2017 ANNUAL REPORT – 2 –

VISION & VALUES CONTENTS TO BE THE LEADING 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, 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 , 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 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. Over 40,500 audience members were reached around the world, and we look forward to widening our reach in 2018.

GIUSEPPE VERDI DAFYDD JAMES RIGOLETTO TIGER BAY BUSINESS DEVELOPMENT & FUNDRAISING - MELANIE DANIELS 11 - 18 FEB 24 - 27 MAY

My first year at CTO’s fundraising department was filled with excitement, fresh ideas and WALES MILLENNIUM CENTRE IN new experiences. Funds derived from government, individuals, foundations and corporates COLLABORATION WITH CAPE TOWN OPERA totalled R12,7 million, including generous bequests from the late JJL Bertin and Holger Arndt estates. Our patron scheme enjoyed a growth of ten new and reinstated members. Golf Day in February proved to be a popular event, with 24 x 4 balls participating at Stellenbosch Golf Club. The fundraising tours to Bonhams in London and Rotary Clubs in Germany cemented strong relationships with return visits planned for 2018. We are proud to announce that the UK Friends of Cape Town Opera have been entered into the UK Register of Charities as of November, ending the year on a high note.

PRODUCTION - MARITHA VISAGIE

2017 was a season that saw us bringing vastly different worlds to life on stage. We kicked the year with Marthinus Basson’s brightly coloured, contemporary Rigoletto. A minimal set

MANAGERS’ REPORTS MANAGERS’ design, dominated by clever use of the existing stage machinery and strong audio visual designs combined with Michael Mitchell’s slick and modern costume styling. RICHARD WAGNER W.A.MOZART The next production, Tiger Bay, the Musical took us back in time to the dockyards of Cardiff Bay. Our partnership with WMC brought together the talents of a UK and South African production DER DIE team to create this brand new work. Realizing Anna Fleische’s set design, we created an almost life size ship prow on stage. This production was also not short of stage tricks with blood spurting FLIEGENDE ZAUBERFLÖTE prosthetic fingers, gunshot wounds and a magical crystal ball to name but a few. HOLLÄNDER 23 NOV - 9 DEC Staying with the theme of ships and dockyards, Michael Mitchell’s set and costume designs for 17 - 26 AUG Der Fliegende Holländer, brought us back to our home shores of Cape Town. 1400 6 South African leaners participating Countries performed in in outreach activities 81 R4,908,171 Paid to South African artists Shows performed LEVEL 1 40,501

Broad-Based Black Economic Audience members worldwide Empowerment rating – 15 –

ARTISTIC DIRECTOR’S REPORT

Our 2017 season was marked by a series of new production of Der fliegende Holländer, CTO’s belated premiere in November. Under the guise of a Mahoney and designer Anna Fleischle came to Cape productions of classics which posed provocative first staging of an opera by Richard Wagner since whimsically dream-like staging in beautiful all-blue Town to stage the initial run of the production, before questions about the role of opera, of Western music, Tannhäuser in 2000. With its unique narrative links designs by Michael Mitchell, my production told the the production travelled to Cardiff for its official and of music theatre in contemporary South Africa. to the (the opera teases out story as the dream of a of Music premiere. The exceptional cast of British and South Operas by Verdi, Wagner and Mozart were each the myth of the ghostly Flying Dutchman, a cursed student (who stepped into the role of the hero Tamino African performers gave audiences a fascinating first presented in vividly theatrical productions, with mariner doomed to wander the oceans after failing in in his fantasy), subtly confronting a debate still raging glimpse of an international musical in the run up to its underlying themes in each work finding surprising new his rash attempt to round our native Peninsula), this within the Faculty of Humanities at the University: do premiere season. resonances in the context of South Africa’s complex is a work which demands a permanent place in CTO’s the works of European composers have a place in an social fabric. repertoire. With the Dutchman recast as the unquiet African music school in the 21st century? With poised The intersection of European and African music was ghost of Jan van Riebeeck, the production invited performances from its young cast, and a notable exquisitely explored in Grace Notes, an a capella Legendary director Marthinus Basson’s hard-hitting viewers to question their relationship with the signs debut from Maestro Brandon Phillips (alternating with concert of sacred music curated by Thuthuka Sibisi, production of Verdi’s Rigoletto opened the 2017 of symbols of our colonial past. Two notable South Kamal Khan), the production was a sell-out success, juxtaposing music from two hemispheres and four season. Reimagining Rigoletto as a person with African Wagnerians returned home for the production and drew high praise from local and international arts centuries. With William Byrd next to Zulu hymns, albinism, treated with superstition and prejudice by his – Jaco Venter as the Holländer and Johanni van media. and Palestrina alongside isiXhosa church music, the peers, the production also took aim at gender-based Oostrum as Senta, alongside Lukhanyo Moyake as the concert had its South African premiere in St George’s violence in SA. Three outstanding principal singers Steersman and Violina Anguelov as Mary. Two visiting Between these classics, our 2017 season was rounded Cathedral, and built up a devoted audience as it were recognized with Fleur du Cap Award nominations artists made powerful CTO debuts in the production: out by two unusual and innovative projects reflective moved to other churches around the peninsula. for the production – Fikile Mvinjelwa as Rigoletto, Vuvu Gregory Frank as Daland and Sam Sakker as Erik. of CTO’s partnerships with organisations abroad. Mpofu as Gilda and Lukhanyo Moyake as the Duke of The production was conducted by CTO Associate Our 2017 season was rounded off with our annual Mantua. With strong support from Nonhlahla Yende’s Music Director Tim Murray, with the CTO Chorus on The new musical Tiger Bay marked a high point gala in support of the Duet Endowment, headlined by Maddalena, and newcomer Thomas Mohlamme’s dark- exceptional form, with hypnotic projections from Kirsti in our ongoing relationship with Cardiff’s Wales Levy Sekgapane and Vuvu Mpofu, in an effervescent voiced Sparafucile, the production also drew excellent Cummings illuminating Michael Mitchell’s striking Millennium Centre. With music by Daf James and programme of music inspired by fairytales, and the contributions from CTO regulars Michael Mitchell container-yard set design. book and lyrics by Michael Williams, this ambitious theatre works of Beaumarchais. (costume design), Kobus Rossouw (lighting design) and Welsh-South African collaboration looked at the role Maestro Kamal Khan. Our new production of Mozart’s Die Zauberflöte, of African immigrants in the coal industry in turn MATTHEW WILD slated to premiere in 2016 and postponed due to the of the century Cardiff. A high-profile creative team An overdue composer’s return arrived with my #FeesMustFall closures at UCT, finally enjoyed its including director Melly Still, musical director David JANUARY FEBRUARY MARCH APRIL MAY JUNE

G VERDI FLEUR DU CAP AWARDS NATIONAL D JAMES EDEN DISTRICT CHOIR FESTIVAL RIGOLETTO 19 MARCH SCHOOLS TOUR TIGER BAY 11 - 18 FEBRUARY CAPE TOWN 6 - 23 APRIL 20 - 27 MAY 11 JUNE CAPE TOWN CAPE TOWN, GEORGE, DE AAR, CAPE TOWN GEORGE BETHLEHEM, DURBAN, KOKSTAD, UMTATA, PHILIPPI

GOLF DAY FUNDRAISER AFRICAN ANGELS 24 FEBRUARY 12 - 16 APRIL STELLENBOSCH GERMANY SWITZERLAND

PROVINCIAL PARLIAMENT KONSERT VAN HOOP CONCERT 27 APRIL 17 FEBRUARY CAPE TOWN CAPE TOWN JULY AUGUST SEPTEMBER OCTOBER NOVEMBER DECEMBER

GRACE NOTES SANDERS CONCERT GERMAN FUNDRAISING SOCIETY FOR THE BLIND M CAMPBELL & P L VAN DIJK W A MOZART 13 - 27 JULY 6 AUGUST CONCERTS CONCERT MANDELA TRILOGY THE MAGIC FLUTE CAPE TOWN CAPE TOWN 6 - 9 SEPTEMBER 4 OCTOBER 9 - 19 NOVEMBER 5 - 10 DECEMBER HANOVER, ESSLINGEN, SALT RIVER DUBAI, HONG KONG CAPE TOWN HAMBURG, NIENBURG-NEUSTADT ARCHBISHOP TUTU CELEBRATION KNYSNA UK FUNDRAISING WOMEN’S DAY CONCERT CONCERT 7 OCTOBER LA FUGUE CONCERT CTO PATRON EVENT CAPE TOWN 9 AUGUST 11 SEPTEMBER 16 NOVEMBER 12 DECEMBER KNYSNA LONDON HANSEL & GRETEL CAPE TOWN CAPE TOWN YOUTH PERFORMANCE SINGING GARDEN 11 - 21 OCTOBER R WAGNER OUTREACH CONCERTS CAPE TOWN AND NYANGA 19 . 21 SEPTEMBER W A MOZART OUDE LIBERTAS DER FLIEGENDE OUTREACH CONCERTS HOLLANDER VREDENBURG, THE MAGIC FLUTE CONCERT 13 - 15 OCTOBER 17 - 26 AUGUST 23 - 25 NOVEMBER 21 DECEMBER SIMONSIG CONCERT ROBERTSON, MONTAGUE, CAPE TOWN CAPE TOWN SWELLENDAM CAPE TOWN 22 SEPTEMBER WESTERN CAPE DUET GALA CONCERT 24 OCTOBER CAPE TOWN SOUTH AFRICA GERMANY WESTERN CAPE BERLIN HANOVER NYANGA CAPE TOWN VREDENBURG ESSEN KÖLN RETREAT CONSTANTIA PHILIPPI ESSLINGEN LEIPZIG ROBERTSON GEORGE SALT RIVER DORTMUND MANNHEIM KHAYELITSHA KWA-ZULU NATAL DUSSELDORF MUNICH UNITED ARAB STELLENBOSCH KNYSNA EASTERN CAPE FREE STATE DURBAN NORTHERN CAPE ENGLAND FRANKFURT NIENBURG-NEUSTADT SWITZERLAND EMIRATES CHINA SWELLENDAM MONTAGUE MTHATHA BETHLEHEM KOKSTAD DE AAR LONDON HAMBURG STUTTGART BASEL DUBAI HONG KONG GLOBAL REACH GLOBAL STAFF EXECUTIVE PERSONALEXECUTIVE ASSISTANT DEVELOPMENT MANAGER MelanieDaniels COMMUNITY AND EDUCATION MANAGER HEAD OF PRODUCTION MANAGING DIRECTOR MARKETING MANAGER FINANCIAL MANAGER ARTISTIC DIRECTOR Michael Williams Christine Crouse Maritha Visagie Matthew Wild EliseBrunelle Lesley Liddle Alicia Killian Alicia COORDINATOR Madré Loubser Juan Burgers &Paul Ferreira OUTREACH / EDUCATIONOUTREACH/ ASSISTANT REHEARSAL PIANIST/ COACH MUSIC ADMINISTRATOR VOCAL COACH / REPETITEURS ARTISTIC ADMINISTRATORCOACH/ ASSOCIATE MUSIC DIRECTOR CHORUS MASTER PRODUCER Roy Hunter Marvin KernelleMarvin & YOUTH DEVELOPMENT Samantha Riedel Tim Murray

Lize Coetzer Faith Zungu MARKETING: SALES AND FUNDRAISING TECHNICALCO-ORDINATOR / ASM MARKETING ASSISTANTMARKETING & YOUTH DEVELOPMENT TRANSPORT MANAGER / RUNNER PRODUCTION TECHNICAL DIRECTOR /LIGHTINGDESIGNER WARDROBE ASSISTANT WARDROBE MANAGER TECHNICAL ASSISTANT Ivor Cloete COORDINATOR Masixole Makwetu HEAD DESIGNER PROPS MASTER Donovan Kleinhans MichaelMitchell Nasreen Nasiep Yaghya Karriem Kobus Rossouw Dawn KennedyDawn Louis Niemand Rabia Cloete

Jon Zhang(Artistic) NORTHEASTERN (USA) UNIVERSITY INTERN Berber Pieterson INTERNS HHANZEHOGESCHOOL GRONINGEN(HOLLAND) Jade Holmes(Administration &Fundraising) (Education),Mawonga Gala ChristiaanHarris(Design), EPWP INTERNSMubeenCloete (Wardrobe), HUMAN RESOURCE ADMINISTRATORHUMAN BOOK KEEPER ACCOUNTS MANAGER Mark Heyns Shammy Desai Gerald Petersen CHORUS

SOPRANOS MEZZO-SOPRANOS TENORS BASSES & BARITONES Jodi Khan Abongile Fumba Xolani Madalane Garth Delport Babongile Manga Nonkululeko Nkwinti Simphiwe Mayeki Lindile Kula Jr. Tina Mene Danielle Speckman Mthunzi Mbombela Lindile Kula Sr. Pumza Mxinwa Miranda Tini Lula Nqadini Paul Madibeng Ernestine Stuurman Andile Tshoni Thando Mpushe Bukelwa Velem Nkosana Sitimela

OPERA STUDIO

SOPRANOS MEZZO-SOPRANO TENORS BASSES & BARITONES Frances du Plessis Annemarie Steenkamp Nkululeko Masuku Martin Mkhize Cecilia Rangwanasha Johannes Slabbert Thando Zwane

STAFF SOLOISTS

SOPRANO MEZZO-SOPRANO TENOR BASSES & BARITONES Siphamandla Yakupa Nonhlanhla Yende Lukhanyo Moyake Mandisinde Mbuyazwe Mandla Mndebele Thomas Mohlamme Xolela Sixaba 26 27 THE PREMIERE UNVEILING OF TIGER BAY THE MUSICAL, CURRENTLY RUNNING AT THE ARTSCAPE, IS A STARK REMINDER THAT SOUTH AFRICA HAS A FIRM SPOT IN THE GLOBAL ARTS SCENE. IT’S SO RARE TO GET THE FIRST SHOT AT SEEING SOMETHING THIS GOOD AND WITH SO MUCH PROMISE; DO ANYTHING YOU CAN TO GET A TICKET.

BENN VAN DER WESTHUIZEN ARTSPOKEN & REVIEWS 28 29

YOUTH DEVELOPMENT & EDUCATION

With a growing interest from all spheres of life and As part of audience development, we extended an invitation backgrounds, Opera Is My First Language plays a vital role in to the Society for the Blind in Salt River, Athlone School for eliminating the gap between rural areas and the city, where the Blind, Noluthando School for the Deaf in Khayelitsha, our operas take centre stage. For the Youth Development Thembalethu School of LSEN in Gugulethu and hearing and Education (YDE) department of Cape Town Opera, impaired adult patrons to attend a performance of Tiger Bay 2017 started with visits to Karitas School of Learners with the Musical, Der Fliegende Holländer and The Magic Flute. Special Educational Needs (LSEN), Vredenburg and Lathi-Tha For the first time, Cape Town Opera had an audio describer School of Skills, Khayelitsha. A music therapist accompanied provide commentary for our blind patrons using the newly us on regular visits to both schools, giving deeper insight bought Sennheiser headsets. We also had a sign language into learners with special needs and how to integrate music interpreter from Jazz Hands who made opera more accessible into their overall development. Following these visits, we for our deaf patrons. commenced rehearsals at both schools and staged a vibrant edition of The Singing Garden; a story of a beautiful garden In the second half of 2017 we worked with St Mary’s Primary where insects sang different arias from well-known operas. School, Retreat and Kuyakhanya Primary School, Nyanga on Performances were attended by their peers, teachers, parents, Hansel and Gretel by Humperdinck. Five professional singers community members, and members of the West Coast collaborated with the school’s learners to create staged Education Department. performances of Hansel and Gretel. St Mary’s Primary School also performed Hansel and Gretel in the Artscape Chandelier The Singing Garden was shortly followed by an intense Foyer, as part of Artscape’s Lunch Hour Concert Series, while preparation for the 2017 South African Schools Choral Kuyakhanya performed in their school hall in Nyanga. Eisteddfod (SASCE) vocal boot camp and workshops. Cape Throughout the year, six community choir leaders and music Town Opera’s team embarked on a journey that saw eight teachers from around the worked with singers and Maestro Juan Burgers travel to the Western Cape, Maestro Juan Burgers during our keyboard and music theory Northern Cape, Free State, Kwa-Zulu Natal and Eastern lessons. Participants were provided with keyboard and weekly Cape provinces. This is the highlight of the YDE team’s instruction free of charge. annual workshops, as it reaches over 1400 learners around the country who have great interest in opera as a career and At the end of 2017, we visited all the schools we worked with participate in the annual schools choral competitions. Cape during the season and completed assessments to monitor Town Opera started a school choir at Masiphatisane Primary and evaluate the impact of our involvement with the learners. School, Vredenburg, and appointed facilitators to assist the We wish to say a sincere thank you to Christine Crouse and choir. This choir obtained first position in all the categories Faith Zungu, whose dedication to the YDE department over they had taken part in during the 2017 regional eliminations of the past five years allowed for a seamless transfer to our new SASCE in the West Coast. co-ordinating team. MASIXOLE MAKWETU & MADRÉ LOUBSER – 30 –

DIRECTORS AND TRUSTEES

CAPE TOWN OPERA BOARD OF DIRECTORS

Mrs Susan Smith Mr Africa Melane CHAIRPERSON VICE CHAIRPERSON

Prof. Virginia Davids Adv. Willie Duminy Mr Derek Gosen Mr Francois-Jacques Prof. Enrico Uliana Mr Michael Williams MEMBER (S.C.) MEMBER Malan MEMBER MEMBER MEMBER MEMBER

CAPE TOWN OPERA ENDOWMENT TRUSTEES UK FRIENDS OF CAPE TOWN OPERA TRUSTEES

Mrs Wendy Ackerman Lady (Mary) Hatch, Chairperson Adv Willie Duminy (SC) Martin Campbell-White Mr Andrew Ovenstone Ivan G. Fallon Ms Aviva Pelham Niall Gallagher Ms Carien Ras Peter Rogan Mrs Susan Smith Susan Smith – 33 –

FINANCIALS DIRECTORS’ REPORT

The directors have pleasure in submitting their report on A major portion of revenue is utilized to fund the cost of are fully set out in the annual financial statements and do foreseeable future and accordingly the annual financial the annual financial statements of The Cape Town Opera opera productions, which include in their casts singers of not required any further comment. statements have been prepared on a going concern basis. Company NPC for the year ended 31 December 2017. the Cape Town Opera chorus, Staff Soloists and the Opera The directors have satisfied themselves that the company Net loss of the company in the 12 months ending 31 Studio program. Participation in these productions form is in a sound financial position and that it has access to 1. Review of Activities December 2017 was R2,680,559, due primarily to the loss of an indispensable part of the training, development and sufficient borrowing facilities to meet its foreseeable cash two income-generating international tours during the year Main business and operations: the company continued education of the singers. requirements. The directors are not aware of any new as noted above. to promote and develop opera, with 43 full and concert material changes that may adversely impact the company. Cost of sales (productions) decreased by 27% from 2016 performances taking place in Cape Town, its surrounds and 2. Directors The directors are also not aware of any material non- to 2017 due to significantly fewer international touring around the world. Significant outreach and educational compliance with statutory or regulatory requirements or productions taking place. This also resulted in a 37% The directors in office during the period under review is as initiatives were launched and completed in Western Cape of any pending changes to legislation which may affect the decrease of production sponsorship and touring fee income follows: and other communities nationwide, attended by over company. from the prior financial year. Two major international tours 2150 learners drawn from three South African provinces. SM Smith, Chairperson were cancelled mid-year due to technical and ownership 6. Auditors The company toured internationally with productions and A Melane, Vice Chairperson issues of the host venues overseas. This had a significant concerts in five countries including United Arab Emirates, WRE Duminy Meredith Harington Incorporated has audited these annual impact on the company’s income for the year; however, the China, Germany, England and South Africa. The directors VC Davids financial statements for the period under review in terms of company was able to secure sufficient loans and new grant are pleased with the company’s performance standard DG Goosen a resolution passed by the directors. sources to continue operations through 2018. Excluding overall, the investment in new, local productions and the FJ Malan project-specific Lotteries grants, donated income from 7. Secretary diversity and geographic reach of overseas tours that EO Uliana government, corporate, trust and foundations grew by took place during the period under review. The company’s MR Williams The company had no secretary during the 12 months. 22% from the prior financial year. There was no change in educational work in community schools reached a aggregate operating expenses. 3. Borrowing powers 8. Liquidity and solvency significant number of learners, providing music training at no cost for over 550 beneficiaries at rural and government CTO developed noteworthy new international relationships In terms of the Articles of Association of the company, the The directors have performed the required liquidity and schools. with opera companies and festivals in Dubai and Hong directors may exercise all powers of the company to borrow solvency tests required by the Companies Act 71 of 2008. Kong, a first for the company in the Middle East and Asia. money as they consider appropriate. Generous grants from the National Lotteries Commission 9. Approval Ties with the United Kingdom and Germany remained and the Western Cape Government Department of Cultural 4. Events after the reporting period strong with Young Artist concerts in both countries. In The financial statements were approved by the board of Affairs and Sport were the principal sources of government conjunction with local operations, these relationships The directors are not aware of any other material event directors and are signed on their behalf by the following two funding. Altogether, grants and contributions from over contributed to the development and growth of the staff, which occurred after the reporting date and up to the date directors on 21 June 2018: 120 local and international patrons, trusts, foundations, provided international exposure for CTO’s productions and of this report other than any matters disclosed in the notes. corporate and government entities provided 38% of the - SM Smith and A Melane resulted in employment for 214 South African artists and company’s income for the year under review. The remaining 5. Going concern performers during the year. income was derived from local box office income and The directors believe that the company has adequate programme sales (11%) and international touring fees The operating results and state of affairs of the company financial resources to continue in operation for the (51%). – 34 – – 35 –

FINANCIAL MANAGER’S REPORT The Cape Town Opera Company NPC (Registration number 1999/017712/08) CTO’s recent financial history tells a tale of market Annual Financial Statements for the 12 months ended STATEMENT OF CASH FLOWS demand: our singers and productions are in unique 31 December 2017 2017 2016 demand on stages around the world, and our R R STATEMENT OF FINANCIAL POSITION STATEMENT OF COMPREHENSIVE INCOME internationally-derived income has become an CASH FLOWS FROM -625,384 5,410,197 2017 2016 2017 2016 increasingly large part of what finances operations OPERATING ACTIVITIES R R R R and productions in South Africa. When two major Interest income 171,533 281,256 tours cancelled mid-year, as took place in 2017, ASSETS Revenue 31,268,288 41,110,650 NET CASH FROM OPERATING -453,851 5,691,453 the knock-on effect of losing tour income (and NON-CURRENT ASSETS Cost of sales -18,243,759 -24,769,245 ACTIVITIES performance opportunities for our artists) was Property, plant and equipment 7,974,913 6,529,212 GROSS PROFIT 13,024,529 16,341,405 drastic. In response, we tackled a number of items to trim our costs going forward. The full time staff CASH FLOWS FROM compliment was reduced, general administration CURRENT ASSETS Other income 1,961,860 3,062,566 INVESTING ACTIVITIES expenses were cut, and development efforts Trade and other receivables 234,106 873,800 Operating expenses -17,838,481 -17,852,409 Purchase of property, plant and -3,628,910 -4,091,632 were broadened to secure 22% more in donated Cash and cash equivalents 4,568,578 4,251,339 OPERATING PROFIT -2,852,092 1,551,562 equipment income from more sources than the prior financial 4,802,684 5,125,139 Sale of property, plant and equip- 100,000 0 year. We also felt it necessary to focus our 2018 ment South African productions primarily with titles TOTAL ASSETS 12,777,597 11,654,351 Investment revenue 171,533 281,256 NET CASH USED IN -3,528,910 -4,091,632 of commercial, investment and touring appeal, PROFIT FOR THE YEAR -2,680,559 1,832,818 INVESTING ACTIVITIES such as Tsotsi the Musical, Grace Notes, Mandela Trilogy, etc. The generosity of individuals and our EQUITY AND LIABILITIES STATEMENT OF CHANGES IN EQUITY endowment have provided financial resources to EQUITY CASH FLOWS FROM see us through the coming years. In 2018, CTO will ACCUMULATED TOTAL FINANCING ACTIVITIES focus its energy on the continued training of young Accumulated surplus / (deficit) 4,498,220 7,178,779 SURPLUS / EQUITY Movement on other financial 4,300,000 -3,155,586 (DEFICIT) South African singers, who are at the heart of our liabilities work; securing new touring venues and diversifying Balance at 5,345,961 5,345,961 LIABILITIES NET CASH FROM (USED IN) 4,300,000 -3,155,586 our production offerings; mounting cost-effective 01 January 2016 CURRENT LIABILITIES FINANCING ACTIVITIES productions at home and abroad; and using a more Loss for the Year 1,832,818 1,832,818 Trade and other payables 2,360,577 2,856,772 conservative risk management plan for financial Balance at 7,178,779 7,178,779 stability. Other financial liabilities 5,918,800 1,618,800 01 January 2017 Total cash movement for the year 317,239 -1,555,765 8,279,377 4,475,572 Profit for the Year -2,680,559 -2,680,559 Cash at the beginning of the year 4,251,339 5,807,104 ELISE BRUNELLE TOTAL EQUITY AND 12,777,597 11,654,351 Balance as at 4,498,220 4,498,220 TOTAL CASH AT END OF 4,568,578 4,251,339 LIABILITIES 31 December 2017 FINANCIAL PERIOD – 36 – – 37 –

FUNDERS AND SPONSORS

GOVERNMENT CORPORATES

TRUSTS & p a lta

FOUNDATIONS fondation m

a

n alta mane e

Anonymous, E & M Osrin Charity Trust, Hintze Family Charitable Foundation, Kirsh Foundation, Lord and Lady Lurgan Trust, Lorenzo and Stella Chiappini Charitable and Cultural Trust, Joan St. Leger Lindbergh Charitable Trust, Mauerberger Foundation Fund, Philip Schock Charitable and Educational Foundation, VEC Acorn Trust, The Susman Charitable Foundation Trust.

PARTNERS

Uthando South Africa, Sunrise Rotary Club, Bowman Gilfillan, capetownmagazine.com FEBRUARY 2018 ARTSCAPE THEATRE CAPE TOWN PATRONS & BEQUESTS

MARCH 2018 SPIER AMPHITHEATRE PLATINUM Lilian Bron Geoff & Rosemarie Evans STELLENBOSCH Raymond & Wendy Ackerman Graham Couchman John & Anne Field Cape Union Mart Peter & Meg Davidson Angelo Fornara Laurie & Rita Chiappini Keith Doig Paul & Moyra Goldberg De Grendel Wines Dr Franca Falanga David & Veronica Golder MARCH - MAY 2018 Lady Mary Hatch Thys Greeff Sir Alan & Lady Gillian Grose TORINGKERK, PAARL Dudley Heesom Ken & Nicky Kinsey-Quick Max & Lisa Hopfl ZEITZ MOCAA, CAPE TOWN ST JOHN’S CHURCH, CAPE TOWN Martin & Birgit Hess Countess Sylvia Labia Gerda & Helmut Jung Natie & Frances Kirsh David Luyt & Bill van Rensburg Reg Lander Tom & Helga Lewis Denis le Jeune Richard & Catherine Lomberg Ronnie Lubner Graham & Bunty Money Francois Marais JULY 2018 Hoosein Mohamed Chris & Annie Mostert Herman Nieuwoudt ARTSCAPE OPERA HOUSE Jerome O’Regan Kate Owen Dr Tony & Vicki Norcliffe CAPE TOWN Helmut & Laurel Prast Ben Rabinowitz Hartmut Nowak Simon Susman Carien Ras Mack Rogan Boetie & Caroline van Zyl Edward Saunders Robert Silberman

GOLD Michael & Nancy van Breda Eleanor Simpson AUGUST 2018 Howard & Audrey Coffell Dr Johannes and Eleanore George & Susan Smith BAXTER THEATRE Ince & Co van der Horst Lesley Sutherland CAPE TOWN Bill & Edith Jack Sue Lawley & Hugh Williams Prof Ben & Mary Turok Johan Kriek Anonymous Henk & Iné van der Tak Sandra Ovenstone BRONZE Birgit Wagner

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