Sydney Opera House Annual Report 2008.Pdf
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Brisbane Baroque
AUTUMN 2015 MUSICAL Wicked CABARET LA SOIRÉE SPECIAL EVENT Brisbane Baroque Celebrating three decades of storytelling Welcome Hello. 2015 is QPAC’s 30th anniversary and we invite you to celebrate this milestone with us. There is much on o er across our stages and outdoor venues, special programs that are the result of a number of wonderful partnerships with artists and companies we enjoyed collaborating with across three decades. One of the most rewarding things about creating art in Queensland is the responsive audiences who are keen to try new things. It goes without saying that you, our audiences, are critical to our work. The conversation that takes place between artists and audiences, in that space between the stage and auditorium is what makes live performance magical. It’s also why it is constantly changing. Feeling the energy in a room shift and respond to what is being played live in front of you is something that you have to be there to share in…there really is no substitute. Over the course of 30 years QPAC has become part of the fabric of the city and a touchstone in the lives of many of you, who saw your fi rst live performance here, graduated from university in the Concert Hall, or simply had an incredible night out here. I hope you feel QPAC belongs to your community and that you are able to join us in celebrating three decades of storytelling. Thank you. JOHN KOTZAS Chief Executive qpac.com.au | 136 246 Highlights CONTENTS MILESTONES 4–5 CABARET 6-7 SPECIAL EVENT 8–9 MUSICAL 10–15 OPERA 16–18 FAMILY 19–21 16 DANCE 22–25 -
Lust and the Libretto
8 SPECTRUM NOVEMBER 30-DECEMBER 1, 2013 The Sydney Morning Herald The Sydney Morning Herald NOVEMBER 30-DECEMBER 1, 2013 SPECTRUM 9 OPERA Lucyisatroubledyoungwomanwho Five scenes to make you blush will do anything for a drug fix and in the first act Fiebig had to mime giving fellatio to David Corcoran, who was THE CORONATIONOF playing Lucy’sdrug dealing brother. It POPPEA Lust and was confronting for everyone involved. (Monteverdi, 1643) ‘‘Toseeyourselfdegradedinfrontof ‘‘The Coronation of Poppea would have to be yourpeersandinfrontofanaudience the sexiest opera from start to finish,’’ says is hard. I found the rehearsal process counter-tenor David Hansen. Monteverdi’s harder than performing, because [when masterpiece starts with a bedroom scene performing] you’re a character. You’re and finishes with the Emperor Nero and his the libretto not Taryn Fiebig; you’re someone else. mistress singing a rapturous love duet, ‘‘I Youwalkon,bedramaticandwalkoff.’’ gaze at you, I possess you ..’’ And what about the audience reaction? ‘‘It is an important part DON GIOVANNI Sex underlies much of opera and life. Putting it on stage of Lucy’sjourney as a character. (Mozart, 1787) has challenges, writes HARRIET CUNNINGHAM. People weredisturbedbyitbutthey Beforetheoperastarts,DonGiovanni,aka appreciated the way it was handled, Don Juan, has notched up more than 1000 which I was very pleased about.’’ conquests in Spain alone, according to his hat is opera’sfavourite Heisquotingfromthelibrettoof Fellatio,nudityandsimulatedsexon manservant Leporello’sCatalogue Aria. He’s subject? Heroism? Fidelity? Giasone,a17th-centuryoperaby stage – can it go too far? There are plenty losing his touch in the opera, only managing Revengeandforgiveness? composer Francesco Cavalli and of instances in which the audience and several seductions and/or rapes. -
2007 2008 2007 Note $000 $000 Note $000 $000
PERFORMING FOR TODAY BUILDING FOR FUTURE GENERATIONS SYDNEY OPERA HOUSE TRUST ANNUAL REPORT 2007/08 PERFORMING FOR TODAY Symphonie Fantastique Le Grand Cirque Sydney Opera House is one of the busiest and most successful performing arts centres in the world. FOR TODAY Operating 363 days, 1,269,996 people attended 1,661 performances over the year. Performance Partnerships 53,726 children attended our Kids at the Through our own programming division, Resident companies – The Australian House and House:Ed programs designed Sydney Opera House Presents, our resident Ballet, Opera Australia, Sydney Symphony for young audiences. companies and major hirers we generated and Sydney Theatre Company – were 2,709 people attended the Balnaves Open a wealth of diverse performances including responsible for 54% of our total audiences House Program that extends access to the international artists and ensembles, local and and 34% of all performances. broader community by offering $5 tickets. newly commissioned works, emerging artists Our Major Partners NAB and HP, our and programs for families and schools. Approximately 120,000 unique visitors five Media Partners and our 20 Corporate visit our website every month. Sydney Opera House Presents aims to complement Sponsors help us to achieve our business the programming of our resident companies objectives. 605 people are employed at Sydney Opera and extend the cultural experiences available House and help us to achieve success every day. Our 417 private donors generously contributed to the people of Sydney and NSW. Our They are joined by many, many other people $545,305, an increase of 15% year on programming under this banner represented on site who work with our resident companies, year, to allow us to invest in the world’s best 44% of all performances across our venues. -
Pirates 2 .Wps
THE PIRATES OF PENZANCE A live performance by Opera Australia Date: August 2006 Venue: Sydney Opera House DVD Source: Commercially available, released by Kultur, 2007 (NTSC, region 1) and ABC, 2007 (PAL, region 4) COMMENT Missing overture aside, we get not only the complete opera but, by way of Ruddigore's Matter patter (aka My Eyes Are Fully Open), a gratuitous Act Two bonus. (Ears pealed, too, for the "bit of Wagner at the start"1, the "Les Mis moment"2, late-on nods to both Pinafore and Iolanthe and more.) The Ruddigore lift is not unique to this production or even very new – Joseph Papp's 1980 Pirates featured the same filch, as did a German production of Yeomen as far back as 1889!3 This OA insertion would seem to have been made principally to show off Warlow and Co.'s verbal dexterity (which is indeed impressive), for it surely does nothing to help along the plot. The action takes place on a small stage, mostly minimally dressed (with – see above – Toy Theatre-themed4 scenery wheeled on and off by the cast), but plenty of close camera work, atmospheric lighting (all of Act Two takes place at night) and an extravagantly costumed company make this an out and out visual delight. Not that flamboyant threads and a series of striking tableaux are all that this Pirates has going for it. Yes, it's "modern" and unashamedly populist but also (other side of the same coin) a rollicking, infectiously joyous romp, imaginatively staged with high production values, tastefully recorded and surely hard not to like very much. -
Rusalkadvorˇák Cheryl Barker CHAN 10449(3) Opera Australia Richard105 Hickox
RUSALKADvorˇák Cheryl Barker CHAN 10449(3) Opera Australia Richard105 Hickox CCHANHAN 110449(3)0449(3) BBooklet.inddooklet.indd 1104-10504-105 220/11/070/11/07 117:01:587:01:58 Antonín Dvořák (1841 – 1904) RUSALKA An opera in three acts Libretto by Jaroslav Kvapil, after Undine by Friedrich Heinrich de la Motte Fouqué A production by Opera Australia recorded live at the Lebrecht Music & Arts Photo Library Sydney Opera House in March 2007 Wood Nymphs Sarah Crane soprano Taryn Fiebig soprano Dominica Matthews mezzo-soprano Water Sprite Bruce Martin bass Rusalka Cheryl Barker soprano Ježibaba Anne-Marie Owens mezzo-soprano Prince Rosario La Spina tenor Gamekeeper / Huntsman Barry Ryan baritone Kitchen Boy Sian Pendry soprano Foreign Princess Elizabeth Whitehouse soprano Wedding Guests; Water Nymphs Opera Australia Chorus Michael Black chorus master Kate Golla assistant chorus master Australian Opera and Ballet Orchestra Richard Hickox Stephen Mould assistant conductor Antonín Dvořák Aubrey Murphy concertmaster 3 CCHANHAN 110449(3)0449(3) BBooklet.inddooklet.indd 22-3-3 220/11/070/11/07 117:01:017:01:01 Opera Australia Chorus soprano Chloris Bath mezzo Caroline Clack tenor Dean Bassett cello Zoltan Szabo cor anglais Andrew Malec trombone Gregory van der Struik Helen Borthwick Jane Dunstan David Corcoran Eszter Mikes-Liu* William Farmer Annabelle Chaff ey Vanessa Lewis Warren Fisher Henry Urbanavicius** clarinet Peter Jenkin Nigel Crocker Angela Brewer Ke-Lu Ma David Lewis Margaret Iddison Richard Rourke* Lisa Cooper Lynette Murray Kent McIntosh -
PETER GRIMES by SUZANNE VANSTONE a Scene from the Opera Australia Production of Peter Grimes , 2009
Canadian Opera COmpany Fall 2013 Per forman ce PETER GR IM ES (l –r) Dimitri Pittas as Rodolfo and Joshua Hopkins as Marcello in the Canadian Opera Company/Houston Grand Opera (HGO)/San Francisco Opera co-production of La Bohème , 2012, HGO. Photo: Felix Sanchez CONTEN TS 4 REMEMBERING LOTFI 6 JOHN CAIRD DIRECTS A NEW BOHÈME BY SUZANNE VANSTONE 12 HEPPNER ON PETER GRIMES BY SUZANNE VANSTONE A scene from the Opera Australia production of Peter Grimes , 2009. 20 CANADA’S FUTURE OPERA STARS Photo: Branco Gaica TAKE CENTRE STAGE BY JENNIFER PUGSLEY 24 COMING THIS WINTER MOZART’S COSÌ FAN TUTTE BY CLAIRE MORLEY 28 COMING THIS WINTER VERDI’S UN BALLO IN MASCHERA BY GIANNA WICHELOW Canadian Opera COmpany Fall 2013 Per forman ce n CANADIAN OPERA COMPANY EDITORS: Suzanne Vanstone, former Senior Communications Manager, Editorial; Gianna Wichelow, Senior Communications Manager, Creative; Claire Morley, Communications Officer n RJ PERFORMANCE MEDIA INC .: PRESIDENT AND PUBLISHER: Joe Marin o n CEO: Frank Barbosa n SECRETARY TREASURER: Rajee Muthuraman n FINANCE: Gina Zicari n NATIONAL ACCOUNT DIRECTORS: Danny Antunes, Gary Bell, Tom Marino, Paul Radford n ART DIRECTOR /DESIGN: Jan Haring a n GRAPHIC ARTIST: Glenda Moniz n Cover images: La Bohème : Dimitri Pittas as Rodolfo and Katie Van Kooten as Mimì in the Canadian Opera Company/Houston Grand Opera (HGO)/San Francisco Opera co-production of La Bohème , 2012, HGO. Photo: Felix Sanchez Peter Grimes : (l –r) Taryn Fiebig and Lorina Gore as Auntie’s Nieces and Stuart Skelton as Peter Grimes in the Opera Australia production of Peter Grimes , 2009. -
Sydney Opera House Annual Report 2008-2009
The Hon. Nathan Rees, MP Premier and Minister for the Arts Sir, we have the pleasure of presenting the Annual Report of the Sydney Opera House for the year ended Sydney Opera House 30 June 2009, for presentation to Parliament. This report has been prepared in accordance with the provisions 2008/09 Annual Report of the Annual Reports (Statutory Bodies) Act 1984 and the Public Finance and Audit Act 1983. Kim Williams AM Richard Evans Chairman Chief Executive Sydney Opera House 2008/09 Annual Report Letter to Minister above Financials 36 Chairman’s Message 4 Financial Statements 38 CEO’s Message 6 Government Reporting 54 Vision & Goals 8 Performance List 66 Key Dates 8 ‘59 Who We Are 9 Our Focus 9 Key Outcomes 2008/09 & Objectives 2009/10 11 Performing Arts 12 Annual Giving 70 Music 14 Contact Information 73 Theatre 16 Opera 18 Index 74 Dance 20 Sponsors inside back cover Danish architect Jørn Utzon Work begins. Young Audiences 22 is announced as the winner of the international design competition by the Hon. JJ (Joe) Cahill. ‘57 Broadening the Experience 24 Building & Environment 26 Corporate Governance 28 The Trust 30 The Executive Team 32 People & Culture 34 sydneyoperahouse.com Where imagination takes you. Cover photography by David Min & Mel Koutchavlis The Hon. Nathan Rees, MP Premier and Minister for the Arts Sir, we have the pleasure of presenting the Annual Report of the Sydney Opera House for the year ended Sydney Opera House 30 June 2009, for presentation to Parliament. This report has been prepared in accordance with the provisions 2008/09 Annual Report of the Annual Reports (Statutory Bodies) Act 1984 and the Public Finance and Audit Act 1983. -
Australian Opera and Ballet Orchestra Report 25 Opera Australia Is a Company Limited and the Financial Prudence of Its Strategies
Vision Contents Enriching Australia’s cultural life with exceptional opera. Mission Vision, Mission, Corporate Governance 2 To present opera that excites audiences and The work of the Board is supported by: Chairman's Report 5 sustains and develops the art form. Audit Committee - meets before each Board Chief Executive's Report 11 meeting and otherwise as required and is Our People 22 Corporate Governance responsible for scrutinising the Company’s Artists - 2014 23 management systems, financial processes Australian Opera and Ballet Orchestra Report 25 Opera Australia is a Company Limited and the financial prudence of its strategies. Patron Program 28 by Guarantee. Its governance is the The Company’s auditors meet with the Audit Opera Australia Capital Fund - Chairman's Report 33 responsibility of its Board of Directors, Committee on a regular basis and report on Opera Australia Activities 40 who are elected by its Members. The Board is their processes and findings. Opera Australia Salutes its 2014 Partners 47 responsible for the overall strategic direction of the Company and its ongoing viability. Development and Government Committee - The Company’s direction and activities are meets as required and provides strategic advice underpinned by its agreed Values: on corporate partnerships, philanthropy and government engagement. • Pursuit of excellence in everything we do • Respect for knowledge, imagination and Property Advisory Committee - meets as creative ambition required and makes recommendations to Giacomo Puccini • Honesty and integrity in all our dealings the Board regarding the Company’s property • Fairness portfolio. • Sustainability • Encouragement of professional Remuneration and Nominations Committee - meets development as required and is responsible for overseeing • Respect and compassion for people the Company’s remuneration policy, including • Safe working environment remuneration of the senior management team. -
Tristan Und Isolde All Wheel Drive
CANADIAN OPERA COMPANY Winter 2013 Per forman ce TRISTAN UND ISOLDE ALL WHEEL DRIVE. BUT STILL ALL JAGUAR. Introducing Instinctive All Wheel Drive.TM The new Supercharged V6 XJ and XF with Instinctive All Wheel Drive*, created to conquer whatever weather comes your way, while keeping you in comfort and control. And because we’re Jaguar, we didn’t sacrifice any of the performance you’ve come Top: Amanda Majeski as Vitellia and Andrew Funk as Publio in Chicago Opera Theater’s production of La clemenza di Tito , 2009. to expect from cars as alive as you are. Learn more at Jaguar.ca Photo: Rich Hein Right: Video still by Bill Viola for Opéra national de Paris’ production of Tristan und Isolde , 2004/2005. Photo: Kira Perov CONTEN TS 4 THE EVEREST OF OPERA: Peter Sellars scales Tristan und Isolde BY SUZANNE VANSTONE 10 NEGOTIATING THE CORRIDORS OF POWER: Christopher Alden discusses La clemenza di Tito BY SUZANNE VANSTONE 16 NOW’S YOUR CHANCE TO JOIN US ON STAGE! 20 THE COC IS THRILLED TO ANNOUNCE OUR 2013/2014 SEASON Discover our seven operas on the following pages: La Bohème pg. 20; Peter Grimes pg. 22; Così fan tutte pg. 24; Un ballo in maschera pg. 26; XF Hercules pg. 28; Roberto Devereux pg. 30; Don Quichotte pg. 32 Enjoy! XJ CANADIAN OPERA COMPANY Winter 2013 Per forman ce n CANADIAN OPERA COMPANY EDITORS: Suzanne Vanstone, Senior Communications Manager, Editorial; Gianna Wichelow, Senior Communications Manager, Creative n RJ PERFORMANCE MEDIA INC .: PRESIDENT AND PUBLISHER: Joe Marin o n CEO: Frank Barbosa n SECRETARY TREASURER: Rajee Muthuraman n FINANCE: Gina Zicari n NATIONAL ACCOUNT DIRECTORS: Danny Antunes, Gary Bell, Tom Marino, David Thom, Heather Thom n ART DIRECTOR /DESIGN: Jan Haring a n GRAPHIC ARTIST: Glenda Moniz n Cover images: Tristan und Isolde : Video still by Bill Viola for Opéra national de Paris’ production of Tristan und Isolde , 2004/2005. -
Wagner Society Newsletter 110, December
Wagner Society in NSW Inc. Newsletter No. 110, December 2007 IN NEW SOUTH WALES INC. President’s Report Dear Members The general interpretation of Tankred Dorst’s current Ring production is that it shows that we and the Ring characters Welcome to our fourth and final Newsletter for 2007. This share the same space, but for some reason we cannot issue has some very interesting reviews and commentaries see each other (unless we are part of the audience in the from members who have returned from overseas Wagner Festspielhaus). This makes some sense for the Gods at events, including Bayreuth, and I’d like to thank all of least – which of us can say that we have ever seen a God, them for sharing their insights with us, some of which except perhaps when we looked into the mirror on a good have had to be held over until the first Newsletter of day – but it seems more unlikely that we’re sharing the 2008. same space as the Vassals or the giants without knowing Functions in 2007 it. This interpretation is sometimes described as “parallel universes” which I think gives Herr Dorst’s single idea an Heath Lees and Mallarmé undeserved grandness and pseudo-scientific stature. On Sunday, 2 September, Professor Heath Lees gave a Aliro Olave had a unique theory on the meaning of Herr fascinating talk on Wagner and Mallarmé, in conjunction Dorst’s production – that it was like a rehearsal in which with the launch of his new book Mallarmé and Wagner: people unrelated to the actual performance came and Music and Poetic Language. -
Caritas Australia
Clean, safe water equals better health Every time Rawsonara used to fill her jar at the watering hole, she knew she could be carrying deadly diseases home to her children. Now she gets water from the well her village built, with help from Caritas Australia. One well costs $110 1n Bangladesh and gives 6 families access to clean, safe water and better health. Please support Caritas Australia so others like Rawsonara can enjoy water as a source of life. ---------------------------------------o~·-1 For Caritas Austra li a's work around rh e world, here's my donation of 0$100 0$200 0$50 0$20 0 $ _ ___ 0 I enclose my cheque/money order, OR 0 Please debit my 0 Bankcard 0 Visa 0 Mastercard OAmex 0 Diner's Club Card Number Signature Expiry dare I I I I II I I I II I I I II I I I I _I_ ca pital/etters please Name (Mr/Mrs/ M s/Miss) Address Posrc o de Parish ------------------------- ------------------------------------------------------------- --------- 0 I would like ro donate regularly from my bank account or credit card. Please send me details. MAlL COUPON TO: 0 Please se nd me information a bout remembering Caritas Australia CA RITAS AUSTRALIA in my Will. GPO BOX 9830 Caritas Australia Donations over $2 are tax deductible. IN YOUR CAPITAL CITY. nTurning fa ith into action OFFICE USE: ES699 Volume 9 Number 5 June 1999 A magazine of public affairs, the arts and theology Global violence: Armed Pakistani sold iers in shalwar kameez and berets await 29 the helicopter arriva l of former Indian AFTER MANDELA Prime Minister, Atal Bihari Vajpayee, in Pakistan early this year. -
Annual Report 2000-2001
AUSTRALIAN FILM TELEVISION AND RADIO SCHOOL ANNUAL REPORT 2000–2001 AFTRS A N N UAL REPORT 2 0 0 0 / 2 0 0 1 Australian Film Television and Radio School Cnr Epping and Balaclava Roads North Ryde NSW 2113 PO Box 126,North Ryde NSW 1670 Tel +61 (0)2 9805 6611 Fax +61 (0)2 9887 1030 [email protected] http://www.aftrs.edu.au http://www.aftrs.edu.au/school/reports.html State Offices and Representatives Queensland Judith Wright Centre of Contemporary Arts Level 2,Cnr Brunswick and Berwick Streets, PO Box 1480 Fortitude Valley QLD 4006 Tel +61 (0)7 3254 0212 [email protected] Contact:Alex Daw South Australia 3 Butler Drive, Hendon Common Hendon SA 5014 Tel +61 (0)8 8244 0357 Fax +61 (0)8 8244 5608 [email protected] Contact:Ann Walton Tasmania 5 Trumpeter Street Battery Point Tas 7004 Tel + 61 (0)3 6223 8703 Fax + 61 (0)3 6224 6143 [email protected] Contact:Madeline Carr Victoria 1st Floor, 144 Moray Street PO Box 1008,South Melbourne Vic 3205 Tel + 61 (0)3 9690 7111 Fax +61 (0)3 9690 1283 [email protected] Contact:Simon Britton Western Australia 92 Adelaide Street Fremantle WA 6160 Tel +61 (0)8 9335 1055 Fax +61 (0)8 9335 1283 [email protected] Contact:Tom Lubin © Commonwealth of Australia 2001 ISSN 0819-2316 This work is copyright.Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced by any process without prior written permission from the Commonwealth available from AusInfo.