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2017 Annual Report – 2 – 2017 ANNUAL REPORT – 2 – VISION & VALUES CONTENTS TO BE THE LEADING OPERA COMPANY OF ITS TYPE IN THE WORLD, AND A SOURCE OF PRIDE TO ALL SOUTH AFRICANS. OUR MISSION VISION & VALUES 2 To promote and develop the appreciation, enjoyment and understanding of opera amongst all South Africans, and respect for its practitioners; CHAIRPERSON’S REPORT 6 To mobilise all available local, national, regional and global artistic, MANAGING DIRECTOR’S NOTE 8 financial and managerial resources in support of CTO’s vision; DEPARTMENTAL REPORTS 10 To contribute to committed and innovative stewardship of opera and the FACTS & FIGURES 12 operatic arts in South Africa; ARTISTIC DIRECTOR’S REPORT 14 To show sensitivity to the needs and requirements of the broad-based opera community in South Africa. ACTIVITIES BY MONTH 16 To engage with and inspire future generations GLOBAL REACH 20 STAFF 22 OUR VALUES YOUTH DEVELOPMENT & EDUCATION 28 Excellence and integrity in all our undertakings; Committed and innovative stewardship; DIRECTORS & TRUSTEES 30 Sound and ethical governance; FINANCIAL REPORT 32 Open engagement with stakeholders. FUNDERS & SPONSORS 36 OUR GOALS PATRONS & BEQUESTS 38 Provide a full and varied programme of world class opera and operatic 2018 SEASON 39 productions with South African and international artists in South Africa; Provide training and skills development opportunities for South African singers and operatic arts practitioners in South Africa and abroad; Provide performance opportunities for South African singers and operatic arts practitioners in South Africa and abroad; Encourage and support the creation and production of new operatic and musical works that reflect South Africa’s cultural diversity and explore African identity. 4 5 ARTFULLY CONSTRUCTED UPON A SERIES OF ANTITHESES, CAPE TOWN OPERA’S NEW PRODUCTION OF WAGNER’S EARLY MASTERPIECE HAS COMPLEXITY AND A RESONANCE BEYOND THAT OF AN OPERATIC VERSION OF AN OLD MYTH. BEVERLEY BROMMERT ON DER FLIEGENDE HOLLÄNDER CAPE TIMES – 6 – CHAIRPERSON’S REPORT I find uplifting the way Cape Town Opera embraces I appreciate the generous grants and contributions from each new year with such positive energy, and the start trusts, foundations, and corporate and government of 2017 was no different. As the year unfolded however, entities, including the National Lotteries Commission the Company would also draw deeply on its resilience and the Western Cape Government Department of to confront the huge challenges that faced everyone Cultural Affairs and Sport, and welcome our new from mid-year. The separate cancellation of two major international relationships with opera companies and overseas revenue-generating tours by host venues, due festivals. to their internal management problems, had significant repercussions for the Company. I thank our many opera lovers in South Africa and abroad for their unwavering loyalty and understanding Cape Town Opera embarked on the difficult process of of the complex challenges to be faced in sustaining a restructuring to become leaner, and to concentrate all permanent opera company in South Africa. resources on realising the purpose for which it exists – to I appreciate the strong support and insight from our perform, promote and develop opera sustainably, and to Trustees in Cape Town and in the UK. provide outreach programmes which nurture a love of this inspiring performing art. I thank warmly my fellow Directors for their unswerving support, collegiality and hard work in maintaining the Board and management were resolute that Cape Town equilibrium necessary to effect significant change while Opera should not stop singing. Patrons and benefactors simultaneously enabling the company to focus with concurred and their strong support was critical to purpose. this end. The Board and I are deeply appreciative of their belief in the Company and of their generosity, I look ahead to 2018 reassured that our experiences have in particular the foresight of leading classical arts tempered Cape Town Opera to emerge stronger, facing philanthropist, Mrs Wendy Ackerman. the future with confidence and conviction. I commend management, singers and staff for the courage, sheer grit and determination they SUSAN SMITH showed throughout this unsettling period; for the professionalism and confidence with which they continued to present world-class opera on stage at home and abroad, and deliver outreach programmes locally and nationally. I encourage you to read the reports by the Managing Director and the Heads of Department to appreciate the wide scope, variety and richness of Cape Town Opera’s work. – 9 – MANAGING DIRECTOR’S REPORT Cape Town Opera delivered an ambitious program of district, Free State province, the Eastern Cape and Critical to our success last year has been the This will be my final Annual Report for Cape Town opera, musicals, concerts, educational and outreach KwaZulu Natal on their annual South African School partnerships alongside other organizations with Opera as I will be leaving the company to take up the projects in 2017. The year-round programming featured Choral Eisteddfod tour. These activities continue to similar goals to our own. The Wales Millennium Centre post of CEO for the Buxton International Festival. three classic works reimagined as a reflection of our encourage new audiences to attend opera, develop produced a new musical, Tiger Bay, in association with Each year it has been a singular pleasure to write life in South Africa, a large scale new musical, and our emerging artists, and enable CTO’s Studio artists to Cape Town Opera. This was our largest project to about the company which has been central to my life first tours to Dubai and Hong Kong. I am pleased to gain valuable teaching experience. date and we were proud to host a West End creative for the last twenty-eight years. I joined CAPAB Opera report that the staff of Cape Town Opera remained team who took up residence in Artscape for five weeks in 1990 as a young Staff Director and was part of committed to mounting world class opera productions to deliver a thrilling season of a large scale musical. the transition to Cape Town Opera in 1999. During and creating new work with predominantly South In the second half of 2017 CTO made its debut at We collaborated with the Cape Town Philharmonic that time Angelo Gobbato encouraged me to create African artists. the Dubai Opera and the Hong Kong Cultural Centre Orchestra and mounted a Gala concert which raised South African operas, many of which were produced Grand Theatre with our production of Mandela funds for the Duet Endowment. at Artscape. His mentorship enabled me to tackle Our training program continues to be one of our most Trilogy. We were pleased to tour with the Cape Town the challenges facing a young company when I was rewarding and successful enterprises. Several singers Philharmonic Orchestra who provided sparkling Our collaboration with the University of Cape Town appointed Managing Director in 2005. It has been an from the CTO Studio won prizes in 2017, most notably accompaniment under the baton of Tim Murray. Opera School resulted in a sharing of resources, honour and privilege to work for Cape Town Opera and Mandla Mndebele who came third in The Hans Gabor As part of the Hong Kong Arts Festival we were benefitting both our Studio members and University I wish to express my personal gratitude to all the staff Belvedere Competition in Moscow and also won the commissioned to create an exhibition on Nelson music students. The production of Mozart’s The and singers, our generous sponsors, patrons, the board Audience Prize; Cecilia Rangwanasha won Second Mandela. Mandela – Voice of the Nation was installed Magic Flute proved to be a wonderful example of how members and trustees who have been so generous in Prize in the UNISA National Singing Competition and in the foyer of the Grand Theatre for the duration of popular youth culture can align with excellent musical their support of my tenure and who have made serving First Prize at ATKV Muziqanto National Competition; the Africa Festival and was viewed by over 10 000 values and high quality singing. Kamal Khan and this exquisite art form such a pleasure. and Siphamandla Yakupa won the Mbokodo Award visitors. Unfortunately the tours of Porgy & Bess to Brandon Phillips did an exemplary job of conducting 2017 for Opera, awarded to Women in Arts and the new venue Le Seine Musical in Paris in September a double cast of young singers in this very popular MICHAEL WILLIAMS Culture. The high standard of our young artists is a and the opera house in Fuessen in December were Matthew Wild production. We were particularly testament to the artistic team in general, and to Lize cancelled at short notice. This meant a 30% drop in pleased, after the disruption of our Magic Flute season Coetzer and her staff of vocal coaches, in particular. income for 2017 which produced a serious shortfall in with the UCT Opera School in 2016, to produce a sell- An important part of our program is our Outreach our operational budget for 2017. Cost saving measures out season to critical acclaim. and Education work. Under the leadership of Christine were implemented and we are grateful for the loans Crouse, the Outreach team travelled to the Eden from Duet and CTO Endowment. MARKETING AND PUBLICITY - LESLEY LIDDLE The 2017 season was a year of contrasts to satisfy all audiences. From the Broadway sounds of Tiger Bay the Musical to the sacred repertoire of Grace Notes, and from the Wagnerian majesty of Der Fliegender Holländer to the six sold out performances of The Magic Flute. CTO ventured into new venues as well, such as St George’s Cathedral in Cape Town, the Dubai Opera House and Hong Kong Grand Culture Centre Theatre. Our media footprint reached an international level with Opera Magazine, which featured CTO in its October issue, MTV.co.za, Times Live, Time Out Dubai and our ever-responsive Die Burger, Cape Times, Cape Argus, Cape Talk and FMR outlets.
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