VICTORIAN OPERA 2015 Welcome

In just ten years, over 300,000 During our short history, we have created 14 new Australian works and collaborated with some of Australia’s leading audience members have companies, venues and learning institutions. We employ experienced a performance hundreds across the theatre industry and recruit some of the by Victorian Opera – over fi nest singers from Australia and around the world. We are committed to the accessibility of opera through tactile 20,000 of those attending tours, and audio described and relaxed performances. regional performances. We have inspired over 500 young singers through our youth opera program and developed over 30 emerging artists. Our vision – to create a state opera company that is a state icon and a national leader.

Victorian Opera 2015 Annual Report 2015 Highlights

Our 10th consecutive fi nancial surplus.

A 40% increase in live audiences from 2014.

371,500 reached in broadcast audiences.

In a world fi rst, Victorian Opera presented a full length opera with 3D digital scenery.

A record number of new works, including Alice’s Adventures in Operaland, Remembrance, The Grumpiest Boy in the World and Seven Deadly Sins.

Three Green Room Awards for The Flying Dutchman.

Over 4,700 schoolchildren and teachers reached through Education Workshops.

Our second relaxed performance held for children with various learning abilities.

Seven singers and one repetiteur graduated from the Master of Music (Opera Performance) program – delivered in collaboration with Melbourne Conservatorium of Music, The University of Melbourne.

Victorian Opera stages an international collaboration – a co-production of Sweeney Todd: The Demon Barber of Fleet Street with New Zealand Opera.

3 “We continued to extend the boundaries of the art form, and ensured that opera remained accessible to all Victorians.”

Extending Boundaries

2015 marked Victorian Opera’s 10th goodbye to Stephen and a thrilling featuring Weill’s Die sieben Todsünden Anniversary Season – a year of new conclusion to three years of staging and a cabaret inspired collection of productions and new collaborations. his work. new works from four of Australia’s Our year opened with an epic brightest composers, commissioned new production of Wagner’s International star soprano Jessica Pratt by Victorian Opera in association with The Flying Dutchman; a collaboration returned home for another bel canto the Tasmanian Symphony Orchestra’s with the remarkable Australian Youth masterpiece following her 2014 Composer Development Program and Orchestra and Deakin.Motion.Lab performance in La traviata. She Symphony Services International. lead by Professor Kim Vincs. performed opposite acclaimed Spanish The double bill saw cabaret diva tenor Celso Albelo in Bellini’s I Puritani Meow Meow’s company debut and We were proud to return large-scale staged in concert at Hamer Hall with also starred the students from our opera to the Palais Theatre in St Kilda our orchestra partner Orchestra Master of Music (Opera Performance) – – the venue was once a mainstay of Victoria. Hamer Hall also provided a collaboration between Victorian Opera the city’s opera landscape during the backdrop for Heart and Soul, our and the Melbourne Conservatorium of 1970s and still offers the best acoustic for Mother’s Day Concert with the Music, University of Melbourne. opera in the country. Stuart Maunder’s Australian Philharmonic Orchestra, Sondheim Trilogy at Arts Centre Melbourne and Remembrance, our project for Our commitment to youth and new concluded with Sweeney Todd: the ANZAC Centenary which engaged work was the underpinning feature The Demon Barber of Fleet Street. community choirs from around Victoria. of our 10th Anniversary Season – we Teddy Tahu Rhodes made his debut with continued to extend the boundaries of the company in the title role and starred The year concluded with two new works, the art form, and ensured that opera opposite Victorian Opera favourite the fi rst our youth opera The Grumpiest remained accessible to all Victorians. Antoinette Halloran as a decidedly Boy in the World at the Malthouse wicked Mrs Lovett. It was a bloody Theatre. Our fi nal presentation was Richard Mills our double bill Seven Deadly Sins, Artistic Director, Victorian Opera

Victorian Opera 2015 Annual Report State Icon, National Leader

Victorian Opera’s 10th Anniversary Sweeney Todd: The Demon Barber of Season was a year of great successes, Fleet Street was the fi nal instalment in many fi rsts and valuable collaborations our Sondheim trilogy – produced with our dear friends at New Zealand Opera – a year which further cemented who will be touring the musical thriller the company’s reputation as a in late 2016. state icon, national leader and 2015 also boasted Victorian Opera’s fi rst trip to Tasmania with Richard Mills’ major player in the Australian ANZAC commemoration, Remembrance, operatic landscape. making its world premiere with the Tasmanian Symphony Orchestra. This The year opened with a revelatory production was performed in Melbourne exploration of Wagner’s earliest in August before touring regional masterpiece, The Flying Dutchman, Victoria; it deepened the company’s which saw our entire audience involvement with community choirs in wearing 3D glasses to experience every centre where the work was staged. ground-breaking 3D digital scenery. We collaborated with the TSO further, This feat in technology was followed as well as Symphony Services International, by a concert in the dark. Set during on double bill Seven Deadly Sins Earth Hour, Opera for the Earth was – specifi cally developing multiple a unique collaboration between compositions from some of the Victorian Opera and Dumbo Feather country’s brightest young composers. performed to an audience limited to 100 people – admission granted In a series of federal funding fi rsts, through ideas around the sustainability matched funding from Creative of the planet and our art form. Partnerships Australia, Ministry for the Arts and Department of Premier and Cabinet Our littlest fans were treated to our enabled a number of critical projects family production of Alice’s Adventures from the implementation of Tessitura, in Operaland – a chance to travel an industry wide customer relationship down the rabbit hole to meet some management tool, to the presentation of of opera’s biggest characters and our ANZAC centenary work. hear some of opera’s most iconic music. This production marked Critical to the company’s achievements another collaboration with is the ongoing support of the Arts Centre Melbourne – our fourth State Government of Victoria, through collaboration with them for our Creative Victoria’s Organisation Education Season production. Investment Program, The Robert Salzer Following the company’s work with Foundation, The Helen Macpherson Arts Centre Melbourne on the fi rst Smith Trust, our generous Supporters relaxed performance staged in Victoria, and Patrons including our Artistic Alice’s Adventures in Operaland was Director’s Circle and New Work and presented to an audience of children Education Syndicates, and our loyal with various learning abilities. subscribers. Most importantly, our thanks must go to our dedicated board Alongside Victorian Opera’s 10th Birthday and staff whose tireless efforts continue concert for children and families and to ensure the company’s success. our new commission and youth opera The Grumpiest Boy in the World, Jane Hemstrich a production supported by Chairman, Victorian Opera The Robert Salzer Foundation and our Andrew Snell New Work Syndicate, the company Managing Director, Victorian Opera offered a number of works to engage young audiences and indeed, our audiences of the future.

5 Productions in 2015

The Flying Dutchman

“The Flying Dutchman is a watershed moment for the Victorian Opera. An ambitious undertaking, but one that deserves admiration and praise. Set sail to St Kilda.” – The Age

The Flying Dutchman

“With its 3D projection, an Sweeney Todd outstanding Senta, and our brilliant “Few shows could boast such a national orchestra of young superb union of technical, musical musicians in the pit, it is an ideal and artistic balance in an opening entrée for those new to opera night performance.” and a memorable night for all Wagnerians.” – Herald Sun – Australian Book Review Sweeney Todd

The Flying Dutchman “Halloran is revelatory as Mrs Lovett“ “For this pioneering production, the – Australian Book Review audience will be asked to wear 3D glasses to view the images projected Sweeney Todd on huge screens that fan out from the stage. Thus one is fully immersed “The singing is, as you’d in the turmoil of the mythical expect, magnifi cent“ Dutchman coming ashore beneath – The Age the Norwegian cliffs.“ – The Age

Alice’s Adventures in Operaland

“…a great vehicle for educating the younger generation.“ – Stage Whispers

Victorian Opera 2015 Annual Report I Puritani The Grumpiest Boy in the World “Victorian Opera’s performance was truly affecting, one that captured the “In Victorian Opera’s world poignancy and death-hauntedness premiere of a homegrown work… of Bellini’s spirit.” a little bit of magic was made at – Australian Book Review Malthouse’s Merlyn Theatre. It’s a delightfully adventuresome jaunt from Opera for the Earth the living room to a world of fantasy that reintroduces ourselves to a “Victorian Opera’s latest venture takes comfort zone we often ignore.” the novel step of ditching traditional – Opera Chaser ticket prices and instead allowing admission by ideas only…Hopeful Remembrance attendees must share their thoughts on “environmental sustainability and how “Accompanied by an impressive they envisage the future for opera with chamber orchestra, Orchestra Victoria, their state opera company.” and a large rousing community choir, I Puritani Remembrance does offer a glimpse into – The Age what life might have been like during “The beauty of her performance and World War 1: something we should all almost insouciant ease of her upper Opera for the Earth continue to remember.“ register, as she fl oated and expanded – Theatre Press notes with an exceptional range of “A wonderful night! We loved colours, left her capacity audience the intimate space fi lled with ecstatic.” “The Young Artist’s” voices. Superb.“ – The Australian – Audience Member

Seven Deadly Sins

“This clever one-night-only double-bill, united Kurt Weill’s brilliantly acerbic ballet chanté of 1933… with a freshly contemporary Seven Deadly Sins, by four young Australian composers, who also wrote their own texts.” – Classic Melbourne

Seven Deadly Sins

“The seven cast members, graduating members of Victorian Opera’s Masters of Music (Opera Performance) program performed with great confi dence, fl air and polish.“ – Simon Parris, Man in Chair

7 Inspiring Audiences

In its 10th Anniversary Season, Victorian Opera reached a national audience of 438,020 across

123 performances, activities and broadcasts. 4,801 people joined Victorian Opera to witness the return of opera to the Palais Theatre in the company’s epic 3D reimagining of Wagner’s The Flying Dutchman across three performances.

7,383 audience members attended the bloody conclusion to Victorian Opera’s Sondheim Trilogy – Sweeney Todd: The Demon Barber of Fleet Street.

2,134 “This is a company that understands “They are different, they push the about accessibility – but does not boundaries of conventional opera to people attended the double bill compromise on performance. appeal to a wider audience and their Seven Deadly Sins at Hamer Hall. Impressive given what must be engaging education program limited resources.” is outstanding.” The world premiere performance of Richard Mills’ ANZAC commemoration “Richard Mills embraces us as “I am writing to express my (and my Remembrance with the members of his opera family, the wife’s) absolute joy at the I Puritani last Tasmanian Symphony Orchestra different venues are interesting, Thursday. I do not think I have enjoyed was broadcast on ABC Classic FM the opera’s good value for money an evening like it since the last night to an audience of & the productions and performers of the Sutherland season in 1965! of high calibre.” Seriously it was fantastic and I can only hope you keep up this standard after “As they say, Victorian Opera is Norma and now this concert version.” 50,000. redefi ning opera and helping to build its future.”

Victorian Opera 2015 Annual Report Engaging the Community

In its ongoing commitment to Refl ecting the growing demand for Hansel and Gretel (2014) – both presenting opera across the Victorian Opera’s annual family work, collaborations between Victorian Opera state, Victorian Opera toured its the company staged its 2015 production and Arts Centre Melbourne. production of Richard Mills’ ANZAC Alice’s Adventures in Operaland in These performances represent the commemoration Remembrance to Arts Centre Melbourne’s Playhouse. company’s commitment to making four of the company’s regional hubs: opera accessible to all audiences. Bendigo, Shepparton, Warragul Due to past sell-out seasons of and Wodonga. This was made Puss in Boots (2013) and “Thank you to all involved in making possible thanks to the support of Hansel and Gretel (2014) in this event possible. We loved it. This The Helen Macpherson Smith Trust. Arts Centre Melbourne’s 376 seat was an exciting venture and another Community choirs joined the Fairfax Theatre, the company moved step forward in inclusivity for all production in each regional centre – into the higher capacity 884 seat people. It was so well done. The totalling 252 participants across Playhouse. The four-day performance information and photos available on these centres. Multiple rehearsals in season, which played to a combined the website were extremely thorough each regional hub were delivered audience of schools and the general and very helpful. It helped parents by Victorian Opera music staff and public, reached 4,740 students, prepare their children. This is often a all choir participants received teachers and families. crucial element in determining whether additional musical resources to assist an outing is a success or a disaster! This production was also staged as in their preparations to perform Brilliantly done. It was great to see a relaxed performance for children alongside the company. The work that there were children who were with various learning abilities and had its world premiere with the profoundly affected in the audience.” reached an audience of 355 children Tasmanian Symphony Orchestra and families. This followed the fi rst – Leanne Hogan, Relaxed Performance and TSO Chorus in Hobart in April. relaxed performance staged in Victoria, audience member

9 Our People

Putting on a Victorian Opera mainstage performance takes a large and talented group of people months of preparation – planning, building, painting, tailoring, coaching and rehearsing – to create an unforgettable night at the opera. In 2015, Victorian Opera engaged hundreds of people in the creative industry.

Photographic Credits: Magnus Hastings (cover), Jeff Busby (pp. 2, 6, 12), Charlie Kinross (pp. 4, 7, 9, 10), Bri Hammond (pp. 8)

Victorian Opera 2015 Annual Report 680 performers, musicians and creatives across 26 mainstage performances

130 creatives, from directors and designers to technicians and production staff.

160 performers, including international guests, local singers and chorus, and young developing artists.

390 musicians including appearances from Orchestra Victoria, Australian Youth Orchestra, Australian Philharmonic Orchestra and Tasmanian Symphony Orchestra.

11 Victorian Opera Patrons

Founding Patrons Platinum Patrons ($5,000+) Jennifer George & Matthew Williams Lady Potter AC Beth Brown & Tom Bruce AM** Murray Gordon The Late Dame Elisabeth Murdoch AC DBE Greig Gailey & Geraldine Lazarus Peter & Jenny Hordern Suzanne Kirkham** Ian Kennedy AM & Sandra Hacker AO Patron in Chief Siobhan Lenihan** Peter Lovell The Honourable Linda Dessau AM, Kaye Marion Ian Merrylees Governor of Victoria Marian & Ken Scarlett OAM** John & Elisabeth Schiller Greg Shalit & Miriam Faine Tim & Lynne Sherwood Leadership Circle ($20,000+) Wesfarmers Arts Earl & Countess of Wilton Deanne Bevan & Guy Russo Anonymous (2) William J Forrest AM *Education Syndicate ($5,000+) Silver Patrons ($1,000+) Hans & Petra Henkell* Hans & Petra Henkell Dr John & Elizabeth Wright-Smith* Dr John & Elizabeth Wright-Smith Ian Baker & Cheryl Saunders Kirsty Bennett Artistic Director’s Circle ($10,000+) **New Work Syndicate ($5,000+) Buckett Family Robert & Caroline Clemente Beth Brown & Tom Bruce AM David Byrne John & Diana Frew Suzanne Kirkham Terry & Christine Campbell Mrs Jane Hemstritch Siobhan Lenihan Ernest Dawes OBE & Nola Dawes Peter & Anne Laver Marian & Ken Scarlett OAM Jean Dunn Bob Garlick Living Bequest Gold Patrons ($2,500+) John & Gaye Gaylard Susan Harley Joanna Baevski Brian Goddard Tanya Costello & Peter Costello AC Nance Grant AM MBE Craig D’Alton & Peter Sherlock Gras Foundation The Late Neilma Gantner Lesley Griffi n

Victorian Opera 2015 Annual Report If you would like to get more involved in the work of Victorian Opera through our Individual Giving Program please contact Pooja Dutt, Individual Giving Manager on 03 9001 6408 or [email protected]

Irene Irvine Phillip Schudmak Angela & Richard Kirsner Stewart & Denise Jackel Andrew Snell Peter & Barbara Kolliner Simon L Jackson & Brian Warburton Lady Southey AC Jane Kunstler Rod & Daniele Kemp Felicity Teague Joan & George Lefroy Alun & Patricia Kenwood Caroline Travers OAM Gillian Montgomery John & Lynne Landy Michael Troy Patrick O’Duffy Paul & Glenys Lejins Helen & Chris Trueman Margaret Plant Anne Lierse Liz & Peter Turner John & Marian Poynter John & Kerry Lovering Catherine Walter AM Merlyn Quaife Margaret Mayers & Marie Dowling Ian A Watts Greg J Reinhardt Ian Morrey & Dr Geoffrey Minter Russell Waters & Marissa Barter-Waters Ralph Renard Douglas & Rosemary Meagher Anonymous (5) Michael Rigg Ken Muirden AO Mary Ryan Greg Noonan Bronze Patrons ($500+) John & Thea Scott Ruth & Tom O’Dea Ines & Don Behrend Michael Smith Jillian Pappas David Bernshaw & Caroline Isakow Sam & Minnie Smorgon Jane Patrick & Robert Evans John and Nancy Bomford Penny Stragalinos Lynette Payne Pam Caldwell Lesley Tan John Rickard Angela Dhar Hugh & Liz Taylor Judith Robinson & Michael Robinson AO Catrionadh Dobson & Charles Caroline Vaillant Judith Rodriguez Windeyer Euahna Varigos Tomasz & Elizabeth Romanowski Elizabeth Douglas John Ward Joseph Sambrook & Mary-Jane Gething Dennis Freeman Peronelle Windeyer Graeme Samuel AC & Jill Davies Richard & Isabella Green Bart Wissink & Kaye Salisbury Michael Sassella Jill & Robert Grogan Anonymous (16) Aubrey Schrader Angela Kayser

13 Accounts

Government funding revenue $4,119,587

Box Office and performance income Total revenue $1,273,893 $6,383,051 Sponsorship, philanthropic and donation income $857,024

Other income $132,547

Personnel expenses $3,785,620

Production expenses $1,573,942 Total expenses $6,375,912 Administrative expenses $526,701

Marketing and development expenses $489,649

Victorian Opera 2015 Annual Report Victorian Opera is supported by the Victorian Government through Creative Victoria. Victorian Opera would also like to acknowledge, with great appreciation, the contribution of the partners listed on this page.

Government Partners

Foundation Partner University Partner Regional Partner

Supporting Partners

Markus Neilson Events

Education & Access Partners

Gailey Lazarus The Marian & William Angliss Foundation E.H. Flack Trust Charitable Fund Sylvia Fisher Foundation

Performance Partners

Technology Partner

Victorian Opera creates tailored partnerships to enable businesses to meet their strategic priorities. For a discussion about how your business can benefi t from a partnership with Victorian Opera, please contact Louise O'Loughlin, Development Manager, on (03) 9001 6405 or [email protected]

15 www.victorianopera.com.au