100 659,560 689,440 41,920 4,750 1,784 FY16 FY16 851 $ 1,671,645 1,2 334,370 311,120 31,050 5,460 1,967 FY15 850 $

1,788,169 23,310 6,480 2,087 FY14 FY14 857 $ Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting Trust By-law. 2015 House Trust Act 1961orSydney House Opera No amendmentwas madeto theSydney Opera Legal 2018 was valued at$140 million. Quay East, Point, Bennelong andasat30June endofCircular and islocated atthenorthern land.Thesiteand its area is3.82527 hectares operation andmaintenance ofthe Opera House House Trust Act 1961,isresponsible for the as abodycorporate undertheSydney Opera Sydney OperaHouse Trust, whichisconstituted onbehalfoftheNSWGovernment.Arts) The HouseTrustOpera Act 1961(theMinister for the vested intheMinister administering theSydney Ownership oftheOperaHouse landis andits TitleLand Holdings NSW Treasury Corporation Tailored Term Deposit. rates equivalent to, orgreater than,therelevant Investments are placed withbanksatinterest Performance Investment 233 234 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting engagement initiatives. changes to procedures orpolicies,andsta• for months,including the next 12 sta•training, and recruitment processes to guide our actions In FY20, we willassess leadershipcapabilities is o•ered inseven languages. Women performances. TheOperaHouse tour Auslan orlive captioning during AllAbout genresdiverse andtheinclusion of artistic Access program of35performancesacross with abroader audience. Thisincluded our program, whichaimsto deepenengagement promoted multiculturalism through artistic its and The Performing supported portfolio Arts from theProduction Servicesdepartment. was attended by managersandsupervisors program about building aculture ofrespect Joan Sutherland Theatre. Abespoke training Company sta•returning to work intherenewed inductions, andmadeaccessible to resident training was included in new employee and Torres Strait Islandercultural awareness and recognising unconscious bias.Aboriginal include content onleadingdiverse teams development program was updated to To theplan,internal leadership support – – multicultural planto: The OperaHouse hasdeveloped a Overview Planand Services PoliciesMulticultural

cultural backgrounds. employer ofchoice by peoplefrom diverse ensuring thattheOperaHouse isseen asan welcoming people, ofits andissupportive Maintain anorganisational culture thatis House’s visionandmission; brings to theachievement oftheOpera diversity andrecognise thevalue diversity Increase employee awareness about cultural audiences andcritics; Swan Lake received wideacclaim from day Ireland, thisradical retelling oftheclassic Inspired by Irishfolktale andset inmodern and theatre maker MichaelKeegan-Dolan. created by acclaimed Irishchoreographer dance/theatreThis contemporary work was Swan Lake /Loch nahEala (August 2017) sensation S-Town; ) talkedSerial about theinternational podcast US journalist BrianLife , Reed (ThisAmerican S-Town (July 2017) throughtelling thestory theeyes ofthewolf; upended Prokoœev’s Peter andtheWolf, Irish company CoisCéim Dance Theatre The Wolf andPeter (July 2017) Multicultural Policies andServicesPlan: Presents presentations identiœedunderthe ofSydneyFY18 highlights OperaHouse Presents andother presenters. the Resident Companies. Sydney OperaHouse scale performancesacross thevenues, from The presentations included large andsmall- engagement initiatives. cabaret, talks,andcommunity andcultural forms, includingvariety ofart music, dance, multicultural themewere presented across a backgrounds. Performances withastrong audiences andvisitors from arangeofcultural with theOperaHouse were created for artists, to engage and ServicesPlan, opportunities oftheNSWMulticultural PoliciesIn support Performances program willtake place inDecember 2018. students from arefugee background. Theœrst Work, avocational program for recently arrived inReadyto Arrive hoststudents participating ofEducationis working withNSWDepartment The Organisation Development & Learning team Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting aerialist Aleksandra Kiedrowicz (Poland); Petrosyan & Victoria Petrosyan (Russia) and and Singapore), quickchange duo Sos Harrison Greenbaum (US),Shin Lim(Canada international visitors. Performers included engaged multicultural audiences and Summer spectacular TheUnbelievables 2018) The Unbelievables (December during VividLIVE; then returned for four sold-out performances music to twosold-out November shows, Frahm, Joep Beving hissoothing performed Ludovico Einaudi andGermanpianistNils Drawing comparisons to Italiancomposer in theintimate Room. surrounds oftheUtzon The Dutch pianistmadehisAustralian debut Joep Beving (November andMay 2018) 2017 represented nationsand31 clangroups; 21 language andstories. The340dancers First Nations culture,and support dance, Opera House anddesignedto celebrate Rites, producedcompetition, Dance by the Aboriginal andTorres Strait Islanderdance This was thethird year ofthenational Rites (NovemberDance 2017) TenzinTibetan artist Choegyal; born Canadian folk and singerIrishMythen including Yothu Yindi, Electric Fields, Irish- The 2017festival featured Australian artists andculture.celebration ofFirst Nations art Homeground istheOperaHouse’s public Homeground (November 2017) and Archie Roach; Australian JackCharles First Nations artists KoreanNorth activistPark Yeon-mi and Shashi Tharoor, British poetInua Ellams, US author Amani Al-Khatahtbeh,Indianauthor national andinternational speakers, including This newly launched festival featured local, Antidote (September 2017) showed aœlmabout globalrefugee movements; about hislife’s work andcurrent exhibitions, and andactivistspokeThe celebrated Chinese artist Ai Weiwei (March2018) and MirandaTapsell; and Australian Nakkiah Lui First Nations artists Marshall Islandspoet Kathy Jetñil-Kijiner Guinean community organiser Ursula Rakov, Rohingya activistWai Wai Nu,Papua New to womenon issues featured important This year’s day-long Talks & Ideasfestival All AboutWomen (March2018) and Mexico; baroque andearlymusic from Spain, Portugal and theMiddleEast to play aprogram of conductor brought hisensemble from Europe The Catalan composer, and performer 2018) Jordi Savall(February (France) andRémi Lenz (Germany); Martin (Brazil), andclown/comedians Mikael Bres Heather Holliday (US),aerialistMarco Motta Nicolas Jelmoni (Monaco), sword swallower acrobat duo Charlotte O'Sullivan (Canada) and in acabaret circus, and including contortionist Limbo Unhingedshowcased international talent Limbo Unhinged(January-March 2018) inJapan; performed AlisonandJacqui Bennett Stockdaleartists Suzuki inSydney, performed whileAustralian Nobumasa Takahashiartist anddancer Yuriko Japan.Contemporary visual Ota, and Library Museumbetween theOperaHouse andtheArt An intercultural andinteractive collaboration (January 2018) Join TheDots beat ofPatti Smith andDavidBowie; to asimple, rocknroll…songdanced to the from internationally recognised MichaelClark, A celebration ofBritish modernchoreography to asimple, rocknroll…song(January 2018) 235 236 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting Koen Augustijnen; design by Vernon AhKee anddirection by dancer-choreographer Dalisa Pigram, with performance work by celebrated Australian Gudirr was apowerfully emotive solo Fervent, œerce andprofoundly personal, Gudirr (June 2018) the ageofclimate change; in on impermanence, andmortality fragility wasExistence apowerfulphysical meditation dancer-choreographer Kristina Chan, AFaint The solo debut ofacclaimed Australian A Faint (May Existence 2018) need for human connection; the larger work, takinginspirationfrom the from hisSamoan roots, of andthisformed part unique ofperformancedrawsinspiration style Jesse Scott andNatano Fa’anana. Natano’s , featuring companyDriftwood co-founders Contemporary company Casus Circus presented 2018) (April Driftwood one-o• solo performance; Swedish singer-songwriter returned for a 2016 withhisband,thecritically acclaimed After selling out twoConcertHall shows in José González (March2018) celebration ofAfricanandheritage. identity invited to thestage, they ledajoyous Hall into adance hallwithaudience members everything in-between.Turning theConcert reggae,of rhythm, jazz,rock rumba, and band, Le Super Etoile deDakar, for anight winner was joinedby 12-piece hislegendary The African poptitanandGrammyAward- Youssou (March2018) N’Dour out ConcertHall audience; Portuguese for theœrsttimeinSydney to asold folk soundtrack ofDavidBowie favourites in Life Aquatic with Steve his Zissou,performing role from Wes Anderson's cult classicœlmThe Brazilian poplegendSeu Jorge reprised his Seu Jorge(March2018)

the history of Bennelong Point. ofBennelong the history Australia o•ered aninteractive exploration of A digitaltour streamed to classrooms around Guwanyi Walama (year-round) asLGBTQI+;industry whoidentify and socialandtheentertainment services sport, with First Nations personalities from thearts, season, titledPerspectives , featured interviews Programming AO, RhodaRoberts thissecond Studio andhosted by HeadofFirst Nations Recorded intheOperaHouse’s Intel Broadcast VoicesDeadly fromtheHouse(year-round) and empowerment; were acelebration ofAfrican-American identity for VividLIVE.Thevisually stunningshows with four sold out in-the-round performances Solange Knowles madeherOperaHouse debut songwriter, luminary activistandvisual art Grammy Award-winning recording artist, Solange (June 2018) House debut atVividLIVE; Three) madetheirOpera Jim White (Dirty Giorgos Xylouris andiconic Australian drummer duo ofCretanThe visionary laouto player Xylouris White (June 2018) Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting industry forums. Thefollowing travel inFY18was approved by theMinister for theArts. productions, touring programs arts andrepresentingperforming theOperaHouse atkey Opera House sta•undertake overseas travel for business reasons, including sourcing Overseas Travel diaTrsy HeadofTalks Edwina Throsby aa uheHeadofSales, Sarah Duthie u abrsSales Sue Pamboris Van Leuven Bridgette hlyLwsTechnical Philby Lewis Townsend Monika Kontoleon Andrew ohNued Lighting Josh Neufeld in inn Headof Fiona Winning Nadebaum Alison aa uheHeadofSales, Sarah Duthie naDrcTessitura and Anna Duric i oigChief Nic Boling aeo Še oiinDsiainsPurpose ofvisit Destination/s Position Name ofoŠcer and Ideas Experiences Tours and Tours & Retail Executive, Learning Creative Families & Children, Head of Manager Tours & Retail Manager, Sales Account Technician Staging Supervisor Programming Management & Business Operations Head of Experiences Tours and Manager Project Integration O³cer Technology USA USA China China e eln Attend theOZPAC Technical Managers New Zealand oe,JpnAttend theDestinationNSWJapan Korea, Japan emr Undertake aprofessional exchange Denmark emr Undertake aprofessional exchange Denmark emn Attend dance theleadingcontemporary Germany UK India USA USA at theOperaHouse. to consider speakers for programming Attend TEDWomen andSummit LA17 Travel Mission. Attend theDestinationNSWUSA China Roadshow. Attend theDestinationNSW Fair (ChinaSPAF). FestivalInternational Arts Performing Arts Attend andspeakattheChina Shanghai major performing arts centres intheregion. arts major performing Forum, aninformation-sharing forum for Roadshow andSouth Korea Workshop. program withtheRoyal DanishTheatre. program withtheRoyal DanishTheatre. festival Tanz ImAugust International. for presentation attheOperaHouse. Edinburgh Fringe to consider new works Edinburgh International Festival, and Attend theBritish Council Showcase, by Tourism Australia. Attend theIndiaTravel Missionhosted Community Conference. Attend theTessitura Learning and Community Conference. Attend theTessitura Learning and 11/713/11/17 31/10/17 91/712/11/17 29/10/17 61/78/11/17 26/10/17 61/724/10/17 16/10/17 20/09/17 26/08/17 23/08/17 30/526/09/17 23/08/15 20/729/08/17 22/08/17 80/729/08/17 18/08/17 40/7 25/08/17 14/08/17 20/719/08/18 12/08/17 10/719/08/17 11/08/17 From 23/09/17 7/09/17 30/09/17 To 237 238 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting ai Hgud Sales Maria Haglund lieJahm Social Media Claire Joachim nyPle Headof Andy Palmer aa uhe HeadofSales, Sarah Duthie in inn Headof Fiona Winning Van Leuven Bridgette aeDna Director, Kate Dundas hi inn Manager, Chris Linning e asal Headof MarshallBen rn emnCreative Frank Newman Wordsworth Garry aileHre Headof Danielle Harvey aeo Še oiinDsiainsPurpose ofvisit Destination/s Position Name ofoŠcer Tours & Retail Executive, Manager Optimisation Insights & Experiences Tours and Programming Learning Creative Families & Children, Head of Arts Performing Information Building Music Contemporary Specialist Learning & Information Infrastructure Head of Performance Contemporary Germany, UK France, USA UK USA aaaAttend thePuSh International Performing Canada USA S,U Attend theInternational Society for the USA, UK China USA Japan USA USA and Europe Roadshow. Attend DestinationNSW’s United Kingdom Facebook andInstagram. technology updates andtrends across Conference to gain key into insights Attend theFacebook F8Developer and its marketingand its platforms. withAdobeto optimise partnership its valuable for insights theOperaHouse Attend theAdobe Summit to gain Business Events Summit. America 2018 Marketplace and Attend Tourism Australia's North Arts Festival.Arts Young Audiences. Performing for Youth Arts andTheatre for an event presented by theInternational Attend Sessions, andspeakatSpark attend theREMIXGlobalSummit inLondon. House's CEO (an ISPA board member)and and board meetingsonbehalfoftheOpera Performing (ISPA) Arts Congress committee Modelling Conference. Ceremony andBuilding Information Construction Innovation Award Presentation Kong Construction IndustryCouncil's (CIC) Attend andspeakatthesecond Hong music program. shows for theOperaHouse's contemporary Attend theDay for NightFestival to identify and Library. Museum Art City Opera House andOta collaborative performancebetween the Direct rehearsals for, a JointheDots Cisco technology. multi-purpose venues, hosted by Attend astudy tour oflarge-scale Opera House. programming for presentation atthe to source international entertainment Meet withUS-based andartists agents 5/05/18 30/04/18 30/04/18 /21 14/02/18 3/02/18 90/87/02/18 29/01/18 20/830/01/18 22/01/18 /11 22/01/18 5/01/17 41/717/12/17 14/12/17 41/720/12/17 14/12/17 61/73/12/17 26/11/17 51/728/11/17 15/11/17 /11 15/11/17 4/11/17 From 21/05/18 3/05/18 9/05/18 To Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting Erskine Christina u abrs Sales Sue Pamboris o oik Theatre Lou Rosicky in inn Headof Fiona Winning ete lreManager, Heather Clarke aeo Še oiinDsiainsPurpose ofvisit Destination/s Position Name ofoŠcer Marketing Manager, General Tours & Retail Executive, Manager Integration Programming & Planning Operations Event rne KVisitpeercultural institutionsandattend a France, UK Korea UK Spain e eln Attend theAsia-Paciœc Venue Industry New Zealand on marketing strategy andinnovation. course attheLondon Businessshort School Show andconduct sales calls. Attend theHana Tour International Trade Opera House. undertaken similarrenewal works to the Hall Renewal andinspectvenues thathave for theOperaHouse’s upcoming Concert Conference, meet with potential contractors Theatre Engineering andArchitecture Attend andspeakattheInternational Opera House. performances for presentation atthe Meeting andtheFiver Festival to consider the inaugural International Programmers of Body, ImageandMovement, andattend board foradvisory theinaugural Biennale Participate ontheinternational curators’ Asia-Paciœc. relationships withindustrypeersacross the venue management,andbuild working Congress to gain insightinto bestpractice 25/06/18 /61 14/06/18 6/06/18 /61 8/06/18 1/06/18 19/05/18 21/05/18 From 9/07/18 26/05/18 23/05/18 To 239 240 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting section 53ofthe PPIP Act during 2017-18. The OperaHouse received noapplication under E T P Privacy Contact OŠcer enquiries about privacy issues, contact: Management Policy andPlan and/or to make latest Customer Privacy Statement, Privacy To obtain copies oftheOperaHouse’s opted into receive marketing communications. through thefree WiFi system after visitors have during FY18to reªect theuse ofdataobtained The Customer Privacy Statement was updated www.sydneyoperahouse.com. visitors to website, its are available at the privacy customers, ofits including Details ofhow theOperaHouse protects – – – – Act 2002 (theHRIPAct). Itincludes: and theHealthRecords andInformation Privacy Information Protection Act 1998 (thePPIPAct) with theprinciplesofPrivacy andPersonal and Plan outlines how the organisation complies The OperaHouse Privacy Management Policy Privacy Management

[email protected] GPO Box 4274, SYDNEY NSW2001 Sydney OperaHouse (02) 9250 7111 Customer Privacy Statement. internal reviews; and Procedures for privacy complaintsand health information held by the Opera House; How to access andamendpersonal and by theOperaHouse; personal andhealthinformation held Descriptions ofthemainkinds – – Public Interest Disclosures Act, 1994, including: disclosures policy andprotections underthe aware ofthecontent ofthepublic interest taken during theyear to ensure thatsta•are A varietyofongoingandnew actionswere and thecommunity. website for theinformation ofstakeholders and isalso provided ontheOperaHouse Policy isavailable to sta•through anintranet The OperaHouse Public Interest Disclosures received by theOperaHouse during theyear. No public interest disclosures were madeor Disclosures Public Interest

documentation for new employees. Disclosures Policy are included inall Code ofConduct andPublic Interest for sta•;and are incorporated into theCode ofConduct Public interest disclosures requirements Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting 600,000 peopleonline. An exhibition ofthe 160,000 visitors sincelaunch, its andmore than Badu hasbeenexperienced Gili by more than for the Arts. IdealistdonorsandtheAustraliaits Council The project was enabledby theOperaHouse, and MinniePwerle. Parker,Belle AlickTipoti andthelate LinOnus including Jenuarrie (Judith Warrie), Frances the work ofeminentFirst Nations artists, People. Theseven-minute animationshowcases vibrancyand contemporary ofAustralia’s First Badu isacelebration Gili of therichhistory Nations Programming AO, RhodaRoberts Week inJune2017. Curated by HeadofFirst sails, was launched onthe eve ofNAIDOC on theOperaHouse’s eastern Bennelong Badu, adailysails Gili lightingexperience Badu Gili theatre foyers afterwards. 225 schools studentsandabookswap inthe performance by ILFAmbassador Josh Pyke for was hosted by Natalie Ahmat.Itfeatured a Lester. Theevent took place inthe Studio and in collaboration withChris Aitken andAlison children from Yakanarra Community School, song bookwritten by community membersand year inarow. Theevent launched Yakanarra, a Literacy Day attheOperaHouse for theseventh Literacy Foundation presented Indigenous (ILF), withtheIndigenous team, inpartnership The Children, Families & Creative Learning Indigenous Literacy Foundation 2017-19. included: FY18 highlights completed thesecond year fourthRAP ofits a Reconciliation Action Plan (RAP). Itrecently œrst Australian centre to publish arts performing Australians. In2011, theOperaHouse was the and fostering ashared sense ofbelongingfor all embracing andcelebrating First Nations culture The OperaHouse iscommitted to respecting, Action Plan Reconciliation – Reconciliation Week activities: inthefollowingsta• participated National Fifty OperaHouse andResident Company community andwildlife. connection allpeoplehave to place, their the dreaming andacknowledges theimportant Presentation. Theshow includes of thestory Zoo’s specialNAIDOCWeek Free-Flight Bird RAP initiative, 14sta•attended Taronga In ajointenvironmental sustainability and Week events. in NAIDOCWeek andNational Reconciliation strong, withhighlevels ofsta•participation cultural engagement activitiescontinues to be Opera House sta•interest inFirst Nations Cultural Awareness andEngagement and theTorres Strait Islands. from Australiafrom sixnew First Nation artists House revealed for new Badu2018 artwork Gili During NAIDOCWeek inJuly2018, theOpera 2018.2017 toJanuary 16 Lounge enabledby Samsung from October 16 involvedartists inBadu took Gili place inthe – Cultural Awareness Program. employees completed TAFE NSW’s Aboriginal promoted to new sta•during orientation.Two module launched in 2016. Themodule is Islander Cultural Awareness onlinee-learning training viatheAboriginalandTorres Strait Almost 200 sta•completed cultural awareness added to theOperaHouse emailsignature. an Acknowledgement ofCountry hasbeen To demonstrate commitment to reconciliation, Excellence inRedfern. (NCIE) catered by theNational Centre for Indigenous National Reconciliation Week events were –

and educator JacintaTobin; Darug language workshop withmusician Art the Art & and Soul documentary; Mini œlmfestival featuring episodes from a tour oftheGadiexhibition. Excursion to theAustralian Museum for 241 242 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting AMP Capital. joining existing Homeground Event Partner First Nations programming, supporting Westpac was signedasaMajor Partner Partnerships throughout theprogram. the OperaHouse andmentoring new students sharing knowledge about theirexperience at been involved infacilitating the new programs, work experience andinternship programs have In FY18, for theœrsttime, alumni from the experience program. internships were appointed fromwork theFY17 House’s Ticketing andanother two department went onto complete aninternship intheOpera school-aged students.Two ofthese students First Nations work experience program for high House. Twenty-four inthe studentsparticipated Nations career pathprograms attheOpera Twenty-six inFirst studentsparticipated Nations CareerFirst Development Opera House events. and community leadersto beplayed before all with recordings from local Aboriginalartists Thisinitiative isbeingexpanded in2018,artists. Country was well received by audiences and all VividLIVEperformances. TheWelcome to a number ofperformances inFY18, including Darug actor Richard Green was played before An audio recording ofaWelcome to Country by Welcome to Country Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting managing risk. sets out awhole-of-business approach to House’s riskmanagementframework, which for maintaining andimplementingtheOpera culture. TheChief RiskO³cer isresponsible House places onastrong riskmanagement theOpera are testament to theimportance O³cer to theDirector, People andCulture linesforchange inreporting theChief Risk Culture (as Chief Audit Executive) andthe The appointment oftheDirector, People and improvement riskmanagementculture. ofits The OperaHouse iscommitted to thecontinual decision-making processes. ofkeyof riskto ensure riskismanagedaspart various tools for theassessment andevaluation sta• orcontractors. TheOperaHouse has employees, patrons, visitors, Resident Company with regulators; orthesafety andsecurity of experiences; our reputation; compliance stage performances; o•erinspiringvisitor of events thatmay a•ect:our to ability decision-making andminimise theimpact Risk Management – Guidelines to improve The OperaHouse uses ISO AS/NZS 31000:2018 the Treasury. NSW 15-03) published by publicsector(TPP Audit andRiskManagement Policy forthe The OperaHouse iscompliant withInternal and safety riskmanagement. (WHS) place for enterprise, security andwork health priority, withkey performanceindicators in management remains akey organisational is central to achieving our objectives. Risk e³ciently, provides and greater certainty of riskallows for resources to beallocated businessin its andthate•ective management The OperaHouse recognises riskisinherent Risk Management * Denotes work completed in FY18, with reports tabled at at tabled reports with FY18, in completed work * Denotes July 2018 Audit and Risk Committee meeting. meeting. Committee Risk and Audit 2018 July – Risk Committee inFY18: were to completedtheAudit andreported and In addition,thefollowing reviews from FY17 – – – – to theAuditreported andRiskCommittee: following reviews, whichwere completed and The FY18Internal Audit Plan included the endorsed by theAudit andRiskCommittee. Audit Executive andinaccordance withaplan Tohmatsu (Deloitte) asdirected by theChief audits were carried out by Deloitte Touche external audit providers. InFY18, risk-based audit function by contracting of theservices The OperaHouse hasoutsourced internal its (also refer Corporate Governance page 84) Auditing externalits accountability requirements. risk managementandcontrol frameworks, and about the Opera House's governance processes, overseeing andmonitoring andproviding advice provide independentassistance to theTrust by Committee, whose overall objective isto Opera House Trust’s Audit andRisk to theSydneyRisk O³cer regularly report The Director, People andCulture andChief – –

Crisis andemergency review; and Employee expenses management Strategic asset management Event managementsystem. management framework; Food andbeverage contract Privacy management; IT disaster recovery planning * * ; and ; * . 243 244 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting the Internal Audit andRiskManagement Policy for theNSWPublic Sector, speciœcally: processes inoperationthatare compliant withtheeight(8)core requirements set out in We, theTrust, are oftheopinionthatTrust hasinternal audit andriskmanagement Sydney House Opera Trust Agency Sta™ Financial Year for the Sydney House Opera Trust (“the Trust”) andcontrolled entity AuditInternal andRiskManagement Attestation for Statement the 2017-2018 3.3 The Audit andRiskCommittee thatisconsistent hasaCharter withthe 3.2 The Audit andRiskCommittee committee isanadvisory providing assistance 3.1 An independentAudit andRiskCommittee withappropriate expertise Audit andRiskCommittee 2.3 The agency hasanInternal Audit thatisconsistent Charter withthe 2.2 The operationoftheinternal audit function is consistent withthe 2.1 An internal audit function hasbeenestablishedandmaintained AuditInternal Function 1.2 A riskmanagementframework thatisappropriate to theagency has 1.1 The agency headisultimately responsible andaccountable for risk Risk Management Framework Core Requirements management intheagency has beenestablished AS/NZS ISO 31000:2018 been establishedandmaintained,theframework isconsistent with International Standards for theProfessional Practice ofInternal Auditing and control frameworks, external andits accountability obligations to theagency headontheagency’s governance processes, riskmanagement content ofthe‘model charter’ content ofthe ‘model charter’ Compliant Compliant Compliant Compliant Compliant Compliant Compliant Compliant non-compliant, orintransition whether compliant,specify For each requirement, please Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting Trust Sta• Agency. the controlled Sydney entity OperaHouse managing audit andriskwithintheTrust and processes andprocedures for appropriately and maintainedframeworks, including systems, Sydney OperaHouse Trust hasestablished These processes demonstrate thatthe – – – – Risk Committee are: The chairandmembersoftheAudit and Membership T E Marg Kaye, Chief RiskOŠcer Agency Contact OŠcer Chair, Sydney House Opera Trust Nicholas Moore

[email protected] 02 92507311 Knoblanche, 5July2017to present Independent MemberChristopher 1 March 2018 to present Independent MemberAnne Dunn, 23 March 2015 to 31 December 2017 Independent Chair Peter Mason, March21 2016to 28February 2018 2018 to present. IndependentMember, Independent Chair JillianSegal, 1March across allresponse andevent streams. training withrelevant government agencies continued to work closely onplanningand was heldon19June2018. TheOperaHouse stakeholders. Afull building evacuation exercise contractors, resident companies andother Emergency training continued for allsta•, accordingly. andreported arrangements criteria for adjusted incidents, planning continued to rigorously review theresponse planning for allstakeholders. TheOperaHouse continued, aswell asexercises inmajorevent management andbusiness resilience teams business recovery. Exercises involving thecrisis emergency response, crisismanagementand the structure andprocesses for majorevents, methodology continued to improve, including teams. Theoperationalcommand andcontrol structure ofandtraining for business resilience In FY18,enhanced the theOperaHouse further Emergency Preparedness Business Continuity and 245 246 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting Senior Executives compared with6.9% inFY17. to public senior service executives employee-related expenditure was related In FY18, 5.9% of theOperaHouse's as at 30 June 2018 3 1 2 4 Band adFml aeFml Male Female Male Female Band 4 3 2 1 Total 183,300 to 328,901 to 463,551 to 261,451 to – – – – 5 9 5 9 – 1 – 1 – – – 1 328,900 463,550 535,560 261,450 Range FY18 16 463,550 9,5 – 295,556 0,3 202,554 201,739 FY18 remuneration $ – –

Average 410,000 FY17 FY17 FY17 15 $ Remuneration Act 1975. O±ces andOther 2017 aspertheStatutory Executive Service sta•e•ective from 1July A 2.5% wage increase applied to Senior on andafter 1July2017. e•ective from theœrstpay periodcommencing the OperaHouse Enterprise Agreement 2016-19, A 2.5% increase was granted to sta•covered by on andafter 1July2017. e•ective from theœrstpay periodcommencing Service Conditions ofEmployment) Award 2017, covered by theCrown Employees (Public A 2.5% wage increase was granted to sta• Movements Wage andSalary achievements are outlined inthisreport. Trust on11April 2018. Key activitiesand business planandbudget, endorsed by the Ms Herron worked to deliver theOperaHouse of herresponsibilities. satisfaction withMsHerron’s performance Planning andEnvironment hasexpressed of The Secretary ofNSWDepartment 30 June2018: $463,550pa Total remuneration package asat Chief Executive O³cer, PSSEBand 3 Louise Herron AM Performance Statement Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting – – – – – – – Key FY18activitiesincluded: responsibility andunderpinseverything we do. all peopleattheOperaHouse isour greatest risk managementandcapability. Safety for designed to improve safety culture, systems, 2017-19 Work HealthandSafety Strategic Plan, In 2016, theOperaHouse endorsed the (WHS) and Safety Work Health

completed, exceeding thetarget of67. 69 safe work procedural reviews were exceeding thetarget of248; and 250workplace inspectionswere undertaken, the target of422; were965 logged,exceeding hazard reports 62% ofalllostwork days; accountsone claimoriginatinginFY17 for from to 145inFY17 246 inFY18. Note that workers compensation claimsincreased Total days ofabsence associated with since FY13; the FY18target of8.0 anda56%decrease decreased from 11.4 to inFY17 6.9, below The OperaHouse’s LTID frequency rate Representatives and Management Sponsors; between OperaHouse Healthand Safety Sixteen safety consultation meetings front-line sta•; on WHSissues betweenleadersand interactions, facilitating communication in60individual safetyparticipated Opera House Executive Team members – (May-December 2017) TheatreRenewalJoan Sutherland areas included: fatigue. Key activitiesundertaken inthese risk Sutherland Theatre closure, forklift safety and Three high-riskfocus areas included theJoan and permitcompliance. contractor management,dangerous goods including hazardous materials, conœned space, In FY18, risk-based 10 audits were completed, AuditsSafety – – Safety Capital Expenditure

works; and with LaingO’Rourke during construction inspections withthePrincipal Contractor Monthly safety meetingsandweekly safety nine to oneandHighrisksfrom 19to three. reduced thenumber ofVery Highrisksfrom safety risksandissues. Theproject has This haseliminated orminimised identiœed equipment, designsandwork systems. included new theatre machinery, plant, undertaken intheJoan Sutherland Theatre During FY18, majorrenewal works ∙ budgets. Key FY18projectsincluded: but cannot becovered by departmental issues thatrequire capital expenditure Building andFinance, to consider safety stakeholders from Safety, Production, held every eightweeks, withkey internal A safety capital expenditure meetingis ∙

pallet jacks,EWPs andtow truck; and additional plantandequipmentsuch as reviewed for suitabilityto beinstalledto swipe-card access. Thiscontrol is being speed control, digitalweight gauge and impact shut-down, handbrake interlock, checklist,impactdetection, pre-start features seatbelt interlock, mandatory technological control. Thesoftware Fitting allforklifts withanadditional cramped work space to focus lights. inawkward at heights positionsina task thatrequired workers to work (about $250k).Thisremoved ahigh-risk Installation ofnew orchestra barlighting 247 248 Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting related incident reports was similarto FY17.related incidentreports The number ofsta•- reported. of incidents downwards, witha22%decrease inthenumber hastrendedHouse sta•-related incidentreports Over thepastœve years thenumber ofOpera Incident (Sta¥-Related) Reports FY12–FY18 – – Safety Training – – Fatigue Management

FY12 FY13 FY14 FY15 FY16 FY17 FY18 Year and ergonomic workstation training. electrical awareness training; safety leadership; mentalhealthœrstaid;rigging; at heights; including: asbestos awareness; working safely ofFY18,was completed inthelastquarter A large amount ofsafety-related training new JST theatre machinery. were competent andsafe to operate the and technical training. Thisensured workers training, including safe work procedures included 2874 hours (51%) ofJST Renewal against thetarget of1565hours. This FY18, withatotal of5626hours achieved The safety training target was exceeded in commence inFY19. workers andunionreview. Thereview will stakeholders including management, been scoped, after consultation withkey A fatigue managementriskreview has andongoingreview.reporting ofconsultation, emphasises theimportance changes inhealthandsafety legislationand April12 2017. Theupdated policy reªects Management Policy was published on The OperaHouse’s revised Fatigue Number of sta™ incidents Number ofsta™ 207 225 158 175 215 147 174 ^ # FY12–FY18 New Workers Compensation Cases Lodged rates FY12–FY18 Lost Incident Disease andFrequency TimeInjury managementoutcomes.injury in more claims,but better return to work and a preferred medical provider. Thishasresulted ensuring thatworkers are sent immediately to has beenimplemented since March 2017, proactive management approach to injury increased compared withFY17. However, a The number ofworkers compensation claims FY12 FY13 FY14 FY15 FY16 FY17 FY18 Year Year FY12 FY13 FY14 FY15 FY16 FY17 FY18 Lost Time Injury Disease (LTID) incident rate is the the is rate incident (LTID) Disease Injury Time Lost number of work-related lost time injuries (1 day or more) more) or day (1 injuries time lost work-related of number per 1,000 employees. 1,000 per LTID Frequency rate is the number of work-related lost lost work-related of number the is rate Frequency LTID time injuries (1 day or more) per million hours worked. hours million per more) or day (1 injuries time Incident rate LTID^ 20.8 25.9 23.6 32.5 14.9 19.6 31.2 Number ofnew workers compensation cases Frequency rate LTID 15.9 10.2 15.3 12.8 11.4 6.9 8.9 20 36 45 24 24 31 31 #

Sydney OperaHouse Annual FY18 Report Financials and Reporting | Government Reporting – – – – – – Health Promotion andWellbeing – – costs isattributable to twoinjuriesin2016: from $502,000 for FY18. An increase inclaims contribution isanticipated to be$785,000, up The FY19OperaHouse workers compensation Workers Compensation Premium

ªu vaccinations. 350 workers, sta•andcontractors received provider was engaged; and A new Employee Assistance Program program; 150 workers used thefree physiotherapy the Fitness Passport program; 227 sta•membersandtheirfamilies joined and metweekly; The OperaHouse Choir was established Management Plan developed; established andathree-year Health A HealthManagement Committee was and December 2017). to about $80k between December 2016 (paid to date increasing from about $20k Deterioration inaphysicalclaim injury 2017 ofabout $80k; and in May 2017)withpaidto date atDecember A new psychological claim(reported injury Details of injuries andprosecutions ofinjuries under Details Statutory/Government Reporting Occupational Health and Safety Act 2011 Act Safety and Health Occupational notices were issued. No SafeWork investigations, prosecutions or as dangerous occurrences. those but incidents, allthree were reported NSW inFY18. Noinjurieswere sustained in Three were incidents notiœed to SafeWork 249 Sydney Opera House Annual Report FY18

Everyone in our society, no matter How to give their circumstance, should be able to experience the Opera House. Give Today Please will you make a tax-deductible gift now to help us treasure and renew the Opera House Your Gift for Children for future generations of artists, audiences Your gift makes the Opera House a place where and visitors, and ensure the Opera House is children are welcomed and where we can help open to all. create a life-long love of the arts. Give now at sydneyoperahouse.com/give Your Gift for Community Access or contact us at +612 9250 7077 or Your gift helps families who experience social [email protected] or œnancial disadvantage to take part in the Every gift makes a di•erence. wonders the Opera House has to o•er.

Give Timelessly Your Gift for People with Disability Make the Opera House part of your life story, Your gift enables barrier-free access to the or honour a family member or loved one, by Opera House for people with disability and making a gift to the Opera House in your will. makes the experiences it o•ers accessible to all. A gift in your will is a meaningful way to continue to celebrate your love for the Your Gift for Education Opera House and make a lasting contribution Your gift allows school students from around for future generations. Australia to experience the Opera House ‘virtually’ through our acclaimed interactive Contact, in conœdence, Janelle Prescott digital education programs. Philanthropy Manager, on +612 9250 7077 or [email protected] Your Gift for Indigenous Access Donations of $2.00 or more to Sydney Opera Your gift brings Indigenous artists from across House Trust (ABN 69 712 101 035) are tax Australia to perform at the Opera House and deductible for the purposes of Australian provides practical work experience for young tax law. Please contact us for international Indigenous Australians. tax-deductible gifts.

Learn More Learn more about the Idealists, the Opera House's by-invitation donor group. Contact Crispin Rice, Head of Philanthropy, on +612 9250 722 or [email protected] Acknowledgements and Contact

251 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Erin Flaherty & A/Prof Michael J Neil ~ Donors who Matthew Muller & David Maloney AM ~ Lex Thornton James Orlando have made a gift Our Donors Chris Freeland AM & in their will The Penn Foundation Catherine Powell Nicole McKenna Martin Portus David Redhill ~ Matthew & Colin Adams Lindy Ryan Bridgett Fuller Bob Richardson ~ Richard Adams Adj Assoc Prof Kathleen & Kylie Rampa Michael Foley Anna Shepherd Danny Gilbert AM ~ Thank you to our donors Janne Ryan ~ Donna L St Clair Bronwyn Simons Diane Grady AM * Penelope Seidler AM The late Colin A Foster Andrea Socratous Christina & Thank you to all our donors for your tremendous support. You help us Kathy & Greg Shand ~ The late R Furman Susan J Spencer secure and renew the Opera House for future generations of artists, Maurice Green AM Ben Smith ~ The late Joy Lindsay audiences and visitors, and ensure the Opera House is open to all. Leslie & Ginny Green Anonymous Zandra Stanton ~ Kathryn Greiner AO Anonymous (1) Stephen Wells & Charlie Taylor ~ Mischa Way We are especially grateful to our founding donor groups for your loyalty Sue Gri³n ~ Gabrielle Trainor AO ~ Circle of Friends Fiona Winning and ongoing generosity which allow us to plan reliably for the Opera Tony Grybowski ~ Brook Turner ~ House’s future. Our Founding Donors (*) have supported the Opera House Gail Hambly ~ Circle of Friends Virginia Turner ~ since the introduction of the Opera House's philanthropy program in 2007 Matthew Harris Inner Circle Founding Donors and our Founding Idealists (~) are the œrst members of the Opera House’s Phil Vernon ~ Founding Donors Sally Herman P & L Bendrey by-invitation donor group, established in 2013. Our Greats donors (^) Sam Walsh AO ~ Emily Chang Bruce Herron & Margaret Bradbery enable the presentation of great international orchestras and artists while Elizabeth Mark ~ Sara Watts ~ Suellen Enestrom Janet Broady our Brave donors (+) enable bold artists in new and emerging art forms Hal & Linda Herron ~ Sam & Judy Weiss ~ Ryissa Fogarty Stan Conner across our contemporary program streams. Deborah Jones Ray Wilson OAM ~ Life's Opportunities Linda Curnow Andrew Kaldor AM & Phillip Wolanski AM * ~ Ian & Pam McGaw Renata Kaldor AO *~ Nancy Dickman Visionary Idealist Catalyst Idealist Enabling Idealist Idealist Carolyn Stewart-Smith John Kaldor AO & Naomi Elizabeth Donati Leonie & Peter Szabo Milgrom Kaldor AO The Balnaves Helen & Colin Adams Raymond Dudgeon Robert Albert AO & Anonymous (1) Foundation *~ David Ba•sky AO ~ Jane Kift * Libby Albert * Richard Adams Maadi Einfeld Neil Balnaves AO *~ Chris Knoblanche AM ~ The Alexandra & Lloyd Matthew Allchurch ~ Inner Circle Sally L Glover Inspirer Idealist Martin Family Foundation * Damian Borchok + Hugh Lamberton Pauline Gri³n AM SJ Bell * Annette Adair The Bikuben Foundation The Hon Helen Coonan ~+ Anne & John Leece AM Xiao Ming Han Ingrid Kaiser ^ Charlene & Shar Adams Beverley & The Greatorex Foundation * Graham Bradley AM ~ Colleen & the late Rebekah Hunter Sheli Lubowski ~^ Phil Birnbaum *^ Robert Leece AO RFD * Jane Albert & Julian Knights AO ~+ Catherine Brenner ~ Andrew Fisher Margaret Keogh Anonymous (1) Clark Butler & Joesphine Linden Louise Herron AM ~+ Dr Eileen Ong ~^+ Timothy Calnin Annabelle Chapman Jennifer R Lean-Fore Frank Macindoe ~ Patsy Crummer *^ Rebel Penfold-Russell OAM * Connie Carnabuci Georgia Cordukes Bob & Linda Max Utzon Idealist Dan Mackenzie ~ The Dreyer Foundation Stephen Pollitt ~ Paul Cave AM *~ Catherine Cunio Joan Millard AMP Capital Ruth & Bob Magid Nora Goodridge ^ Crispin Rice ~ Professor & Mrs Dr & Mrs B Dutta Giovanna Ng Rae Assender David Celermajer AO ~ Michael Markiewicz ~ Peter Joseph AM ~ Margaret Sixel & Toni Frecker Lorraine Nicholls Andrew Cameron AM ~ Dr George Miller AO * Kieren Cooney Alexandra Martin *~ Helen Lynch AM Linda Herd Evan Petrelis Betsy Z Cohen & Helen Bauer ~+ Ross Steele AM ~+ Phillip Cornwell & Louise Mason ~ Cecilia Rice ~ Kimberly Holden Elizabeth Pryce Michael & Kate & Lucy Turnbull AO & The Kate Mason *~ Hon. Malcolm Turnbull ~+ The late Joanne Jakovich Rosario Remedios Manuela Darling ~ Peter Mason AM *~+ Jane Mathews AO ~ Michael Crouch AC ~ Ken Turner ~ The Cary James & Anne Dr Christine Riordan Robert Hansen & The Obel Family Julianne Maxwell ~ Ian Darling AO ~ Witheford Foundation Dr Annabelle Farnsworth Foundation Pamela Turner ~ Smylie Family Deidre & Kevin Miranda Darling Tobias ~ Susanne James Nicholas Moore Roslyn Packer AC ^ McCann AM ~ Charles Solomon The Hon Mrs Ashley James Kirby & Jillian Segal AM ~ Joseph Skrzynski AO * Sophie McCarthy Roslyn Wincester Dawson-Damer AM Claire Wivell Plater & Tony Green ~ Val Wood Ann Sherry AO & Ezekiel Solomon AM ^ Matthew Lorrimer Michael Hogan ~ Greg Dean Sydney Opera House Wendy McCarthy AO ~ Carolyn Wright Mandy Drury Carina Martin Ladies’ Committee *~ Tim McFarlane AM ~ Anonymous (9) Anne Dunn & Judith McKernan Creator Idealist The Utzon Foundation Michael Musgrave~ Patricia Buick Dr Jean McPherson Peter Weiss AO *~^ The Wolanski Foundation * Ros & Paul Espie AO Dr David Millons AM

252 253 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Circle of Friends Kate Allan Glen Archibald Alexandra Baer Paul Barratt Helen Belcher Marcus Birrell Susan Borthwick Sherif Abadir Alice Allen John Arena James Bagnall Patrick John Barrer Dr Yvonne Belessis Sian Bishop Glenn Borwick Francois Abbet James Allen Jared Argetsinger Ella Bahen Fernanda Barrera Jack Belfer Stephen Bishop Zelimir Bosanac Benjamin Abbey Jane E Allen Ana Arguedas Rob Baillie Michael Barrett Alan Bell Fraser Black Claire Boskett Craig Abbott Patricia Allen Carlos Ernesto Tanya Baily Jann Barry Connie Bell Maureen Black Leigh Bosman Katie Abbott Phillippe Allen Arias Daza Paul Baines Lesley Barry-Cotter Graham Bell Tracy Blackadder Rodolfo Pablo Bosque Ken Abbott Sophie Allen Jezza Armer Michael Baird Alexandra Barter Jean Bell Georgia Blackie Andrew Botœeld Roseanne Abbott Leah Allingham Amanda Armstrong Timothy Baird Janet Barth Jenny Bell John Blackwell C Bourke Imran Abdullah Debbie Allison Gareth Armstrong Leo Bajzert Nicole Barton Jess Bell Matthew Blades Dominique Bourrigan Dr Nicholas Abel John Allsop Bem Gloria Armstrong Jono Baker Sam Bashford Dr Lucinda Bell Heidi Blair Steve Bowden Kristin Abela Lauren Alnaser Marcelle Armstrong Kea Baker Mark Bassett Susan Bell Carolyn Blake Allie Bowes Rehan Abeyakoon Sarah Alomairi Toni Armstrong Pamela Baker Michael Bassula Justine Belobraydich Simone Blake Mark Bowey Helen Ablett Viktor Alouker Patricia Arnott Nicolaas Bakker Mark Bastick Sergei Belov Maureen Blakeney Jennifer Bowie Jane Abma Sophie Alpen Emily Arthur Gerard A Bakkers Dr Catherine Nicola Belton Sean Blamires Debra Bowman Bateman-Steel Mirciulina Aciu Garth Alperstein Sherryn Arthur Antonia Baldo John Benage Eloise Blanchard Brenda Boyd Julie Bates Josh Acton Gregory Alt Marco Ascolani Laurance Baldwin Lindsay Benaud Lourdes Blanco Sandra Boyd Lucy Bates Claire Adaire Luis Alt Craig Ashcroft Robert Baldwin Helen Bendall Marion Bland Liz Boyle Rebecca Bath Melissa Adam Irmgard Altenhuber Shelley Ashe JB Ball Philip Benedictus Beti Blazevski Joanne Boynton Francesc Batlle Perales Carlie Adams Monika Amann Mark Ashover Sally Ball Justin Beneke Stuart Blieschke Anna Bozzetto Dr Tim Batt Melanie Adams Kasun Amarasinghe Dori Ashton Niels Ballebye Janice Benna Taryn Blissett Shane Braddick Nick Batten Robyn Adamski Marc Ambroggi Dr Hassan Asmar Irene Balleine Alison Bennett Sean Bloch Taminya Braddick Aleisha Baty Julie Adamson Wendy Amesbury Jeanette Asselin Richard Balme Beverley Bennett Lawrence Block Rosalinde Bradœeld Alex Baudinet Kerry Adby Amanda Amsha Alejandra Astorga Linda Balmer Paula Bennett Wilhelmina Bloem Robert Bradley Monika Baur Mark Addis Elena Anagnostopoulos Paula Astrinos Emilia Banic Gary Bensing Marny Blom Rosalind Bradley Amanda Baxter David Addison Ben Anastasi Dr Maria Athanassenas Barbara Bankovsky Janice Benton Kya Blondin Bronwyn Braham Jacinta Bayder Minela Addison Sophia Anastasiadis Susan Attwood Garret Bankowski Lindsey Benz David Bloom Karen Brailey Anthony Bayley Irma Adler Paula Andary Ann Aulabaugh Raechelle Banno Matias Berbis James Bloom Barbara Braithwaite Julie Bayliss Tracy Adreon Jennifer Andersen Samantha Austen Norman Lee Bannor Jr Mary Bergin Susan Blunsden Steve Brammer Jan Beach Brett Aghan Peter Andersen Dr Bruce Austin Mary Bao Geo•rey Berkley Yves Boeni Ursula Brand Daniel Beadle John Agnew Kelvin Anderson Carol Austin Nam Bao Kathryn Berney Jette Bollerup Marijke Brandjes Allison Beagley Paola Agredo Monica Anderson Emma Austin Ines Baptista Scott Berry Craig Bond Judith Braudy Margaret Beard Sean Ahearn Susan Anderson Janie Austin Wame Baravilala Carolyn Berryman Jeremy Bond Concepcion Bravo Kerri Beardow Chris Ahern Arne Andersson Joseph Awad Thomas Barbat Myles Bertrand Ivana Bongiorno Elizabeth Bray James Beattie Raju Ahmed Hiroto Ando Lisa Axford Cindy Barber Rani Berwick Michael Bonney Francis Breen Faye Beavan Younghoo Ahn Julie Andrews Thomas Axford Natalie Barbir Peter Best Emily Bontempo Michelle Brenner Donna Beazley Lana Al Abl Kerry Andrews Nedim Aydogdu Fiona Barbouttis Irene Bezemer Jannie Boon Daryl Brenton Guillermo Becerril Majed Alabdullatif Nicolas Andronick Emily Ayling Danica Barisic Nikhil Bhatt Witsarut Boonsri Jan Brenton Stefan Beck Suzanne Alam Frank Angeloni Patricia Azarias Peter Barker Satty Bhens Susie Boot Marie Bridger Daniel Beecham Renee Alborough Richard Ankers Nathan Azouz John Barlow Shazz Bhunnoo Dian Booth Phil Bridges Rosanna Beedles Sonia Alchin Fidelis Ansah Erin Azzopardi Alison Barned Audrey Bidaud Jenny-Lee Booth Madeleine Bridgett Denise Beeftink Zaid Al-Doori Angela Anson Jemma Azzopardi Belle Barnes Tamzyn Bielecka Karen Booth Alexandra Briggs Ian Beehag Nicola Aldridge Tam Anstess Penny J Baburin Laurie Barnes Dr Grant Bigg-Wither Robert Booth Janet Briggs Kate Beek Kim Alexander Bejoy Anto Garry Bachell Louise Barnes Kevin Bilash Stephen Booth Michael Bright Jasna Beerden Hatem Alhefny Angela Apostolidis Dr Joe Baci Peter Barnes Krish Bilimoria Karla Boots Oliver Brighton Sandra Beesley Ahmad Aljaili Tom Apps Jonathan Bader Rebbell Barnes Anne Biller Patchareewan Jack Brinkman Kathryn Begle Boriboonsate Lorrina Al-Khouri Gabriel Araujo Ante Badzim Emma Barns Kate Bingham Susan Brinsley Mary Jane Beilby Tanja Boric Nadine Allaf Mittchell Archer Richard Baecher Brendan Barr Paul Binsted Alan Broadbent

254 255 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Jo Broadbent Carol Burœtt Ricardo Camargo Dianne Carruth Chris Chapman Mary Choueiri Jeanette Cluss Amanda Corcoran Rowena Broadbent Zuzu Burford Anne Marie Cameron Angus Carter Janice Chapman Jane Choy Jon Cobb Rachael Cordina Kate Brock Hazel Burke Jacqueline Cameron Peter Carter Robbie Chapman David Christie Monica Cobuzio Owen Corke Peter Brock Nancye Burkevics Prue Cameron Scott Carter Sandra Chapman Kenneth Christie Amber Cochrane Jo Ann Corkran Helen Brogan Anne Burley Matthew Camp Craig Cartner Dina Charmokly Jerome Christilla Laura Cockburn Catherine Cornford Robert Brooke Michael Burling Anna Campbell Adam Caruso Julianne Chase Nicola Christoforos Mariano Coello Gregory Corr Carylanne Brookes Nicholas Burnes Barbara Campbell Lyn Caruso Kirsty Chase Kevin Christopher Francoise Coirier Jennifer Corrales Cheryl Brooks Ashleigh Burness Benjamin Campbell Renato Carvalho Ray Chau Chloe Chu Tomas Cokis Brian Corrigan Conrad Brooks Carly Burns Carole Campbell Catherine Casazza Stephanie Chau Cora Chu Gisele Cole Melanie Corthine Jennifer Brooks Christine Burns Danny Campbell Tom Casey Changwei Chen Dott Chu John Cole Maurissa Cosgrove Lynne Brooks Dannielle Burns Gary Campbell Anne Cashman Chen Chen Ti•any Chu Myung Cole Esther Cossman Alicia Brown Matthew Burraston Gillian Campbell David Casillas Emily Chen Cassandra Chua John Coleman Anthony Costa Amy Brown Liz Burrell Lilian Campbell June Cassell Hsinyin Chen Esther Chung Bernard A Coles QC Lee Costa Beryl Brown Penelope Burrough Margaret Campbell Peter Cassidy Kevin Hui Chen Yuogang Chung Cheryl Collarini Christina Costaridis David Brown Deborah Burton Narda Campbell Cynthia Cassinelli Melody Chen Anna Cid Graciela Collazos Dr Donald Costello Dawn Brown Lisa Burton Jacques Campe Nathalie Casten Wen-Lin Chen Roman Ciereszko Teue Collier Carolyn Cotman Jonathon Brown Michael Burton Arianna Canato Marilyn Castillo Xuchu Bosco Chen Ian Clack Roland Collingwood Jennifer Coughlan Justin Brown Sue-Ann Burton Paul Candy Deanne Castronini Ying Chen Alison Clapson Alex Collins John M Courtney Liane Brown Stephanie Bush Jon Cane Jodie Catherine Jia Cheng Venice Clarina Dianne Coman Carolyn Cousins Michelle Brown Anders Buskas Phillip Canning Wade Cattell Dr Bruce Chenoweth Dr Elizabeth Clark James Combe James Cowan Paul Brown Sue-Ellen Bussell Cristina Cannon Michael Causer Wang Chenyu Jennifer Clark Jennifer Compton Nicholas Cowell Ray Brown Tim Butcher Graeme Cant Jennifer Cavanagh Felix Cheung Kathleen Clark Christine Condos Coco Cox Sam Brown Frank Buthe Valerie Cantwell Elle Cee Gim S Chew Lyndon Clark Linda Conley Daphne Cox Sharyn Brown Jennifer Butler Kristone Capistrano Manxian Cen Chang Chia Jung Margaret A Clark Kate Connolly Lucinda Cox Suzanne Brown Marcus Butler Maria Caponas Nicole Cerisola Jacquelyn Chia Rebecca Clark Gerard Connors Gary Coxon Tony Brown Annette Butt Doubile Cappano Jodie Cesca Kwok Kwan Chiang Scott Clark Carl Conrad Annette Cragg Trish Brown Natasha Butterworth Anna Cara Penny Chai Meng Sheng Chiang Joanna Clarke Cherise Conrick Aaron Craig Sandy Bruce Akina Button Barbara Carbonell Georgina Chakar Dr Elizabeth Mary Chiarella John Clarke Michael Conyers Robin Craig Dirk Brugman Belinda Bvrown Stephanie Caredes Roberta Chakr Caroline Chick Justine Clarke Darren Cook Nicholas Cram Lucy Brunero Heather Bygrave Damon Carey Scott Chalmers Kerry P Chick Liz Clarke Geraldine Cook Kerry Cramp Naomi Brunton Gaither Bynum Matthew Carlin Nicolas Chamberlain Judith Chiddy Michael Clarke Heather Cooke Frances Crampton Ainsley Bryant Emma Byrne Michelle Carlin David Chambers William Chidiac Sarah Clarke Stephen J Cooke Gregory Crandall Robert Bryant Lynette Byrne Karyn Carlsen Melanie Champion Filomena Chiment Matt Clarkin Joshua Coombes Joseph Craven Anna Buch Helen Bytheway Rolf Carlson Adrian Chan Delia Chin Doug Clary Adrian Cooper Dr Breen Creighton Heather Buchanan Patricia Cahalan Charlotta Carlstedt Chris Chan Barnabas Ching Mary Clayton Aliya Cooper David Crepaldi Alison Buck Betty Cai Michael Carman Daniel Chan Jet Eu Ching Felicity Cleaver Denise Cooper John Crocker Medwenna Buckland Tiantian Cai Helen Carmody Felicia Chan Trudy Chisholm Joel Cleaver Greg Cooper Helen Cronin Kylie Buckley Nicole Cairney John Carmody Laura Chan Richard Chitwood Nick Cleevely Helen Cooper Noreen Cronin Rajeev Buddi Carol M Cairns Megan Carmody Steve Chan Jane Chiu Danielle Clement James Cooper Shari Crookes Adrian Buehler Lyndall Calcraft Laura Carr Vivian Chan Carol Cho Catherine Clifton Karen Cooper Roy Crossley Austin Bu•um Lily Calderbank Michael Carr Hira Chand Jaehyuk Cho Tania Climent Kerman Cooper Elizabeth Crowley Yasmin Bujdoso Jacinta Cali Nicki Carr Diana Chang John Cho Peter Clissa Kevin Cooper Monica Crusellas Steve Bujeia Rachel Callaghan Deborah Carrera Hsin Yu Chang Yong Won Cho Olivia Clive Kristen Cooper Leonardo Cruz de Almeida Geraldine E Bull Lori Callahan Michelle Carrick Mao Jui Chang Bec Choat Joanne Clothier Stephanie Cooper Elva Cruz Ian Bullock Maree Callinan Jarrod Carroll Meng-Chuan Chang Ho Sun Choi Robyn Clout Nada Coorey Serena Cubie John Bund Linda Camara Nicole Carroll Yuhn Chang Jinyong Choi Doris Clow Toni Coote Bronwyn Culbert John Burcher Alvaro Camarero Philip Carroll Beth Chant Wonki Choi Anthony Cluett Juliette Copini

256 257 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Isaac Culgan Gabrielle Davis Althea Deterville Annette Donaldson Hung Eason Craig Evans Juliana Ferreira Amelia Ford Damon Cummins Brooke Davis Heather Lynda Donaldson Patricia Eastley Erin Evans Samuel Ferris Scarlett Ford Deura-Thompson Lucinda Cunial Bruce Davis Luchun Dong Catherine Easton Je•rey Evans Brigitte Feton Matilda Forell James Devenish Ann Cunningham Coleen Davis Charles Donnelley Paul Easton John Evans Carmela Ficili Graham Forshaw Sally Devenish Beth Cunningham David Davis Christine Donnelly Elissa Eastwood Katy Evans Nicole Fidler Maria Foss Amethyst Devonald Mary Cunningham Jan Davis Cathy Donney Sally Eaton Laura Evans Roman Fidyk Alex Foster Judith Dewar Matthew Curd Kristie Davis Mark & Klaus Eberhardt Mark Evans Allan Fiedler Keith Foulcher Ed Dexter Amanda J Donovan Marie Curtis Rachel Davis Christine Ecob Penelope Evans Jack Fieg Emili Fox Nitin Dhond Mark Donovan Paul Curtis Sharon Davis Jane Edgar Sally Evans Jack Fiehn Julie Fox Vincenzo Di Pietro Simon Donovan Tom Curtis Stacey Davis Barbara Edge The Hon Justice L'Annie Field Michael Fox Jose Manuel Diaz Jane Dooley Elizabeth Evatt AC Diana Cutelli Stuart Davis Sharon Edington Christa Fieldsend Simon Fox Cuadrillero James Dooling Brett Evens Robert Cuthbert Tim Davis Dr Ian Edmiston Julianne Figar Daniel Fradkin Maria Mercedes Rebekah Doran Dr Dennis Everingham Marije Cvetanovski Kim Dawkins Diaz Reyes Nadine Edworthy Pablo Figueroa Leslie Franchi Andrew Dowling Jeannette Chago Agnes V Czeiger Kristy Dawson Marietta Diaz Anna Egeressy Jasmin Finka Dawn Francis John Dowling Dr Chris Facer Lin Da Angelina Day Louisa Dibble Michael Eggett Julie Finlay Lyma Frangie Laura Dowling Diane Fagan Nikoo Dadgar Phillip de Boos-Smith Paul Dickerson Peter Eichhorn Paul Finlay Joan Frank Margaret Dowling Emma Falkner Jean Guy Daigle Heath De Burgh Martin Dickey Wendy Eisenshtadt Georgina Finn Christopher Franks Katie Downey Andrew Fan Leigh Daley Pat De Gasperi Dana Dickinson Lisa Eismen Terry Finn Kate Fraser James Downs Li Fan Lynne Dalton Andrea De leon Lara Dickinson Michael El Samra Vicki Fiorentino Peter Frawley Sue Downward Frankie Fang Rebecca Dalton Elden De Leon Peter Dickson Susan Elder Joanna Firth Jo Freeman Anthony Drake Yolanda Fang Sharon Dalton Bruno De Mello Bruna Didonato David Eldridge Cecily Fisher Melisa Freestone Maisha Draves Aaron Farmer Margaret Daly Louis De Silva Christa Diegelmann Deborah Eldridge Kylie Fisher Hilda Freibergs Cathryn Drew Janice Farr Eileen Daly-Sapraicone Damien De Sousa Dominica Digby Victoria Elegant Meredith Fisher Denise French Jerry Drew Camille Farradas Sarah Dam Luiz Roberto De Souza Janet Digilio Annie Elliott Nicholas Fisher Janis Frezza Stephanie Drummond Matthew Farrell Anthony Damian Denise de Vries Diane Dimech Judith Elliott James FitzGerald Janine Friedrich Cheryl Drummy Victoria Farrelly Katherine Dang Glenda Dean Bryan Dimick Tamesin Elliott Margaret Fitzgerald Ewan Frith Selina Drury Ray Farrugia Thomas Dangelo Graham Dean Martina Dimitrova Beverley Ellis Shane Flanagan Katherine Fritsch Mengtian Du Fernanda Fartes Jeannie Daniels Michael Deane Sandra Dineen Nicola Ellis Stephen Flanagan Gail Fromer Luis Duarte Zoish Fatakia Magdalena Danysz Susan Deane Jane Dinte Paula Ellis Kent Flandro Helen Frost Jan Dudley Sam Fatrouni Julie Dascenzo Timothy Dedman Freddy Disch Kerry Elphick David Fleming Mark Frost Anna Dufall Margaret-Anne Faulds Colette Dash Fiona Dee Jonah Disend Bo Hejlskov Elven Michael Fleming Robert Frost Stephanie Du• Julie Faulkner Lisa Davenport Austin Delonge Maria Diswe Johanna Emond Carolyn Fletcher Bryan Fry Alyssa Du•y Dr Steven Faux Walter Davern Mel Delooze Kevin Dix Linda Emsalem Janice Fletcher Christine Fu Philippa Duªou John Fawcett Lovett David Salvo Delorenzo Ashok Dixit Michael English Robyn Flower Helen Fuchs Rebecca Duggan Lisa Fawkner Meryl David Eirene delos Santos Emma Dixon Zita Enloe Roland Flueeler Karren Fuerst Cathy Duloy Kathleen Fearon Warren David Marjolein Demmer Glenn Dixon Kathrina Isabel Epino Brian Flynn Motoe Fujimori Camille Dumont Johanna Featherstone James Davidson Wanda Dempster Ramadhan Dja•ri Markus Erlinghagen Michael Flynn David Fulcher Lindy Dumoulin Jodi Fedor Rebecca Davidson Hui Deng Arkin Djemal Sonya Errington Niall Flynn Guy Fullerton Fay Duncan Shulang Fei Edward Davie Lily Deng Slobodan Djordjevic Mergim Esati Andrea Fogarty Joseph Fulton Natasha Duncan Bruce Feinerman Amy Davies Yushi Deng Adela Dodd Marilyn Escosa Dr Matthew Foley Mathew Fulton Marc Dunstan Alison Fenech Elaine Davies Jacqui Denning Belinda Dodds Ervin Espock Tony Folino Kodai Fumoto Gregory Durbridge Ziqian Feng John Davies Eleanor Dennis John J Doherty Ernest Estacio King Ho Fong Melissa Fung Joanne Durcan Joshua Fenton Karen Davies Margaret Dennis Patrick Doman Daniel Esteban Romero Justine Fonmanu Wilan Fung Cameron Dwyer Steven Ferlazzo Kathleen Davies Katrina Dennison Susan Don Lara Ette Angela Forbes Alice Gabir Katherine Dwyer Sean Fernandes Michelle Davies Roslyn Dent Cindy Donadel Violeta Ettle Clay Forbes Megumi Gabroy Pam Eadie Angel Fernandez Sarah Davies Dr Evelyne Deplazes Julie Donald Roberto Etzi June R Forbes Audrey Gachet Timothy Eakin Isabel Fernandez-Mateo Simon Davies Sister Anne Derwin Vanessa Donald Lucia Evangelista Patricia Forbes Eric Gale

258 259 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Roslyn Gale Idil German Dr Maggie Goldie Sharon Gregory Sally Hall Andrew Harrisson Amy Heisler Sabrina Hilton Angela Galeano John Gerrard Dr John Golding Nicholas Griezel Tim Hall Aad-Henning Harsveldt John Heldoorn Kerrie Hindle Clement Gallagher Jason Ghanem Matthew Goldman Janice Gri³n Vi Hall Eugene Hart Hugh Helleman Pia Hirsch Kathryn Gallagher Habib Ghosn Sharon Goldschmidt Laurie Gri³n Wendy Hall Kerri Hartley Anne Henderson Steve Hislop Mildred Gallegos Barbara Gibbs Claire Goldsmith Philip Gri³th William Hall Jonas Hartmann Martin Henderson Chris Ho Gerald Gallivan Alex Gibson Giselle Goloy Adam Gri³ths Gillian Halliday Daniel Hartvig Judith Hendra Man Yu Ho Catherine Gallo Alexandra Gibson Leslie Gonye Darrell Gri³ths Aidan Halloran Kevin Hartwell Damian Hendricks Quoc Thinh Ho Sarah Gallo Colin Gibson Eduardo Gonzalez Jo Anne Griggs Diane Hamblin Karen Harvey Phil Hendrie Seng Liang Ho Allan Galloway Denise Gibson James Gonzalez Albrecht Grimm Rosemary Hamill Sandra Harvey Michael F Hennessey Taquin Ho Caitlin Galvez Elizabeth Gibson Lisa Gooch David Grisedale John Hamilton James Harvuot Catharina Hennessy Tsz Yan Ho Jeanette Galyer J L Gibson Livvy Gooch Katarina Grobler Susan Hamilton Alana Harwood Courtney Henry John Hobbins Craig Gambrill Latoya Gibson Alex Goodall Ruediger Gromzig Sophie Hamley Wihardjo Montana Henry Ian Hobson Tjahjono Haryanto Markus Gamenius Martin Giddings Amy Goodloe Jacky Gruszka Robert Hammond Anne Henshaw Jo Hodge Go Hasegawa Valerie Gan Hamish Gidley-Baird Virginia Goodman Anthony Guarna Michelle Hammons Amelia Hepburn Sjonelle Hodgins Mizue Hashizume Pravin Todd Giedt Susan Gopperth Stefano Guazzone Angharad Hampshire Luke Herbert Alan Hodgkiss Ganesanandamoorthy Alison Hassanein Leah Giessing Mitchell Gordon Marcelo Guckenheimer Karen Hamstra Sophie Herbert Bernadette Hodgson Wang Gang James C Hassell Glenn Gi•ard Joanna Gore Letitia Guillou Sanghee Han Debra Herd John Hoey Sally Gangemi Noah Hastings Lachlan Gilbert Jackson Goss Erika Gulle Kalmanova Hana Nanette Herlihen Nathaniel Ho•man Jane Garcia Marshall Hatley Victoria E Gilchrist Katsuhisa Goto Kate Gullett Peer Hanich Joanne Hermens A Hofmann John Garcia Karen Hatton David Gilford Koichi Goto Dr Janice Gullick Tom Hannon Felicita Hernandez Antoinette Hogan Greta Gardner Rebecca Hauri Harsharn Gill Rebecca Gottsegen Catherine Gunning Ann Lisbet Hansen Marylou Herron Cathy Hogan Nathan Gardner Sandra Hava Kevin Gill Julia Gough Michelle Gunton Janet Hansen Bob Herzog Lisa Hogan Derek Garœnkel Susan Haverœeld Susan Gilles Philip Gough Clare Guo Li Hao Jittra Hes Geo•rey Hogbin Beverley Garlick Judy Hawes Helen Gillespie Alan Goulburn Mauricio Gurman Duane Harbaugh Glenys Hess Garry Hogden Beverley R Garlick Howard Hawkins Vivien Gillett Kylie Gould Indra Gurung Johann Hardarson Linda Hess Kelly Holder Beverlee Garmett Jacqueline Hay Shiralee Gillies Tanya Gould Mary Guth Jennifer Harding Oliver Hessian Dorothy Holland Katharine Garner Laura Hayden Denee Gillin Ann Gourlay John Guydan Julie Harding Andrew Hewer Marie Holland Deb Garrett Lani Hayduk Edwin Gin Heather Gow Fabiola Guzman Kim Harding Peter Hewett Kay Holliday Josh Garrison Daniel Hayes Theresa Gin Reegan Gowing Nora Gyenis Todd Nigel Harding Ian Hewitt Russell Holliday Marica Garvey Allistair Hazard Marissa Girardi Robert Granger Rhiannon Gysen Victoria Harding Sharon Hewitt Darien Hollins Matthew Garvey Rebecca Hazel Chris Girdler Pauline Grant Joshua Hopwood Georgie Hare Virginia Hewitt Kimberley Hollis David Gaskell Willem Gerrit Hazelaar Arnaud Giroud Pi•oz Andreas Graulund Toja Haberleitner Julie Hare Dave Hewzog Garth Holloway Anthony Gates Anne-Marie Hazell Neill Girvan Philip Graus Katrina Haddad Steve Hare John Hexton Peter Holman Louise Gault Cleyde Hazell Ste•en Gitter Annette Gray Roger Hadgraft Bu•a Hargett Wendy Heydecke Genelle Holmes Steve Gawley Graeme Head Jill Gladstein Deborah Gray Regine Haertel Leonie Harkin Michael Hicks Georgina Holmes Tahlia Geach Michael Heaney Suzanne Glavas Nicole Gray Hasan Haider Leigh Harlett Mitsuru Higa Margaret Holmes Leslea Geary Ian Heard Allison Glick Crystal Greaves Joanne Haigh Katie Harper Gwen Higgins Murray Holmes Louise Geddes Alan Hearne Marcia Glomb Martin Greaves Lynn Haining Zinta Harrington Krystal Higgison Emily Holt Ursina Gees Anita Heath Steven Glynn Clement Grech Dr David Hale Anjali Harris Stephanie Higham Jo Holt Linda Geisker Julie Heath Susan Goddard Paige Greco Lisa Hale Chloe Harris Jeannie Highet Sarah Holt Finn Geisler Justin Heath Debbie Godenzi Donald Greeley Janice Hales Jonathan Harris A Hill Jenny Hong Josh Geldart Benjamin Heathwood Keith Godfrey Tom Green Biljana Haljicki Mary Harris James Hill Jo Hong Ciaran Geoghegan Olaf Hebecker Nicole Godfrey Katrina Greenaway David Hall Thomas Harris Louise Hill Robert Hooper David George Michelle Hedi Darren Godsmark Jon Greene Elaine Hall Nicola Harrison Ron Hill Emmalee Hope Diane Gerace Edmund Heide Alexander Goersch Andrew Greenslade John Hall Dr Pat Harrison Terrel Hill Margaret Horan Eva Gerber Betty-Ann Heim Kristine Goetz Jannette Greenwood Margaret Hall Stacey Harrison Sam Hillard Carole Horgan Sandy Gerelli Inn Heintze Kenneth Mark Goins Anne Gregory Robyn Hall Tricia Harrison Chris Hills Nobuyuki Horiuchi

260 261 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Sandy Horne Nigel Hutchence David Jarman Kylie Jones Greg Kary Eunsun Kim Serena Kong Tricia Lacount Alexander Corinne Hutchins Monica Jarman Merle Jones Charmian Kater Gooyun Kim Tadashi Kono Shruti Lad Horneman-Wren Alison Hutchinson Caroline Jarocki Michala Jones Lucy Katz Hyuneun Kim Phillip Konstandaras Steven Laface Tui Horo Hilary Hutchinson Elise Jaye Sandy Jones Michelle Katz Ji Yeong Kim Liana Kontista Mercedita Daniel Horth Laœguera-Ang Evangeline Hutton Anna Jechowska Syd Jones Paula Katz Jinhee Kim Mei Koon Joanna Horton Simona Lai Jemima Hutton Stephen Jedovnicky Vicki Jones Akira Kawata Jongwoong Kim Simone Kopriva Trudi Hosking Sum Yin Lai Thien Huynh Youngeun Jee Zoe Jones Rajiv Kayath Mijeong Kim Elisabeth Kopsieker Parisa Hosseinnia Leanne Laidler Peter Hwang Lyn Jenkins Irini Jordan Luba Kaye Sooyeun Kim Mark Korgul Dianne Hough Pirjo Laine Anthony Hyde Pauline Jenkins Jo-Anne Jorgensen Sean Keenan Sungkyu Kim Olga Korobko Kerrin Houghton Barbara Laing Peter Hyde Shane Jenkins Kristin Jorgensen Joel Keep Taeho Kim Mark Koronczyk Kim Hoult Simon Laing Lindy Hyman Rachel Jensen Shane Jorgensen Dr Bill Kefalas Taejeong Kim Yi Kou Kate Housden Victoria Laing Nataliia Iashina Ali Jensen-Mackinnon Francis Jornlin Brian Keirle Wanju Kim Antony Koveos Anne Howard Jenice Lalin Steven Ibrahim Insoo Jeon Chris Jory Angela Kelder Yejin Kim Metta Krach James Howard Caitlin Lalor Soœa IÅa Daun Jeong Thomas Joseph Marisa Kelen Young Kim Arthur Kracke Rose Howard Alan Lamb Timothy Ikin Ockji Jeong Prashant Joshi Scott Kelley David King Audrey Kraft Paul Howell Lindsay Lamb Takafumi Inoue Graham Jepson Fleur Jouault Heidi Kelly Michael King Hans Kramer Valerie Howell Alan Lambert Kit Ip Doug Jesse Briahna Jovevski Patrick Kelly Ross King Lis Kramer Sangamithra Howlin Andrew Lambert Steve Ireland Jack Jessen Tina Jowett Robyn Kelly Andrew Kingman Whitney Kramer Cynthia Hoxey Colin Lambert Tony Ireland Huiqing Jia Karyn Joyner Robert Kelodoulis Tatjana Kirjanova Dr Colin Kratzing Dr Hannah Hrones Susanne Lambert Elizabeth Irvine Gang Jiang Ruth Joynes Peter Kemp Amanda Kirkpatrick Tania Kraus Sylvia Hrovatin Gillian Lamberti Jess Irwin Shuo Jiang Sungkyo Jung Kobashi Ken Lynne Kirkpatrick Hannah Krause Yali Hsieh Maria Lambi Maureen D Irwin Tao Jiang Trevor Juniper Tony Kendall Amita Kirpalani Teresa Krawczuk Yinchou Hsu Richard Lancaster Rhianna Isgrove Zheng Jiang Isidoro Jurado Michael Kennedy Chris Kitching Dorothy Krawitz Wenting Hu Joseœne Lander Baek Mel Ishkhanian Sun Jie Ramah Juta Nicholas Kennedy Christina Kizawa Lidija Krebs-Lazendic Chu Qin Huang Heather Lang Mamie Ito Cheon Jinhyang Carl Kaczmarek Frank Kenny Heather Kjoller Kai Kretzschmar Chynna Huang Susan Langan Natalija Ivanic Lee Jisoo Bob Kaemp• Kathleen Kenny Alicia Klein Vivek Krishan Jiong Huang Karen Lange Helen Ivankovics Chris Jobses Michael Kagan Catlin Kent Tim Kleinmann Fay Kroon Shuai Huang Philip Langenbacher Rohini Iyer Ste•en Joergensen Kari Kahiluoto Roisin Kerin Klaus Klomfass Taube Krost Tong Huang Patricia Langham Wojciech Jablonski Richard Johanson Janice Kailis Jake Kerr Amy Knapman Mary Krumins Yiqin Huang Natasha Langovski Christopher Jack Belinda Johns Adam Kain Larry Kessler Ian Knapman Tara Kuehn Zhouzhen Huang India Langworthy Barbara Jackson Tim Johns Akio Kaizu Christian Kesuma Charley Knapp Ash Kulkarni Deveri Hudson Jose Marco Lanna Hilary Jackson Grace Johnson Sajan Kakanatt Krishna Keswani Margaret Knapp Ivan Kulman Abirami Hughes Maxine Larcher Kristen Jacobson Nicky Johnson Erina Kakuta Tsimafei Khadnevich Barry Knight Anja Kunath Christopher Hughes Ria Larkin Marian Jacobson Philip Johnson Cassandra Kaloudis Julie Khalid Peter Knott John Kuner Karen Hughes Paulina Larocca Seth Jacobson Carolyn Johnston Mohamed Kamal Purabi Khan David Knowles Simone Kuntz Lainie Hull Louise Larsen Finn Jakobsen Iain Johnston Matt Kamenski Prashidha Kharel Yunkeun Ko Erwin Kunz Elaine Human Jon Erik Larson Ben James Julie Johnston Mustafa Kandan Alka Khopkar Sabine Koch Andreas Kunz-Schleich Carla Humphrey Ingrid Latham Christina James Karen Johnston Daisuke Kaneko Wendy Kiat Harleen Kaur Kochhar Sally Kuppek Nick Humphrey Emily Latimer Hill Saunder James Sue Johnston Byunggoo Kang Vicki Kiddle Jody Koehler Farina Kurth Judith Humphries Catherine Latouche Steve James Dana Jojic Takaaki Kani Tim Kiermaier Reiner Koenig Rosa Kusbiantoro Csaba Hunfalvy Jackie Latragna Renee Jamieson Mira Joksovic Cornelia Kapke Joshua Kihm Julia Ko•els Tutsirai Kuuya Karen Hunkin Deborah Latta Dr Anne Jamison Renee Jomaa Daniel Kaplan Katsuo Kikuchi Rodney Kohalmi Daniela Kvaskova Lady Joyce Hunt Amanda Laubscher Dongsihn Jang Brittany Jones Gwen Kaplan Katrina Kilby Makiko Kohara Minjung Kwak Louise Hunt Jennifer Laughton Hyeonwoo Jang Colin Jones Neil Kaplan Erin Kildaire Rick Kolega Ronald Kwan Robyn Hurlston Matthew Laurence Andrea Jansen David Jones Harshad Karandikar Andie Killeen Peter Komander Taehyung Kwon Jacinta Hurst Gavin Lavery Heidi Nissen Jansen Kate Jones Krzysztof Karczmarczyk Dahee Kim Siri Kommedahl Thida Kyaw Netty Novelina Hutasoit Fiona Law Raymond Janz Kristy Jones Georgina Karvan Deborah Kim Sophia Kondilis Gabriella La Rosa

262 263 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

James Law Marc Leong Henry Lischer Jerome Luecke Adam Mahmoud Melanie Maslem Noni McDevitt David McNair Jacky Lawes Greg Leslie Maryam Litkouhi Pamela M Lumb Tam Mai Candice Masling Lin McDonagh Kirsti McNamara Ana Lawford Joel Levi Jiali Liu Elaine Lumsdaine Dr Millicent Maier Darryl Mason Judy McDonald Neil McNamara Susan Lawrence Milton Levine Qianneng Liu Iain Lumsden Olivia Mailian Flora Mason Norma McDonald Stephen McNamara Paul Layton Lauri Lewerenz Shu Liu Kristina Lundborg Sylvain Maillard Jennifer Mason Peter McDonald Caroline McPartland Natasa Le Prevost Guy Lewis Yuqi Liu Le Luo Tammy Maisenbacher Joanna Mason Raelene McDonald Natalie McPhee Phong Le Jillian Lewis Amparo Llanos Phuong M Luong Rachael Makhoul Melissa Mason Shirley McDonald Jacqui McPherson Sandy Le Julie Lewis Nancy Llewellyn Luigi Luongo Christian Maldoni Colin Massey Anne McDougall Rosemary McPherson Jennifer Leacey Philippa Lewis Alfredo Llosa Sharon Luther Patricia Malins Paul Masters Richard McDulling Christopher McRae Dr Leo Leader Sian Lewis Jane Lloyd Vicki Luttrell Michael Malone Karen Mastro-Battista Alastair McEwin Leanne McRae Borghild Leakey Amanda Li Stephen Lloyd Lorna Lutzke Melissa Mandemaker Je•rey Matchett Christine McFadden Laura McShane David J Lear C W Li Soœa Lloyd-Jones Benjamin Lynch Nikki Manfrin Alison Matheson Laura McFarlane Greg McTaggart PSM Georgia Leathart David Li Charles Lo Meaghan Lynch Laurent Mangematin Angela Matijczak Jeanette McGauran Adam McWhinney Vanessa Lecren Eugene Li Maria Lo Trish Lynch Stephanie Manger Agnes Matrai Lucy McGee Colleen McWilliams Susanne Ledger Hui Li Bernice Lockard Diana Lyon Heather M Manley Atsushi Matsui Nicholas McGee Andrew Meager Alethea Lee Jiahui Li Susan B Lockhart Mari Lyytikainen Mary Manley Keiko Matsumura Kate McGlashan Lauren Meakin Andrew Lee Kexin Li Nick Lodge Lie Ma John Mann Hiromichi Matsuoka Gary McGlynn Liwei Meakin Arthur Lee Meiyue Li John Loftus Lin Ma Robyn Manning Donna Matthews Kerry McGlynn Jennifer Meaney Candice Lee Nan Li Alan D Logan Lisha Ma Dinu Manns Joanne Matthews Donal McGoran John Mears Cecilia Lee Shuting Li Jytte Logan Qixia Ma Calyssa Manolaros Susan Mattingly Tanya McGowan Katherine Meehan Dowoo Lee Terry Li Terry Logslett Wendy Ma Gabriel Manoughian Miroslaw Matusiak Chris McGregor Yuri Meggiolaro John Lee Xiaohong Li Piret Loide-Reisner Zhuoyuan Ma Christine Mansœeld Catherine Mauk Leigh McGregor-Upton Linda Meguid Jongmin Lee Matthew Liew Robina Lolohea Ornella Macchia Phil Manuel Jane Mawson Cathy McGuinness Ann Meha•ey Kaho Lee Anna Lieze Yan Long Andrew Macdonald Andres Oscar Marino Dave Maxwell Gillian McGurk Hamit Mehmet Karen Lee Catherine Liger David Longden Andy Macdonald Anastasia Markakis Susan Maxwell Rebecca McHale Rafael Melgares Miseon Lee Geo•rey Lilliss Thomas Longo Joan Macdougal Roderick Markland Irene Maya Kristen McHutchison Guilherme Mello Myungjung Lee Stanislava Lilova Yiu Bun Bunny Loo Juliana Macedo Philip Marks Marjorie Christina Trish McInnes Amanda Melsness Maydwell Sang Bok Lee Nicholas Lim Hugo Lopes Alicia Mack Francis Marsden Anna McIntosh Helmut Mencher Cardinal Maynard Sheridan Lee Penelope Lim Benjmain Lopez John Mack Geof Marsh Gavin McIntosh Nadia Mendez Canon Sed Mayne Sylvia Lee Seongmin Lim Claire Lording Karl-Heinz Mack Michael Marsh Alison McIntyre Shewanna Mendis Candace McAfee Thomas Lee Stephanie Lim Alexander Lotersztain Suzanne Mackay Tonia Marsh Anne McIntyre Wu Meng Tsung Shane McBirney Tina Lee Flavia Lima Eric Louca Adrian Mackenzie Lynette Marshall John McIntyre Michael Mercado Stephen McCann Daniel Leelarthaepin Rodrigo Lima Heather Loudon Renee Mackenzie Roslind Marshall Zane Mcintyre Dorinda Mercer Stuart McCann Hanbyul Leem Freddy Limanto Zoe Loveland Christian Maclane Toby Marshall Damon McKay-Hosa Anne Merisalu Thomas McCann Chloe Lees Maria Limbo James Lovely Dr Catriona Maclean Constantine Marta Mark McKean Petra Merkt Lawrence McCarthy Catherine Legaspi May Limguangco Yolanda Lovie-Toon Iona MacPherson Amanda Martin Debbie McKenzie Nathalie Mermoud Elana McCauley Lilibeth Legaspi Chia-Ping Lin Allison Low Jonathan Macquitty Bevan Martin Wendy McKeown Bonita Mersiades Margaret McClay Theresa Lehmenkuehler Maggie Lin Cathie Low Jemma Maddick Damian Martin Michelle McKerron Danielle Merson Sallianne McClelland Mark Lemon Peilin Lin Sarah Low John Maddison Diego Martin Megan McLachlan Rachel Meryment Donald McClintock Anna Lenahan Shu ting Lin Mai Anh Lu Ankica Maddux Hector Martin Iain Mclean Birgit Messner Lin McClintock Roslyn Lenehan Sylvia Lin Mizi Lu Mary Madill Russ Martin Todd McLeay Jodie Metaxiotis Justice Ruth McColl Charles Leng Terence Lin Ting Lu Makoto Maeda Syzan Martin Michael McLeod Sinead McGee Susan McConaghy Kala Lengyel Yiching Lin Dr Fran Lubotzky Marisa Magiros Tony Martin Dawn McLoughlin Carla Mico Phil McConville Gilberto Lenz Yu-Wei Lin Frederic Lucas-Conwell Anderson Magri William Martin Deirdre McMahon Kristine Mientka Michelle McCormick Brian Leonard Carmen Linares Pardo Gina Lucchesi Nick Magriplis Maxine Martinez James McManamey Miguel Casals Miguel David McCrostie Daniel Leonard Jiang Ling Arianna Lucini Charlotte Maguier Megan Martinez Kathryn McManus Ilie Mihut Mali McCutcheon Dr Phillipa Leonard Jamie Lipsey Sharon Lucius Annabelle Mahar Luiz Mascarenhas Kate McMillan Keiko Mikami

264 265 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Adam Mikka Louis Molines Angela Moutinho Suzanne Neil Peter Norman David Oppenheimer Sangkyou Park David Pellanda Naomi Mikus Ian Molloy Marcelo Moyano Susan Neilson Patrick Norrie Ciaran O'Reilly Seonmi Park Joe Pellegrino Kendall Miles Anna May Molo Frances Muecke John Neromiliotis Tony Norris Kathryn O'Reilly Sooah Park Jenece Pemble Maureen Millar Katherine Monahan Hasso Mueller Dominique Nesbitt Elizabeth Northey Vicci Ormandy Sujin Park Chris Pendley Pauline Millar Kay Money Ruediger Mueller Terrance Nette Amelia Nott Emily Orpin Helen Parker Cuiping Peng Aaron Miller Helen Monro Donald Muir Julian Neuhaus Guy Nucifora Kylie Orue Mark Parker Huichu Peng Jonathon Miller Montserrat Jonathan Muir Francisca Neveu-Coble Mary E Nunn Sally Osborn Richard Parkinson Sarah Pennell Montaner Ginferrer Julie M Miller David Muirhead Skye Nevin Gavin Nuss Julia Osborne Simon Parmeter Kathryn Pennington Elizabeth Montgomery William Miller Frank Mulcahy Simon New Peter Oag Dr Karen Oswald Alan Parry Alessandro Pennini Helen Moody David Mills Belinda Mulholland Karen Newham Diana Oakes Nicholas Otte Diana Parry Dr Jose Pereira Elizabeth Mooi James Mills Frank Mullane Nikki Newman Lariss Oana Yu Ou Hannah Parry Caroline Perkins Jinyoung Moon Julie Mills Joseph Mullarkey John Newton Anita O'Brien Kerry Ouriach Mariana Parsa Yasmine Perkins Margot Mooney Simon Mills Luke Muller Elisande Nexon Carrollanne O'Brien Olivia Ouyang Reza Parsaei John Perri Alex Moore Antony Milne Stoughton Saxon Mullins Andrew Ng Stephen Obrien Xiaoling Ouyang Andrew Parsons Denise Perrin Shane Moore Sarah Milne Paul Mumford Richard Ng Maricel Oca Jessica Owen Leigh Pasœeld Annalisa Perry Stephen Moore Michelle Milner Al Mundy Zhi Ying Ng John K O'Connell Samuel Owen Simone Pasin Emily-Jane Perry William Moore Stephen Milthorpe Jorge Munoz Ferrer Andrew Nguyen Leisa O'Connor Garry Owens Ross Patane Lara Perry Dana Mor Jane Milton Rosaria Munzone Anh Nguyen Caroline Odell Graham Owens Rene Patat Roger Perry Clare Morahan Jung Yim Min Satoru Murata Charlatan Nguyen Luke O'Donnell Wayne Owens Melissa Patch Brigitte Pers Tracey Morehu Sienna Min Kumi Murayama Jenny Nguyen Paul O'Donnell Koœ Owusu-ansah Krishna Patel Begona Peteiro JJ Moreland Bridget Minatel Alethea Murphy Nam Nguyen Todd O'Donnell Yuya Ozawa Alan Paterson Sarah Petherbridge Sam Moreton Claire Minehan Alexandra Murphy Truc Nguyen Kristen Oertell Johann Packendor• Tabatha Paterson Dr Margaret Petros Marco Moretti Peter Minns Alice Murphy Nicholas Nicholls Tatsuki Ogasawara Elizabeth Paddock Cameron Paton Jack Pettigrew Gerard Morgan Susie Minos Angie Murphy Rod Nicholls Atsushi Ogawa Evelyn Pagacita Kevin Patterson Marilyn Pettitt Hannah Morgan Wilfred Miquiabas Bridget Murphy Simone Nicholls Haruna Ogawa David Paget Marilyn Patterson Hauke Pfa• Jenny Morgan Theresa Mira Thomas Murphy Lesli R Nichols Ross Ogilvie Emma Pajeska Noel Patterson Cindy Pham Wing Morgan Fernando Miranda Danijela Murray Katie Nicholson Denise O'Gorman A Wilmers & R Pal Christine Patton Ti•any Phan Kenichi Mori Harry Missiakos Kelly Murray Helen Nicol Darcie O'Grady Vincent Palermo Jan Patzer Darcey Phenna Yumiko Morikawa Brendan Mitchell Rebecca Murray Zygmund Niebozynski Kosuke Oguri Rui Palhinhas Philip Paul Kirrilee Phillips Daiki Morimoto James Mitchell Judith Mustafa Karen Niederer Sarah O'Halloran Zoltan Palinkas Tyron Paul Lyn Phillips Fumie Morisaki Lachlan Mitchell Rob Mustow Ruth Nielsen Mark O'Hara Brent Palmer Geo•rey Payne Nicole Phillips Jenny Morison Dr Pippa Mitchell Kim Myeonghwan Karl Niemann Izuho Okada Dave Palmer Elizabeth Peacock Nikki Phillips Jason Morley George Mitro Glenn Myers Cornelis Nieuwendyk Hayley O'Kane Gino Palmieri Susan Peacock Simon Phillips Casey Morreira Jane Mitsuishi Kate Myles John G Nilon Donna O'Keefe George Paltos Chris Pearce Dr Susan Phillips Diane Morris Arnold K Mitt Maria Myrteza Narelle Niven Chris Old Alberto Paludetto Randall Pearce Andrew Philp William Morris Shogo Miyata Gabriel Nabielsky Dr Kieran Nixon Allen Oliver Sailendra Pamidi Tracy Pearsall Lynette Philpott Annabell Morrissey Nat Mizzi Sally Nagatomi Kerrie Nobbs Kerry Oliver Sarah Pang Craig Pearson Narelle Phipps Mark Morschel Tina Mobbs Dr George Nagy Peter Nochar Alphadio Olory Daniela Panizza Hank Pearson Pris Pho Duane Morse Daniel Throshni Naidoo Sandra Nocum Grant Olson Anna Papasoulis Donna Peck George Piatta Moctezuma-Baker Nicole Morse Tetsu Nakamura David Nolan Danielle Olswick Matina Papathanasiou Vince Pedavoli Sara Piccinelli Mihirangi Moeroa Beth Morton Nadia Namuren Krystal Nolan Dion Ombler Anne Pappin Aaron Pedersen Allan Pickering Alborz Mohammadpour Debbie Morton Mohamed Nasher Laura Nomura Rebecca O'Meara Evelyn Paradela Karin David Pickstone Jonathan Mok Lara Moss Westergaard Pedersen Arcangelo Natilla Gemma Noon Angela O'Neil Dr Lesley I Paradine Jean-Baptiste Pierron Nataliia Molchanova Hiroaki Motomura Theis Pedersen Paul Naughton Rhiannon Noon Aimie O'Neill Maria Jose Pardo Frederic Pierson James Molden Katharine Motteram Sophie Peer Maria Navarro Anjee Noonan Win Htut Oo Beatrice Parfait Manon Pietra Daven Moldrich Chad Mouat Ramone Peiris Colin Naylor Alison Norman Ritu Ooi Hyejin Park Emily Pigdon Joseœna Molina Peter Moules Christopher Pelcz Janelle Negus Lauren Norman Helen Opie Jisun Park Dr Anne Pike

266 267 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Damien Pike Keri Pratt Britta Quistgaard Elizabeth Redwood Ian Roach Patricia Ross Naftali Sabari Lucky Sasiphong Virginia Pilien Rosalie Pratt AM Tipu Qureshi Lucy Reed Alan Roberts Stephen Ross Dusanka Sabic Kanako Sato Pavel Pilipovets Pascal Prehn Uwe Raaz Anne Reeve Allan Roberts Antonia Rossello lliteras Amy Sadgrove Ben Satterthwaite Harish Pillai Janelle Prescott Raina Rabin Alexander Reeves Darryl Roberts Sherree Rosser Mary Sadighi Lynne Saunder Dr Thaversie Pillay Gabrielle Prest Rocco Raccosta David Regal Gayle Roberts Luciana Rossi Barrie Sadler Carol Saunders Ann Pilon Greg Preston Marta Rachman Sophia Registe Kathleen Roberts Michael Rossi Peter Sadler Megan Saussey Carlos Pimenta Susan Preston Dr Alex Radojevic Hannah Reid Thomas Roberts Michael Rossiter Jason Saeter Angeline A Saver Marco Pinares Jeanette Pretty Elisha Radwanowski Pen Reid Veronica Roberts Janelle K Rostron Ronald I Saggers Peter Sawtell Lauren Pinfold Leiane Pretyman Stuart Rae Peter Reilly Victoria Roberts Graeme Rothwell Carl Sagstad Miriam Saxton Samantha Pinnapolage Mchael Pribula Will Rae Kurt Reimer Dr Douglas Robertson Tracey Rothwell Laurence Sahyoun Mark Sayer Harold Pitchford Catherine M Price Jane Ra•an Nicole Reimers Jane Robertson Helen Rouse Craig Said Les Sayers Andrew Pittas Christopher Price Kristin Vala Victor Ren Alison Robinson Dr Beverley Rowbotham Rory Sain Mervin Sayseng Ragnarsdottir Jacqui Planner Gary Price Ramon Rendon Amanda Robinson Janet Rowe Corinne Saines Diane Scha•er Sarah Raheem Michael Plon Elizabeth Priestley Philippa Renfrew Julie Robinson Kate Rowe Mai Sakai Kimberley Schepers Dr Gary Rahme Penny Plumbe Nik Prieston Mary Anna Replogle Roger Robinson Roger Rowe Norihiro Sakata Dr Peter Scherer Dr Eva Raik Rachael Cummins Sergiy Prikhodko Peg Reuben-Borthwick Dr S Roche Chris Rowell Mahamadou Sako Mateo Schettino Kaire Raik Leah Plunkett Jennifer Prime Thomas Reul Jill Rodgers Matthew Rowland Mia Salamoun Markus Scheucher Maria Raineri Wang Po Yi Donna Prince Adrian Reveruzzi Flora Rodov Rani Rozario Esteban Annette Schieler Fenella Raines Salazar Guzman Mariana Kerri-Ann Prince Felicitas Rey Rafael Antonio Peter Rozen Holger Schilling Podgorski-Guyett Stephanie Raizenberg Rodriguez Sam Salem Mark Pritchard Laurent Rey John J Ruane Gunter Schlick Charles Pok Devender Rajput Diana Rodwell Lasantha Salgado James Privett Leia Reynolds Greg Ruddock James Schmidt John Polanin Linda Ralls Freeland Roe Valentina Salim Jane Probert Biarta Rhysjones Achim Rudolph Markus Schmidt Peter Pollock Jolyon Ralston Rosalie Roebuck Peter Salzmann Danyella Proenca Paolo Ricci Michael Rudolph David Schnell Joy Polman Estrella Ramos Arteaga Christian Roesner Diane Samaroo Simon Protheroe Vicky Rich Nathan Ru• Michael Schniering Jan Polverino Gabriella Ramsay Anita Rogers Steph Sambrook Suzanne Pryer Aline Richards Lynette Ruge Kim Schoening Neil Pomphrett Kelly Ramsden Donald Rogers Damien Sams Costa Psaros Carole A Richards Julien Ruggieri Sarah Schols Jacqueline Poniris Victoria Rands Elizabeth Rogers Jane Sandall Hans Puchert Tyler Richards Jane Rumgay Bradley Schott Vesna Popovic Nadine Rapiti Robert Rogers Stephen B Sander Patricia Pulie Tricia Richardson Randall Rupp Jane Schrader Natasha Popovich Harold Rappoport Trudie Rogers Robert Sanders Erika Pullicino Brock Richens Davide Ruscelli Maria Schreiber Snezana Popovska Timothy Rasinski Ian Rogerson Michele Sanderson Kathleen Pulman Jacqueline Richmond Dr John Russell Lisa Schultz Joanne Popple Rukmini Rasyid Margaret Rohlo• Darren Sandford Dr Betty Pun Diemut Richter John Russell Solange Schulz Bryan Port Carl Ratcli• Peceli Rokotuivuna Chad Sandoval Zoran Punosevac Jenny Richter Laura Russell Antonia Schulze Tina Portelli Tim Ratcli•e Katrina Rolley Diane Sandrejko Janice Purbrick Daniel Ricketts Michelle Russell Marie Schwartz Annalee Porter Laura Rath Mariana Rollgejser Miles Sandy Catherine Purcell Aden Ridgeway Rina Russell Benedict Schweiger Susan Porteus Craig Rathbone Ana Roman Polianes Laura Sanhueza Claire Purkis Dirk Ridgeway Robin Russell Deborah Sciªeet Imogene Potter Vasily Ratnikov Lucie Rondelet Charlles Sant Sue Purves Anisyah Ridiandries Sharlene Russell Anthony Scott Dr John Poulos Bettina Rau Colleen Rooke Hermes Santos de Harri Pylvaelaeinen Helen Ridley Christian Ryals Charles Scott Santana Gilles Poussaint Olivia Rauh Stevie Rooney Li Qin Andrew Riemer David Ryan Darren Scott Gildo Santos Junior Je•rey Powell Megan Rawle Shannon Roper Ruijie Qin Michael Rigby John Ryan Dianne Scott Ligia Santos Megan Powell John Rawlins Belinda Roperti Syeda Quadir Nicholas Riley Kevin G Ryan Ella Scott Tegwyn Santos Victor Powell Freddy Ray Jesus Antonio Ros Fatima Queiros Efren Rimando Michelle Ryan Judith Scott Paula Sanz-Leon Richard Power David Rayner Janet Rosado Alan Quick Mark Rinne Patricia Ryan Lee Scott Rudelle Susheel Prabhakar Christopher Rebbeck Geo• Rosamond Ian Quigley Karin Riordan Ann-Soœe Ryngaert Sargeant-Franklin Lysa Scott Jerusa Pradi Robert Rebman Alison Rose Marie Quinn Teresita Rios Raymond Rypma Casey Sargeson Maureen Scott Teja Pradipta William Rech Melanie Rosemann Wendy Quinn Angie Ritchie-Straatman Seoyoung Ryu Rohit Sarkar Richard Scott Jimmy Pranjic Surya Reddy Kylie Rosenbaum Ernesto Quinones Jacques M Rivaton Jo Sa Dr Anna Sarphie Mark Screen Carine Prate Nicole Redenbach Melissa Ross Maria Velinda Quiray Antoine Rizzo Ziggy Saabel Toshio Sasada Suzanne Scurlock

268 269 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Neil Seage Qingfang Shen Bridget Singarayar Sheri Smith Madeleine Spitzer Monika Stoeveno Leigh Sutherland Franziska Tausch Michael Sealey Rui Shen Jessica Singer Silvana Smith Ross Squire Nicholas Stokes Melanie Sutherton Charlotte Tawil Alison Searle Jo-Anne Sheraton Harminder Pal Singh Tracy Smith Ren Srinivasan Ina Stoltz Susan Sutterœeld Roslyn Tayler Le Guillou Sebastien Michael Sheridan Judith Singh Trevor Smith Julie Stallard Lynette Stone CBE John Sutton Andrew Taylor Robert Seddon Deborah Shermacher Juliette Singh Tim Snell Geraldine Stanton Rob Stones Tony Sutton Holly Taylor Natalie See Ellen Sherman Michelle Singh Jark Snijder Louise Stanton Dr Carolyn Stoney Margot J Suyasa Margaret Taylor Robyn Seœani Chong Shi Richard Singh Penel Snyman Tim Staples Martina Storgato Per Svanberg Matt Taylor Johanna M Segall Wei Shi Shamal Singh Charlotte Sobey Colin Stapleton Carole Storrier Olivia Swain Rachel Taylor Jang Sehee Hideomi Shibata Manu Sivaraj Tuti Soemino Michael Stapleton Mike Stout Rhonda Swan Ste³ Taylor Cheryl Seib Yoshiki Shibata Dr David Skewes Aase Juel Soerensen Robert Starkey Arthur Stratford Melanie Swanson Myreeann Tchopourian Verica Sekulic Kazusa Shimane Michael Skinner Ingvar Soergaard Lyn Starr Dr Trisha Stratford Christopher Sweeney Olivia Teale Andrey Seleznev Akina Shimawaki Suzi Skinner Sascha Solar-March Vanessa Starr Mark Streatfeild Mary Sweeney Carol Tee Karen Sell Renee Shipman Eleanor Skoien Erlend l Solberg Shirley Starrett Rachel Street Annette Swift Diane Tennie Alexis Sellies Deb Shipton John Skrbinsek Cherrilyn Soliman Tim Stastny James Strickland Rabia Syed Rechelle Tenoso Nulpurum Seo Greg Shires Julie Skuja Blake Solly Patricia Staunton Philip Striednig Sophia Symeou Emmett Lee Tetz Yoon Seong Seo James Shirlaw Keren Skyring Sarah Solomon Elizabeth Steel Debbie Stringer Sharon Symmons Adrian Tham Son Seongguk Leon Shneer Brad Skyrm Kallista Solyn Erin Steel Brendan Strobl Joseph Symon Lee Thanakorn Melissa Sequeira Dr Elizabeth A Short Llinos Slade Gergely Somfai Alison Steele Peter Struikman Liz Szabo Ian Thau Christophe Serdakowski John Short Carmel Slater Chaewon Son Shannn Stein Jane Struss Dorota Szarycz M Theaker Leopold Servidio Roslyn Short Kirsty Slater Hyangmae Son Jeanette Stenholt Olsen David Stuart Ana Tabacman Ross Theodoulou Jordan Sessler Sirish Shrestha Kathy Sloan Lin Song Shannon Stensness Joanne Stuart Laura Taberner Asa Thimansson Diandra Setyadi Sushan Shrestha Anna Slowiak Yujie Song Anne Stephens Karen Stuart Maxim Tabolkin Persefoni Thliveris Julianne L Seubert Elaine Shukri-Goodman Gary Sly Paul Sonntag Karen Stephens Kylie-Ann Stuart Keisuke Tada Alistair Thom Tania Sevil Natalia Shushkevich Kirstan Smelcher Jennifer Soo Katrina Stephens Linda Stubbings Susan Tait Caroline Thoma Martha Sewall Edwin Siebum Deon Smit Susana Soria John Stephenson Catherine Stubbs Amanda Talbot Thomas Thoma Julie Seward Dr Evan B Siegel Alan Smith Dr Wendy Sorial Jerome Stern Dr Michael Stuckey Michael Talman Dr Linda Thomad Dean Sgroi Rise Siegel Barry Smith Asko Sormunen Valerie Stern Judy Stump Zoey Tam Akhil Thomas Pella Shalvey Nawal Silfani Billie Smith Roy Sosa Leopoldo Stevens Perez Tim Stuparich Richard Tame Glenn Thomas Rebecca Shanahan Allan Silva Darryl Smith Alexandra Sosnov Angela Stevens Janice Sturgess Chieko Tamura Jacqueline Thomas Andreena Shannon Kaue Silva David Smith Belinda Soszyn Claire Stevens Jean Stutchbury Hui Tan Marilyn Thomas Liming Shao Nicola Silver Dawn Smith L Souki-Schmidt John Stevens Faye Su Jacqueline Tan Nicole Thomas Chen Shaohua David Simbaqueba Fyona Smith Victoria Soumboulidis Sean Stevens Jiayun Su Remi Tanaka Rita Thomas Daniel Sharkey Ian B Simmons Gregory Smith Christian Southward John Stevenson Natalia Suarez Jimmy Tang Steven Thomas Anshuman Sharman Karen Simmons Gudrun Smith Stephen Spann Trudy Stevenson Yuji Sugimoto Lixun Tang Ashley Thomas- Guzzardo Adam Sharp Erik Simon Helen L Smith Debbie Spence Alison Stewart Cynthia Suhanek Mira Tang Rachel Thomasse Barbra Sharp John Simon Howard Smith Daniel Spencer Corinne Stewart Malek Sukkar Ervin Tankiang Dennis Thompson Sophie Sharpe Ceccarelli Simona Ianthe Smith Karen Spencer James Stewart Joanna Sullivan Helen Tanner Gaye Elizabeth Barbara Sharpham Martin Simonsson Jenny Smith Kate Spencer Keith Stewart Kelly Sullivan Kirstin Tanner Thompson Dmitry Shatilov Barrington Simpson John Smith Malcolm Spencer Sandra Stewart Maria Sulpizio Paul Tao Lauren Thompson Belinda Shaw Colin Simpson Julie Smith Matthew Spencer Daniel Stiel Sayuri Suminokura Fernando A Tapia Stephen Thompson Jo-Anne Shaw Geo•rey Simpson Dr Kathleen Smith William Spencer Marion Stirling Hao Sun Natalie Taplin Christine Thomson Ada Shea June Simpson Leigh Smith Lydia Spensley Deborah Stirrat Shuai Sun Eva Tarchichi Elise Josephine Xavier Shea Gaynor Sims Lisa Smith Barry Spiers Ian St Maurice Magda Suner Katrina Tarrant Thomson Lee She³eld Mike Sin Michael Smith Alice Spigelman Hannah Stockley Yvonne Supangkat Melinda Tarrant Nicole Thomson Rena Shein Gavin Sinclair Michele Smith Steven Spill Hawea Stockman Nisha Surendran Tina Tasioulas Andrew Thorburn Lynette Shelley Mary Sinclair-Porter R Smith Claude Spinelli Catherine Stockwell Sonia Surija Miles Tauber Jane Thorn Brett Shellien George Sinemoglou Richard L Smith Brett Spinucci Janet Kay Stoddard Kevin Sutherland Darko Tausan Frank Thornhill

270 271 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Alex Thornton Thi Phuong Binh Tran Eugene Vallejera Diane Wachman Simon Wardle Sandra West Evan Williams AM Cheryl Woodley Vagn Thorup Rosanne Travers Pascal van de Walle Holly Wadsworth Asha Warmington Camilla Westerborn Heidi Williams Catherine P Woodroofe Paul Thwaite Eric Trefelner Raymund Van Gorp Ingrid Wagner Michelle Warn Susanne Westermeier Jennifer Williams Renee Woods Xiao Jun Tian Manuel Tremp Luud Van Roy Raphael Wagner Geraldine Warner Craig Weston Lucas Williams Rita Woods Xin Tian Sam Trewartha Roger van Sloun Dr Renate Wagner Megan Warren-Lister Jake Westphal Stephen Williams Caroline Woodward Jayben Tibbles Charles A Tribbett Christine Van Toorn Paul Waizer Eileen Wasserman Rachel Westwood Richard Williamson Michael Paul Woolfenden Elise Tierie Rainor Trippett Frank Van Treeck Joanna Wakeœeld Alan Wassmer Chris Westworth Renee Williamson- Noble Trevor Workman Daniel Tilbury Michelle Tromp Jake Van U•elen Robbie Wakeling Denise Waterhouse Nadia Wettstein Jenny Willis Candice Worlidge Paul Tims Kenneth Tronerud Leon van Vuuren Joanna Walden Daniel Waters Stewart Wewege Jules Willis Mark Worrall Law Tin Long Min-Pu Tsai Kim Vanden Hengel Ron Waldon Michael Waters Lyn Wheadon Peter Wills Victoria Worstead Cara Tindall Judy Tseng Frans Vandenburg Kerrie-Ann Waldron Tim Waterworth John Wheatley Adam Wilson Stephen Worth Ka Ka Ting Samia Tsougranis Paul Vanderl Andrew Walker Robert Watkins Roslyn Wheeler Alexandra Wilson Helen Wortham Rhonda Ting Peter Tsui Vera Vargasso• Bronte Walker Jennifer Watney EJKW Futures Ben Wilson Amanda Wright J Tini-Joseph Tracey Tuala Richard Vass Fiona Walker Damien Watson Wayne Whitaker Katie Wilson Bridget Wright Lina Tirta Mark Tucker Jarrod Vassallo Jim Walker John Watson Jerry L Whitcomb Mary Wilson Kelly Wright Patricia Tisone Susannah Tucker Andrew Vaughan Lois Walker Mary-Ellen Watson Alison White Prue Wilson Sarah Wright Je•rey Tiukinhoy Garth Tudor Mark Vaughan Sara Walker Terence Watson Denise White Ryan Wilson Simon Wright Bryan Tizzard Anna Tuechler Mark Vea Vea Stuart Walker Jesse Watt Dudley White Shirley Wilson Margaret Wrynn Stephanie Tjeuw Dr Leonie S Tu•s Veronika Vecerova Courtney Walkinshaw Adi Watters Gregory White Sue Wilson Hsing Yi Wu David Toh Marion Tuplin Jackie Veitch Rebecca Wallace Janet Watts Jayne White Symone Wilson Huiru Wu Chiraag Tolani James Turnbull Julie Veitch Sylvia Wallace Lisa Wearden Dr Rosemary White Thomas Wilson Jiawen Wu Luiza Tomassini Harry Peter Turner Sonia Velevski Lars Wallin Sarah Weatherall Dr Roslyn White Jarrod Wilton Kejin Wu Madeleine Tomczyk Ingrid Turner Vyril Vella Jennifer Wallington Bethel Webb Sandra Whiteman Christopher Wimer Man Chen Wu Naoki Tominaga Jacquie Turner Lina Verbyla Laurel Wallis David A Webb Ann Whiteside Jennifer Wines Ruochen Wu Stephen Tomkins Robert Turner Dr Irina Verenikina Kelly Wallwork Cheryl Webster Sherry Whitmer Hall Heidi R Winney Tammy Wu Timothy Tomkovich Steve Turner Suzanne Verstappen Julianne Walsh Philip Webster John Whitney Myrna Winnubst Tim Wu Jolene Ton Jo Twomey Olga Veselova Leanne Walsh Dong Wei Helen Whitsed Marc Winoto Xiaomei Wu Simon Tong Shirley Tyack Michael Vidler Rosemary Walsh Marv Weidner Glenn Whitten Ti•any Winters Yanming Wendy Wu James Tonkin Ilene Tyler Catherine Viertel Morgan Walter Sharon Weight Kelly Whittle Chrishan Wirasinha Yifei Wu Roger Tonkin Jacob Tyler Maria Teresa Vilella Helen Walters Ruediger Weihs Robert Whitton Tony Wither Josette Wunder Jennie Tonner Samantha Tylor Angel Villamana Pazos Charmaine Wan Bruce Weinberg Sarah Wiegard Denise Witt Joanna Wyatt Ruediger Topf James Tyrrell Fernando Villarreal Dylan Wang Audrey Weiner Katie Wiehahn Maree Wodson Zac Wylde John Toriello Ken Ueki Anthony Viloria Kang Wang Jim Weir Robin Wight Ronald Wolfgang Ian Wylie Danillo Tornquist Gouri Umashankar Cherie Vins Li Wang Ashley Weise Mano Wijetilaka Shaun Wolstenholme Clare Wynne Jose Torrealba Robin A S Underhill Jukka Virtanen Lili Wang Lori Weisner Katharyn Wilber Henry Wong Tristan Wyse Elisa Torres James Unsworth Helle Visbech Meng Wang Stacy Welch Gabriel Wilder Spring Wong Maureen Xavier Angie Touvron Beth Upton Julie Vlachos Nali Wang Emma Welham Ziggy Wilk Stacey Wong Jiayu Xi Pamela Tow Tiberiu Urdareanu Karen L Volich Tianshi Wang Eleanore Wells Dr Ian S Wilkey Steven Wong Minyi Xia Darryl Townsend Jacqueline Urford Peter Volk U•e Wang Lynn Wells Rhonda Wilkins Viviana Wong Hong Xian Melissa Townsend Dee Ustundag Mary Volpato Wenhao Wang Eva Weltert John Wilkinson Chongmin Woo Dong Xie Stevie Townsend Daniel Valda Ricarda Von der Trenck Wenpeng Wang Wen Wen Sareythorn Wilkinson Ann Wood Jiqing Xie Helen M Tracey Tiara Valder Kostyantyn Vorobyov Yi Ming Wang Katherine Wenban Tomas Wilkoszewski Chris Wood Baihui Xin Julie Trainor Ramiro Valdes Louisa Vorreiter Niro Wanigatunga Marn Weng David Wilks Elisa Wood Yan Xiong Matthew Tramonte Gary Valdez Margaret Vote Alan Ward Jens Wentrup Cindy Williams Elizabeth Wood Hong Xu Anna Tran Shelley Valentine Peter Vroom Carolyn A Ward Narelle Wenzel Daisy Williams Marie Woodall Hu Yajie Donny Tran Krasen Valkov Lena Vuong Louise Ward Aimee Werne Deborah Williams Mark Woodall Kenichi Yajima Stephen Tran Yvonne Vallak Sally Vuong Tammy Ward Rhys West Eilzabeth Williams

272 273 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Chikae Yamatin Zajaczkowski Family Own Our House Cecilia Yan Thomas Zajkowski We also thank our Contact Youlan Yan Simone Zanatta many Own Our House Elena Yanchukova Constancia Isabel Zappi donors who have made gifts to name a virtual Juwon Yang Peter Zaragoza tile on the Sydney Information Mikyoung Yang Claude Zavattaro Opera House sails at ownourhouse.com.au Suhua Yang Bill Zercher Ting Yang Matina Zervos Wen Hsiung Yang Aiqin Zhang Yuhui Yang Jenny Zhang Meifang Yanghsu Xueying Zhang Kateryna Yanovska Yi Zhang Siyu Yao Wenqun Zhao Hours of operation Contact Centre Yiling Yao Natalya Zheleznyakova The Opera House is open daily except for Open for telephone bookings and enquiries Yu Yao Demin Zheng Christmas Day and Good Friday. 9am to 8.30pm, Monday to Saturday, Richard Yaremko Yanjie Zheng and 10am to 6pm, Sundays. Joanne Yates Hai Zhong

Xialiang Ye Lily Zhong Box OŠce T 61 2 9250 7777 Robert Yee Wei Bang Zhou W sydneyoperahouse.com Georgia Yeo Hui Feng Zhu The Main Box O³ce is located in the Box E [email protected] Soo Bok Yeo Kate Zhu O³ce Foyer, Level 1 (upper level) of the Opera P Contact Centre Soyeong Yeo Min Zhu House. Standard opening hours are Monday Sydney Opera House Wern-Yi Yeo Zhong Zhu to Saturday 8.30am to 8.30pm, and Sunday GPO Box 4274 Tim Yeowart Qian Li Zhuang 8.30am to 5pm. Operating hours can vary and Sydney NSW 2001 Australia Rui Yin Amy Ziebell extend outside these times in accordance with Xiong Ying Sabina Zilic performance schedules. Yoshiyuki Yokota Judith Zimmermann Car parking For performances commencing outside general Jong Ho Yoon Kirsty Zinner Box O³ce opening hours, the Box O³ce Wilson Parking operates a car park at the Chris Young Cody Zornes remains open until 15 minutes after the œnal Opera House open from 6am to 1am, seven Claire Young Werner Zuellig performance start time. The Western Foyer days a week. Entry via the Opera House end of Craig Young Rolf Zuend Box O³ce, located at ground level, is open in Macquarie Street, Sydney. Denny Young Ursula Zu•o accordance with performance scheduling for Elizabeth Young Charles Zugerman Playhouse, Drama Theatre and Studio events. T 1800 PARKING (1800 727 5464) Dr Megan Young Mildred Zuze Penelope A Young Jeanne Zweck T 61 2 9250 7777 Sarah Young Anonymous (72) E [email protected] Welcome Centre Suzanne Young P Box O³ce The Welcome Centre is located on the lower Yvette Young Sydney Opera House concourse level of the precinct and facilitates Chi An Yu GPO Box 4274 ticket sales and group check in services for Peichun Yu Sydney NSW 2001 Australia guided tours. The Welcome Centre also houses Sherry Yu Bookings for performances and events can also a popular retail store, o•ering guests a range Tracy Yu be made online at sydneyoperahouse.com of souvenir keepsakes to commemorate their Eliza Yuan visit to the Sydney Opera House. The Welcome Margaret Yuen Centre operates daily from 8.45am–5pm daily Leon Zachery excluding Christmas Day and Good Friday. Barbara Zadrozny Trading hours may extend further during Anna Zaher peak periods.

274 275 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18

Guided tours National Relay Service Trade Marks

The o³cial one-hour guided Sydney Opera Customers who are deaf or have a hearing The Opera House is the owner of the following House Tour takes visitors inside the UNESCO or speech impairment can call through the registered trademarks. world heritage landmark to discover the stories National Relay Service at no cost: behind Danish architect Jørn Utzon’s remarkable achievement. The Sydney Opera House Tour TTY users phone 13 36 77 then ask for: runs daily from 9am and 5pm, also available in 9250 7777 to book a performance French, German and Spanish. French tours are 9250 7250 to book an access tour o•ered once a day on Monday, Wednesday and 9250 7185 for accessible parking Word marks Devices Friday, German tours are o•ered once a day, – Bennelong Monday to Friday, and Spanish tours are o•ered Speak and Listen (speech-to-speech relay) once a day on Tuesday and Thursday only. users phone 1300 555 727 then ask for: – Bennelong Bar 9250 7777 to book a performance – Bennelong Bistro Recognising the growing number of Asian 9250 7250 to book an access tour visitors, the Opera House o•ers Japanese, 9250 7185 for accessible parking – Bennelong Café Korean and Mandarin Tours. These 30-minute – Bennelong Lounge tours visit the Concert Hall and Joan Sutherland Internet relay users connect to the NRS Theatre and provide rare photography (www.relayservice.com.au) and then ask for: – Bennelong Restaurant opportunities. The Asian Language tours run 9250 7777 to book a performance – Bennelong Walk daily between 9.15am and 4.15pm. 9250 7250 to book an access tour 9250 7185 for accessible parking – Bistro Bennelong The Backstage Tour reveals the workings of one – Homeground the world’s busiest arts centres. Intimate groups take a two-hour journey into the backstage Administration and – House:Ed Shape mark world and œnish their VIP experience with General Enquiries Protecting the image of the Sydney Opera House – Kids At The House breakfast in the Green Room – the exclusive from any angle. domain of Opera House sta• and performers. General enquiries can be made – Message Sticks 9am to 5pm, weekdays. The Backstage Tour runs daily at 7am. – Opera Kitchen

The one-hour Junior Tour caters to families and T 61 2 9250 7111 – Own Our House E [email protected] includes interactive activities and unexpected – Portside twists and turns. The Junior Tour runs during A Sydney Opera House, Bennelong Point School holidays. Sydney NSW Australia 2000 – Portside Sydney Opera House P Sydney Opera House – Sydney Opera House The Tour & Tasting Plate option o•ers visitors GPO Box 4274, Sydney NSW 2001 Australia a gourmet three-tier tasting plate at Opera W sydneyoperahouse.com or soh.nsw.gov.au – Utzon Foundation Kitchen before or after completing an Sydney Opera House Tour. The Tour & Tasting Plate runs daily. A minimum of two people is required. Annual Report Project Team

Tours can be purchased from the Box O³ce, Special Thanks to Emily Cooper, Angelique Level 1 (upper level), at the Tour Meeting Point Dingle, Louise Ingram and Alexander Lamarque. (Lower Concourse) or online via the Opera Design – Novel Creative. House website. Photography / Image Credits The Opera House Annual Report 2017–18 is available at sydneyoperahouse.com. The T 61 2 9250 7777 Front Cover: Joan Sutherland Theatre Renewal. total cost for production of the annual report W sydneyoperahouse.com/tours Photo by Daniel Boud E [email protected] including design, copywriting, additional photography, print format copies and internet version was $32,128.91.

276 277 Sydney Opera House Annual Report FY18 Sydney Opera House Annual Report FY18 Index

Access 6, 8, 22, 26, 27, 32, 35, 58, 62, Customer Experience 209 Employment and Training 73, 223, Google, Major Partner 280 Resident Companies 8, 14, 15, 20, 23, Sydney Opera House Presents 9, 14, 63, 71, 74, 85, 211, 215, 216, 223, 225, 234, 241 27, 29, 35, 37, 38, 39-46, 60, 71, 209, 15, 21, 29, 38, 47, 234, 249, 250 226, 227, 228, 234, 251, 276 Customer Feedback 59, 209 Intel, Major Partner 236, 280 211, 213 Homeground 38, 54, 68, 236, 242 All About Women 19, 37, 56, 57, 68, Access Strategic Plan 6, 32, 74, 215 Customer Research 212 MasterCard, Major Partner Australian Chamber Orchestra 74, 75, 215, 221, 235 Reconciliation Action Plan 5, 6, 32, 280 39, 213 Courtesy shuttle bus 211 Customer Satisfaction 58 72, 241 Children, Families & Creative Westpac, Major Partner 19, 68, 74, Bangarra Dance Theatre 20, 40, 213 Learning 27, 48 Disability Inclusion Plan 215 Customer Service 209, 215 Gadigal people 8 215, 242, 280 Bell Shakespeare 41, 213 Contemporary Music 23, 32, 35, 37, Safety, Accessibility and Venue Deloitte Report 22, 64 Government Reporting Index 203 Airbnb, Partner 68, 75, 221, 49, 51, 74, 96, 215 Enhancement project 63, 74, 85, 216 280 Opera Australia 23, 43, 213 Destination NSW 166 Budget 207 Contemporary Performance 29, 31, Attendance Figures 14, 15, 38, 39, 40, Maserati, Partner 280 Sydney Symphony Orchestra 38, 47, 53 41, 43, 52, 53 Digital Code of Conduct 208 43, 213 Y&R Group, Partner 280 First Nations 35, 38, 49, 54, Audit and Risk Committee 85, 87, 151, Digital Information Security Policy Digital Information Security Policy Sydney Theatre Company 44, 213 197, 243, 244, 246 Attestation 214 Attestation 214 Performing Arts 8, 14, 15, 20, 23, Talks & Ideas 66, 67, 74, 75 29, 37, 38, 66, 67, 71, 72, 84, 110, 166, The Australian Ballet 23, 45, 213 Audit and Risk Attestation 244 Digital Transformation 35 Disability Inclusion Plan 215 234, 241 Vivid LIVE 6, 23, 35, 37, 49, 51, 68, Samsung, Principal Partner 31, 47, 59, 73, 74, 75, 215, 221, 235, 236, 242 Audits 76, 243, 247 Facebook 25 Equal Employment Opportunity 223 Children, Families & Creative 68, 73, 241, 280 Learning 47, 72, 241 Sydney Opera House Trust Act 84, Awards 5, 6, 20, 23, 35, 38, 41, 43, 44, Online 15, 23, 25, 27, 35, 58, 60, 73, Government Information and Public The Lounge, enabled by Samsung 166, 233 64, 71, 229 85, 217, 241 Access (GIPA) Act 2009 225-228 Resident Companies 8, 14, 15, 20, 35, 59, 68, 73, 241 35, 37, 47, 60, 67 People 35, 66-76 Bennelong Point 8, 23, 221, 233, 236 Social media 14, 20, 25, 57, 60, 71 Legal 223 Safety, Security and Risk 76 Sydney Opera House Presents 8, 14, Community and Social Brand 35, 212 Website 14, 19, 35, 74, 215, 217, 225, Privacy Management 240 15, 21, 29, 38, 47-60, 234, 249 Safety Related Training 248 Responsibility 72-76 240 Budget 207 Senior Executive 246 Commercial Hirers 58 Work Health and Safety Strategic Executive Team 79-82 Dion Lee 19, 60, 67 Plan 247 Building and Heritage Committee 85, Grants 25, 32, 96, 104, 115, 116, 166 Philanthropy 71, 251, 252 Safety, Security and Risk 76 86, 87 Education 9, 41, 75, 161, 220, 223, 231, Workers Compensation 76, 117, 180, 234, 251 Highlights 14 Australia Council 73, 241 232, 247, 248, 249 Team and Capability 66-67 Building, The 62-64 Eminent Architects Panel 33, 85, 86, History 5, 6 Creative Music Fund 71 Sponsors The Balnaves Foundation 53, 71 Building Renewal 27, 62, 85, 86 87 231 Independent Auditor’s Report 102, 170 Donor Acknowledgement 252-274 AMP Capital 242, 252, 280 Trade Marks 277 Maintenance 8, 25, 27, 32, 63, 68, Enterprise Agreement 246 95, 96, 97, 115, 126 Lloyd Martin Travelling Scholarship for Fundraising 110, 115, 161 Arup 280 Training and Development 209 Environmental Sustainability 5, 6, 32, Emerging Arts Leaders 35, 71 Safety, Accessibility and Venue 73, 75, 218, 241 Idealists 6, 252 Australian Ethical Investment Trustees 25, 27, 33, 85, 87, 102, 103, Enhancement project 63, 74, 85, 216 MADE by the Opera House 35, 71, 86 280 166, 200, 208 Carbon Footprint 75, 221 Presenter Satisfaction 213 Theatre Machinery Project 63, 85 Marketing 20, 86, 210, 213, 240 Café Sydney 280 Trustee Code of Conduct 208 Carbon Neutral 75, 221 Privacy 67, 240, 243 Cahill, The Hon. JJ 6, 8, 11 Media Partners Chandon 280 Tubowgule 8 Energy E³ciency 75, 218, 219 Renewal 5, 6, 8, 10, 16, 22, 23, 26, 27, Car Park 210, 275 APN Outdoor 280 32, 35, 38, 43, 62, 64, 66, 68, 71, 76, Dulux Group 280 Utzon, Jørn 5, 6, 8, 31, 35, 64, 68, 229, Greenhouse Gas Emissions 222 86, 96, 97, 213, 216, 220, 229, 230, 230 CEO’s Message 26 Foxtel 280 247, 248 Interbrand 280 Environmental Sustainability Plan Vehicle Access and Pedestrian Safety Chairman’s Message 22 5, 6, 32, 75, 218 JCDecaux 280 Creative Learning Centre 10, 23, King & Wood Mallesons 280 project 5, 6, 35 27, 62 Code of Conduct 208, 209, 227, 240 Waste & Recycling 75, 220, 221, 222 News Corp Australia 280 Macrolink 280 Vision, Mission & Values 12 Concert Hall 10, 23, 26, 27, 35, Sydney’s Child 280 Commercial Hirers 58 Water Use 218 62, 85 SapientRazorœsh 280 Visitor Experience 15, 27, 30, 35, 58-61, 66, 74, 86, 209, 215 6, 8, 11, 19, 23, Conservation Experiences 15, 37-61 NSW Government Entry and Foyers 23, 62 VMtech 280 25, 32, 33, 35, 62, 63, 67, 68, 76, 84, Asian Language Tours 6, 25, 96, 276 Concrete Conservation 86 Performing 37-58 96, 110, 142, 166, 188, 192, 201, 208, Function Centre 10, 16, 23, 30, 60, Wilson Parking 275, 280 214, 233 62, 63, 229 Food and Beverage 14, 15, 30, 32, Conservation Council 31, 38, 86, 87, Visitor Experience 58-61 Yamaha Music Australia 280 35, 58, 60, 86, 96, 99, 231, 243 208, 230 Partners and Supporters 68-71 Joan Sutherland Theatre 5, 6, 10, 14, Financial Overview 95-99 16, 22, 23, 31, 35, 38, 43, 45, 53, 62, Sta• Numbers 67, 224 Retail 27, 58, 96, 211 Conservation Management Plan, Partnerships 280 Financial Performance 32 63, 64, 66, 68, 74, 76, 77, 85, 213, 4th Ed. 5, 10, 20, 23, 31, 33, 35, 38, 215, 216, 220, 225, 230, 234, 247 Sta• Engagement Survey 19, 32, Ticketing 58, 66, 73, 96, 99, 209, 64, 85, 86, 229 Samsung, Principal Partner 35, 66 216, 217, 223, 242 Financial Statements 100-201 31, 47, 59, 68, 73, 241, 280 Safety, Accessibility and Venue National Heritage Listing 6 Sydney Gay and Lesbian Mardi Gras Tours 6, 27, 32, 35, 47, 58, 60, 75, First Nations 5, 8, 19, 23, 32, 35, 38, Enhancement project 63, 74, 85, 216 Adobe, Major Partner 280 5, 17, 19, 25, 68, 223 96, 97, 99, 209, 221, 275, 276 49, 54, 56, 59, 68, 71, 72, 73, 161, 221, World Heritage Listing 6, 20 Theatre Machinery Project 63 223, 235, 236, 241, 242 EnergyAustralia, Major Partner Visitor Experience Committee Consultants 118, 208 6, 19, 25, 68, 280 86, 87 Badu Gili 5, 16, 19, 23, 31, 35, 59, 68, Welcome Centre 6, 275 Contact Information 276 71, 73, 211, 241 Etihad Airways, Major Partner Who We Are 8 68, 280 Corporate Governance 84-93 Dance Rites 31, 35, 38, 54, 68, 71, 236

278 279 Sydney Opera House Annual Report FY18 Our

Sydney Opera House is proudly owned by the NSW Government Partners

Sydney Opera House acknowledges and Principal Partner celebrates the support of our valued partners.

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Sponsors

Media Partners Event Partner

280 Keep in touch Sydney Opera House Bennelong Point Sydney NSW 2000 Australia T 61 2 9250 7111 sydneyoperahouse.com