DOCSLIB.ORG

Annual Report Cover Image: Attila Photo: Prudence Upton

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Annual Report Cover Image: Attila Photo: Prudence Upton 2020 Annual report Cover image: Attila Photo: Prudence Upton Enriching Australia’s cultural life with Vision exceptional opera. To present opera that excites audiences and sustains and Mission develops the art form. TABLE OF CONTENTS 2 At a glance 3 Chief Executive Orchestra, Chorus 20 Officer’s Report 8 Click on page names or 2020 productions, Opera Australia numbers to link directly attendance 4 Artistic Director’s Report 9 Capital Fund 21 Revenue and expenditure 5 Key impacts of COVID-19 10 Development 24 Community reach 6 Reflections on 2020 11 Board and Management 28 Chairman’s Report 7 Ar tists 19 Partners 30 opera.org.au 2 At a glance 2020 2019 self-generated 43% 80% box office $10.6M $73.6M attendees 91,549 664,667 tickets sold 80,000 540,000 donations and sponsorship -28% +6% school audience 2,400 60,600 performances 108 775 performances in schools 16 313 productions new to australia 1 11 opera.org.au 3 bold = performed grey = cancelled Productions Performances Attendance La Bohème, Sydney 15 17,238 Productions Carmen, Sydney 18 23,065 Don Giovanni, Sydney 13 14,402 Performances and total attendance Opera for the People, Melbourne 1 2,200 Faust, Sydney 8 9,562 Great Opera Hits, Sydney 12 11,077 Attila, Sydney 2 1,755 La Traviata, Handa Opera on Sydney Harbour 0 0 Bran Nue Dae, Parramatta 23 9,850 Bran Nue Dae, Sydney 0 0 Bran Nue Dae, Melbourne 0 0 Bran Nue Dae, Canberra 0 0 Madama Butterfly, Melbourne 0 0 Lohengrin, Melbourne 0 0 Attila, Melbourne 0 0 Faust Teddy Tahu Rhodes as Mephistopheles, and dancers. Photo: Prudence Upton Aida, Sydney 0 0 Roberto Devereaux, Sydney 0 0 La Juive, Sydney 0 0 Eugene Onegin, Sydney 0 0 The Secret Garden, Sydney 0 0 The Light in the Piazza, Sydney 0 0 Carmen, Canberra 0 0 Rembrandts Wife, Melbourne 0 0 Rembrandt’s Wife, Sydney 0 0 Lucrezia Borgia, Melbourne 0 0 Julie Lea Goodwin in La Bohème 2019. Photo: Prudence Upton Lucrezia Borgia, Sydney 0 0 Fiddler on the Roof, Melbourne 0 0 Fiddler on the Roof, Sydney 0 0 The Ring Cycle, Brisbane 0 0 Aida, Brisbane 0 0 Joseph Calleja, Sydney 0 0 Joseph Calleja, Melbourne 0 0 Carmen, National Tour 0 0 The Barber of Seville, Schools Tour, NSW 16 2,400 Cinderella, Schools Tour, Vic 0 0 Luca Micheletti as Don Giovanni being dragged to hell by demons. Photo: Prudence Upton Totals 108 91,549 opera.org.au 4 Revenue and expenditure for OA and its controlled entities INCOME 2020 VS 2019 KEY 2020 2019 BOX OFFICE $10,633,499 $73,622,285 GOVERNMENT GRANTS $26,350,532 $26,553,780 JOB KEEPER SUBSIDY $11,441,985 $- DONATIONS + SPONSORSHIPS $13,300,411 $18,399,528 OTHER INCOME $4,143,334 $12,078,163 TOTAL $65,869.761 $130,653,756 2020 2019 EXPENDITURE 2020 VS 2019 KEY 2020 2019 ARTISTS AND STAFF $42,005,341 $63,349,307 PRODUCTION COSTS $7,236,032 $23,188,575 VENUE COSTS $3,216,113 $11,868,176 MARKETING + PROMOTION $3,298,250 $17,627,275 OTHER $13,424,530 $11,333,655 TOTAL $69,180,265 $127,366,988 2020 2019 opera.org.au 5 Community reach Own channels and broadcast 1.7M 182K 105K unique visits OA|TV2 subscribers print run 2.2M 16K hours page views1 website: opera.org.au tv.opera.org.au eNews Subscription brochures Social Channels 60.6K 24K likes followers 9.5K 22.5K 9K subscribers followers followers 1 Website visit data is low due to not selling tickets for six months 2 Launched 4 May opera.org.au 6 “ The strength of the company and its ability to survive reflects well on the foresight of predecessor Boards.” Chairman’s Report The end of 2020 could not have come Opera Australia has an essentially fixed cost relieving the company of certain KPIs Whilst 2020 has been a difficult year the quickly enough for Opera Australia (OA). structure relying heavily on box office revenue which were unable to be met under OA team has responded magnificently. We have experienced possibly the most from the programs we offer each year. The conditions of COVID. Our thanks go out to all of you, our dedicated challenging year. absence of such revenue combined with the colleagues, you have been resolute in assisting Towards the end of the 2020 calendar year, obligation to refund prepaid tickets naturally Opera Australia through a most unusual and OA began the year with an exciting operatic we entered into arrangements to sell our placed a huge and unexpected burden on the unexpected period. Our thanks also go to our program and in a sound financial position; Alexandra warehouse. The sale has been company. Whilst we started the year with patrons, sponsors and governments both we ended the year after having survived in contemplation for some time as the a strong cash position following the sale State and Federal for their support. a cash crisis and with a huge drain on our board recognised that we could secure of our Melbourne offices, the obligations modest profitability. In March unexpected warehousing facilities further from the city Following news of lockdowns many ticket on ticket refunds combined with our desire forces came into play; Attila was cancelled and improve our capital management. holders and subscribers converted tickets to ensure retention of our highly skilled team after two performances, Handa Opera The advent of COVID accelerated the sale to donations. We thank them so much for of talented singers and members of our on Sydney Harbour had to be entirely and in early 2021 the sale was completed. confirming opera’s importance in the lives orchestra had a significant impact on our dismantled days before opening. We have agreed to lease back the facility of Australian audiences. cash resources. The importance of retaining The lockdowns and cancellations totally for two perhaps three years as we identify our skilled staff demanded we introduced There have been exceptional demands placed disrupted our Sydney and Melbourne a suitable, long-term replacement site. operas, The Ring Cycle planned for late 2020 a safety net financial package for employees. on our senior management. The Board asked in Brisbane and our touring programs. This unsurprisingly has resulted in a huge The sale of the warehouse reinstates the a lot of them, and they readily responded outflow of cash from the company. The plans The pandemic obviously had a major company’s cash position and provides the to such unexpected demands. Our eternal we put in place enabled our staff to receive impact on our financial wellbeing and financial resilience for Opera Australia to gratitude goes to the leadership team of Rory remuneration of up to 80% of their pre- on our dedicated professional staff. rebuild after activity returns to more normal Jeffes and Lyndon Terracini without whose existing package (after allowing concessions conditions. We recognise that the rebuilding tireless efforts OA would not have completed Results for the year show an operating on long service leave and holiday leave). will be a slow, uncertain process. Whilst it the year so well. Thank you all so much. loss of $7,105,727, reduced to a loss of is far too early, we expect 2021 to also be $2,974,416 following receipt of bequest Reluctantly, we have had to reduce our Finally, I want to thank my Board. We have a difficult year as numbers at the box office income and distributions from the Capital workforce in certain areas. This resulted asked so much more of Directors this past slowly build and we face further challenges. Fund. OA concluded the financial year with in a degree of disruption but was essential year and indeed in the current year. I know total equity of $39.1 million, down from if we were to remain financially stable. OA is particularly proud to have been the we would not have achieved so much without $42 million the previous year. The strength Government support in the form of the first arts company to recommence opera their strong support and firm commitment. of the company and its ability to survive JobKeeper program was invaluable to the performances in Australia with The Merry reflects well on the foresight of predecessor company and our employees. The Board Widow in January 2021. With opera still Boards who wisely secured valuable real also acknowledges the support of the very much in shutdown throughout the estate assets and established the Opera Australia Council which assisted our cash world our reopening is both a first and Australia Capital Fund. position by advancing 2021 grants and a proud achievement. David Mortimer AO opera.org.au 7 “ Our high fixed cost base and forward commitments immediately made this the biggest crisis in the Company’s history.” Chief Executive’s Report 2020 was a year that tested the Company – Much has been written about the effects of stress of the organisation, and I pay tribute environment as possible. This approach, and indeed the whole performing arts sector the pandemic on individuals and communities to this team of individuals for their commitment tied to innovative initiatives such as –like no other. It started well in January, – and no doubt it will be talked about for and dedication in navigating the constantly instigating the world-first fast antigen with the whole organisation firing on all many years to come. What became clear to changing environment with the intense testing procedure for performers to cylinders in presenting outstanding full-run us was that any thoughts on how it would play pressures that evolved and morphed ensure they were COVID negative before performances of La Bohème, Don Giovanni out were based solely on hope or fear – as throughout the year.
Load more

Recommended publications
  • Artist Biographies
    ARTIST BIOGRAPHIES Richard Gill AO | Artistic Director & Conductor in March 2019 Australian conductor and educator, Richard Gill, one of Australia's best-known and best-loved musical figures, is a significant and vital key member of ARCO. His career has taken him from teaching music in Sydney's western suburbs to Music Director of the Victorian Opera, Artistic Director of the Sydney Symphony Education Program, and along the way an involvement with almost every major opera company and orchestra in Australia. He is one of this country's pre-eminent conductors and a passionate advocate of music education. He specialises in opera, music theatre and vocal and choral training and his work in developing young musicians and creating opportunities for them is recognised world-wide. His appearances on the ABC’s “Spicks and Specks” and “Q&A” have made him a household name within and beyond Australia’s musical world. What truly distinguishes Richard is his passion and enthusiasm for spreading not just the joy of music, but its myriad benefits. He is Australia’s greatest musical educator, and many say one of the best in the world. His life's work - alongside his other roles - has been advocating music in our education system, and furthering the development of those who have gone on to choose music as a vocation. He brings music to life, and his knowledge and deep enjoyment of his subject is as inspiring and enlightening to a class of primary school students as it is to the cast of a major opera. The majority of Australia’s young contemporary professional musicians count Richard as a powerful influence on their musical development.
    [Show full text]
  • Emma Matthews
    Emma Matthews Soprano Curriculum Vitae Opera Repertoire Monteverdi LIncoronazione di Poppea Damigella OA Gillian Whitehead Bride of fortune Fiorina WAO Offenbach Orpheus in the Underworld Cupid WAO Les Contes d’Hoffmann Olympia, Giulietta, Antonia, Stella OA, SOSA Berg Lulu Lulu, OA Handel Alcina Morgana OA Rinaldo Almirena OA Orlando Angelica OA Giulio Cesare Cleopatra OA Mozart Die Zauberflote Papagena, WAO, OA Pamina OA Queen of the Night OA Le Nozze di Figaro Barbarina WAO, OA Cherubino OA Idomeneo Ilia OA La Clemenza di Tito Servillia OA Die Entfuhrung aus dem Serail Blonde OA, Konstanze OA Mitridate, Re di Ponto Ismene, Sydney Festival Gilbert and Sullivan The Priates of Penzance Mabel OA The Mikado Yum Yum OA Alan Johns The Eighth Wonder Sky, Tour Guide Aunt Olive OA Bellini La Sonnambula Amina OA, SOSA I Capuleti e I Montecchi Giulietta OA Donizetti Lucia di Lammermoor Lucia OA, WAO La Fille du Regiment Marie OA L’Elisir d’amore Giannetta WAO Delibes Lakme Lakme OA Bizet Les Pecheurs de Perles Leila OA, WAO, OQ Janacek The Cunning Little Vixen The Vixen OA, ROH Richard Mills Batavia Zwaantie OA, WAO The Love of the Nightingale Philomele OA, WAO Gounod Romeo et Juliette Juliette OA Puccini Suor Angelica Genovieffa OA Kalman The Gypsy Princess Stasi OA J. Strauss Die Fledermaus Adele OA Massenet Werther Sophie OA R. Strauss Arabella Zdenka OA Der Rosenkavalier Sophie OA Rossini Il Barbiere di Siviglia Rosina OA, WAO Il Turco in Italia Fiorilla OA Il Signor Bruschino Sofia OA Verdi Un Ballo in Maschera Oscar OA Falstaff Nannetta OA Rigoletto Gilda OQ, OA La Traviata Violetta HOSH, OA Berlioz Beatrice et Benedict Hero OA Orchestral Repertoire Faure Requiem, Carmina Burana, C.
    [Show full text]
  • Opera Australia's 60Th Anniversary Costume and Memorabilia
    MEDIA RELEASE Own a piece of opera history: Opera Australia’s 60th anniversary costume and memorabilia exhibition and auction Exhibition | Saturday 24 – Thursday 29 June 2017 | The Opera Centre, Surry Hills, Sydney Auction | Friday 30 June – Saturday 1 July 2017 | The Opera Centre, Surry Hills, Sydney Opera Australia is diving into sixty years of costumes, accessories, artworks and memorabilia in an anniversary exhibition at The Opera Centre. The week-long event will culminate in an auction where the public can bid for an exclusive piece of Australia’s operatic story. This is the first time Opera Australia has opened its vaults to give thousands of opera fans the opportunity to get up close to over 2,000 items costumes, accessories, artworks and memorabilia worn and inspired by their idols. Highlights of the exhibition and auction include: Costumes from Baz Luhrmann’s famous 1990 production of La Bohème Dame Kiri Te Kanawa ONZ DBE AC’s costume for the role as ‘Violetta’ in the 1978 production of La Traviata Yvonne Kenny AM’s costume for the roles of ‘Sylva Varescu’ in the 2001 production of The Gypsy Princess, ‘Hanna’ in the 2004 production of The Merry Widow and ‘Armida’ in the 1999 production of Rinaldo Sigrid Thornton’s costume for the role of Desirée in 2009 production of A Little Night Music. Dame Heather Begg DNZM OBE’s costume for the role of ‘The Countess Di Coigny’ in the 2001 production of Andrea Chénier Cheryl Barker AO’s costume for the role of ‘Lauretta’ in 2007 production of Gianni Schicchi Opera Australia CEO Craig Hassall explained the motivation behind the historic move.
    [Show full text]
  • Opera Australia 2018 Annual Report
    2018 ANNUAL REPORT Cover image: Simon Lobelson as Gregor in Metamorphosis, which played at the Opera Australia Scenery Workshop in Enriching Australia’s Surry Hills and the Malthouse cultural life with Theatre in Melbourne. exceptional opera. One of Opera Australia’s new Vision productions, it was written by Australian Brian Howard, performed by an all Australian cast To present opera that excites and produced by an all Australian audiences and sustains and creative team. Photo: develops the art form. Prudence Upton Mission TABLE OF CONTENTS At a glance 3 Artistic Sydney Screens on stage 32 Director’s Report 12 Conservatorium Productions: of Music 2018 awards 34 performances and Regional Tour 13 Internships 23 attendances 4 China tour 36 Regional Student Professional and Artists 38 Season star ratings 5 Scholarships 16 Talent Development 24 Orchestra 39 Revenue and expenditure 6 Schools Tour 18 Evita 26 Philanthropy 40 Australia’s biggest Auslan Handa Opera arts employer 7 shadow-interpreting 20 on Sydney Harbour – Opera Australia Community reach 8 Community events 21 La Bohème 28 Capital Fund 43 Chairman’s Report 10 NSW Regional New works Staff 46 Conservatoriums in development 30 Partners 48 Chief Executive Project 22 Officer’s Report 11 opera.org.au 2 At a glance 77% Self-generated revenue $61mBox office 1351 jobs provided 543,500 58,000 attendees student attendees 7 637 productions new to Australia performances opera.org.au 3 Productions Productions Performances Attendance A Night at the Opera, Sydney 1 2,182 Performances and total attendances Aida, Sydney 19 26,266 By the Light of the Moon, Victorian Schools tour 85 17,706 Carmen, Sydney 13 18,536 Die Meistersinger von Nürnberg, Melbourne 4 6,175 Don Quichotte, Melbourne 4 5,269 Don Quichotte, Sydney 6 7,889 Great Opera Hits 2018 27 23,664 La Bohème, Handa Opera on Sydney Harbour 26 48,267 La Bohème, Melbourne 7 11,228 La Bohème, New Year 1 1,458 The chorus of Bizet’s Carmen, directed by John Bell.
    [Show full text]
  • Richard Gill AO (1941 - 2018)
    Having trouble viewing this email? You can view it online. Like | @LivePerfAust | Follow | Forward VALE Richard Gill AO (1941 - 2018) We are very saddened to hear of the passing of world-renowned composer, conductor and music educator Richard Gill AO. The inaugural Dean of the West Australian Conservatorium of Music and Founding Director of Victorian Opera died on Sunday 28 October after a year-long battle with cancer. Born in Sydney, Richard started his career as a music teacher. These humble beginnings led him to become one of Australia's greatest music advocates and educators. 'Richard spent a life systematically addressing the widespread shortcomings and neglect of music in Australia’s education system' the Australian Romantic & Classical Orchestra said in a statement posted on social media. For almost 50 years Richard's career compromised many prominent roles as Director of orchestral ensembles around Australia. Richard was Dean of the Western Australian Conservatorium of Music, Chorus Director for Opera Australia, Founding Music Director of Victorian Opera and Musical Director of the Sydney Chamber Choir. Richard also hosted music-education concerts and was a regular guest on TV quiz show Spicks and Specks. One of Richard's lasting legacies is the National Music Teaching Mentoring Program which commenced in 2015. With Richard as the Founder and Director, the program was established to give school teachers the skills and confidence to teach music in their classrooms. Richard will be remembered for his enormous contribution to the arts and his passion to inspire and educate the next generation. He is survived by his wife Maureen, children Claire and Anthony, and grandchildren Camille, Elise and Antoinette.Our thoughts and sincerest condolences are with Richard's family, friends and colleagues.
    [Show full text]
  • OQS0762 Subs 2011 Brochure Text V6.Indd
    SEASON 2011 SUBSCRIBE Truly. Madly. Deeply. AND SAVE! From the From the Premier of Queensland and Chief Executive/Artistic Director Minister for the Arts Come and celebrate Opera Queensland’s Welcome to Opera Queensland’s fi rst 30 years with 120 years of season for 2011. superlative creation. For nearly three decades, Opera After the success of our Verdi double Queensland has been presenting operas and musicals in 2009, it seems only fair to pay Puccini the same courtesy. across our state and, recently, across state borders. While there is a 43-year overlap in ages, in operatic terms, these two composers are not contemporaries, representing Not only is Opera Queensland expanding in its reach and as they do two musical traditions. Puccini sweeps us into scope, the company has found new ways to connect with the 20th century with melody to delight us all and a masterly audiences of many ages through programs with primary workmanship set to please even the most discerning. And students and young people in regional communities. so it is in May, that we bring you a wonderful new production My government provides key funding to Opera Queensland of The Girl of the Golden West, an opera never before seen as one of the state’s fl agship arts companies. in Queensland. While in October, we present John Copley’s I would like to acknowledge Opera Queensland’s corporate celebrated production of Tosca in all its traditional glory. After partners, many of whom have been onboard for more than an eight-year gap it is a great joy to return this magnifi cent a decade and who, along with government support, help piece to the Lyric Theatre.
    [Show full text]
  • Season Premiere of Tosca Glitters
    2019–20 Season Repertory and Casting Casting as of November 12, 2019 *Met debut The Gershwins’ Porgy and Bess By George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin New Production Sep 23, 27, 30, Oct 5mat, 10, 13mat, 16, Jan 8, 11, 15, 18, 24, 28, Feb 1mat Conductor: David Robertson Bess: Angel Blue/Elizabeth Llewellyn* Clara: Golda Schultz/Janai Brugger Serena: Latonia Moore Maria: Denyce Graves Sportin’ Life: Frederick Ballentine* Porgy: Eric Owens/Kevin Short Crown: Alfred Walker Jake: Ryan Speedo Green/Donovan Singletary Production: James Robinson* Set Designer: Michael Yeargan Costume Designer: Catherine Zuber Lighting Designer: Donald Holder Projection Designer: Luke Halls The worldwide copyrights in the works of George Gershwin and Ira Gershwin for this presentation are licensed by the Gershwin family. GERSHWIN is a registered trademark of Gershwin Enterprises. Porgy and Bess is a registered trademark of Porgy and Bess Enterprises. A co-production of the Metropolitan Opera; Dutch National Opera, Amsterdam; and English National Opera Production a gift of The Sybil B. Harrington Endowment Fund Additional funding from Douglas Dockery Thomas Manon Jules Massenet Sep 24, 28mat, Oct 2, 5, 19, 22, 26mat ____________________________________________________________________________________________________________ PRESS DEPARTMENT The Metropolitan Opera Press: 212.870.7457 [email protected] 30 Lincoln Center Plaza General: 212.799.3100 metopera.org New York, NY 10023 Fax: 212.870.7606 Conductor: Maurizio Benini Manon: Lisette Oropesa Chevalier des Grieux: Michael Fabiano Guillot de Morfontaine: Carlo Bosi Lescaut: Artur Ruciński de Brétigny: Brett Polegato* Comte des Grieux: Kwangchul Youn Production: Laurent Pelly Set Designer: Chantal Thomas Costume Designer: Laurent Pelly Lighting Designer: Joël Adam Choreographer: Lionel Hoche Associate Director: Christian Räth A co-production of the Metropolitan Opera; Royal Opera House, Covent Garden, London; Teatro alla Scala, Milan; and Théâtre du Capitole de Toulouse Production a gift of The Sybil B.
    [Show full text]
  • Carmen Carmen
    CARMEN CARMEN Saturday 12 August 7.30pm Federation Concert Hall Hobart Marko Letonja Conductor Teddy Tahu Rhodes Escamillo Elena Schwarz Assistant Conductor Emma Pearson Micaëla June Tyzack Chorusmaster Shane Lowrencev Zuniga 4 SPECIAL HOBART Elizabeth Hill Staging Samuel Dundas Moralès/Le Dancaïre Ingrid Rahlén Stage Manager Kathryn Radcliffe Frasquita Phoebe Briggs Music Preparation Sally-Anne Russell Mercédès With a long and rich Elena Maximova Carmen Jonathan Abernethy Le Remendado relationship spanning Marcelo Puente Don José TSO Chorus more than a decade, The20 are proud to be Opéra comique in Four Acts by Georges Bizet to a libretto by Henri Meilhac and Ludovic Helévy, after Prosper Mérimée’s novel. First performed at the creative collaborators Opéra-Comique, Paris, 3 March 1875. with the cultural icon Act I Act III that is the Tasmanian A public square in Seville; a tobacco A rocky place near Seville at night. Symphony Orchestra. factory on the right faces a guardroom on Duration 36 mins the left with a covered gallery in front. Duration 47 mins Act IV Outside the bullring in Seville. Act II Duration 21 mins Lillas Pastia’s tavern. Duration 36 mins INTERVAL Performed in French with surtitles. Duration 20 mins This concert will end at approximately 10.30pm. Presented in association with Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout Australia and around the world by ABC Classic FM. We would appreciate your cooperation the20.com.au Cover image: Elena Maximova as Carmen © ROH. Photographer Catherine Ashmore in keeping coughing to a minimum. Please ensure that your mobile phone is switched off.
    [Show full text]
  • RICHARD GILL TRIBUTE, PT. I -- Annotated Chronology AOSA Is
    RICHARD GILL TRIBUTE, PT. I -- Annotated Chronology AOSA is comprised of members for whom the Schulwerk approach to music pedagogy is a significant feature of their teaching. Richard Gill is a unique and very talented Australian musician—conductor, composer, performer--and throughout all, a superb music educator who was profoundly influenced by the Schulwerk approach. He directly impacted US music educators in 1982 when he was the featured teacher at the AOSA Conference in Portland, and subsequently at teacher courses and workshops in various locations. Plans were in place for him to be featured at this Cincinnati conference, but due to serious ill health, he cannot be with us. However, we want him to know how much he is valued as a master music educator, and are declaring him an Honorary Member of AOSA. Please read the following summary of his professional development and activities. (The quotes, in italics, are taken from his 2012 memoir, Give Me Excess of It.) Nov. 4, 1941: Born in Clovelly, a beachside suburb of Sydney, New South Wales (NSW), Australia. He was aware of and attracted to music from his earliest years, beginning with enthusiasm for singing. 1946: Began primary school at St. Anthony’s, Clovelly, a convent school run by the Sisters of St. Joseph. All students learned to sing the chants and hymns for the entire church year; Richard knows them still. 1950: Entered 3rd year of primary school at Marist Brothers’ School, followed by 5 years of secondary school. Singing continued to be his main interest; choir was the motivation for attending school.
    [Show full text]
  • Appendix 1 – Trustees & Advisors
    Appendix 1: FNT13 Agenda item for WDC Forum North Trust Current Members CALVIN GREEN C0-CHAIR Calvin Green is a local business owner and co-chair of the Forum North Trust. Calvin has a passion for working with and for Community Development and is honoured to have an opportunity to work on and progress the concept of a New Zealand Unique Performance Centre in Whangarei. He has a BSc, MSc (University of Auckland, Psychology) and senior management experience at both Government of Ontario Canada and Whangarei District Council and Northland Business Development Trust.. He has started more than 20 Green Field Companies (NZ and International) and is currently Director of PGNZ Ltd, Gifts and Games Online; Florian and Green Ltd : Avocado Orchard (Export and Domestic markets) Calvin has been a lecturer at the NorthTec School of Business teaching Bachelor of Applied Management: Business Transformation and Change, Marketing and Applied Management. Community Boards Calvin has served on include: Chair -Whangarei Youth Orchestra, Chair – Tikipunga High School Board, Co-Chair of Forum North Trust and other community groups. ROS MARTIN CO-CHAIR Ros Martin has been connected to performing arts in Whangarei for many years both on stage and behind the scenes. During the late 1980’s and early 1990’s she served as chair of the Forum North Trust – a role she relished. She is now co – chair of Forum North Trust 2013 and is excited about the opportunities for reviving the vibrant community connections and involvement of the proposed Performing Arts Centre . Ros is semi – retired and works part – time as a consultant to the Retirement Village industry.She has worked in Education, Marketing, Communications, Fundraising, Events Management and a variety of leadership roles in the Retirement Village sector.
    [Show full text]
  • 18-19 REP SEASON | WINTER 6O
    18-19 REP SEASON | WINTER 6o The Music Man The Crucible A Doll’s House, Part 2 Sweat Noises Off The Cake Sweeney Todd Around the World in 80 Days asolorep asolorep PRODUCING ARTISTIC DIRECTOR MICHAEL DONALD EDWARDS MANAGING DIRECTOR LINDA DiGABRIELE PROUDLY PRESENTS BY Arthur Miller DIRECTED BY Michael Donald Edwards Scenic Design Costume Design Lighting Design Sound Design & Original Composition LEE SAVAGE TRACY DORMAN JEN SCHRIEVER FABIAN OBISPO Hair/Wig & Make-up Design New York Casting Chicago Casting Local Casting Voice & Dialect Coach MICHELLE HART STEWART/WHITLEY CASTING SIMON CASTING CELINE ROSENTHAL PATRICIA DELOREY Fight Director Production Stage Manager Stage Manager & Fight Captain Assistant Stage Manager Dramaturg ROWAN JOHNSON NIA SCIARRETTA* DEVON MUKO* JACQUELINE SINGLETON* PAUL ADOLPHSEN Directing Fellow Music Coach Stage Management Apprentice Stage Management Apprentice Dramaturgy & Casting Apprentice TOBY VERA BERCOVICI LIZZIE HAGSTEDT CAMERON FOLTZ CHRISTOPHER NEWTON KAMILAH BUSH The Crucible is presented by special arrangement with Dramatists Play Service, Inc., New York Directors are members of the Stage Directors and Choreographers Society; Designers are members of the United Scenic Artists Local USA-829; Backstage and Scene Shop Crew are members of IATSE Local 412. The video and/or audio recording of this performance by any means whatsoever is strictly prohibited. CO-PRODUCERS Gerri Aaron • Nancy Blackburn • Tom and Ann Charters • Annie Esformes, in loving memory of Nate Esformes • Shelley and Sy Goldblatt Nona
    [Show full text]
  • WILLIAM TELL Armando Noguera (William Tell) VICTORIAN OPERA PRESENTS WILLIAM TELL
    GIOACHINO ROSSINI WILLIAM TELL Armando Noguera (William Tell) VICTORIAN OPERA PRESENTS WILLIAM TELL Composer Gioachino Rossini Librettists V.J Etienne de Jouy and H.L.F. Bis Conductor Richard Mills AM Director Rodula Gaitanou Set and Lighting Designer Simon Corder Costume Designer Esther Marie Hayes Assistant Director Meg Deyell CAST Guillaume Tell Armando Noguera Rodolphe Paul Biencourt Arnold Melcthal Carlos E. Bárcenas Ruodi Timothy Reynolds Walter Furst Jeremy Kleeman Leuthold Jerzy Kozlowski Melcthal Teddy Tahu Rhodes Mathilde Gisela Stille Jemmy Alexandra Flood Hedwige Liane Keegan Gesler Paolo Pecchioli* Orchestra Victoria 14, 17 and 19 JULY 2018 Palais Theatre, St Kilda Original premiere 3 August 1829, Paris Opera Running Time is 3 hours and 15 minutes, including interval Sung in French with English surtitles *Paolo Pecchioli appears with the support of the Faculty of Fine Arts and Music, University of Melbourne. 3 PRODUCTION PRODUCTION TEAM Production Manager Eduard Inglés Stage Manager Marina Milankovic Deputy Stage Manager Meg Deyell Assistant Stage Manager Jessica Frost Assistant Stage Manager Luke Hales Wardrobe Supervisor Kate Glenn-Smith MUSIC STAFF Principal Repetiteur Phoebe Briggs Chorus Preparation Richard Mills, Phoebe Briggs Repetiteur Phillipa Safey CHORUS Soprano Jordan Auld*, Kirilie Blythman, Jesika Clark*, Rosie Cocklin*, Alexandra Ioan, Millie Leaver*, Rebecca Rashleigh, Diana Simpson, Emily Uhlrich, Nicole Wallace Mezzo Soprano Kerrie Bolton, Shakira Dugan, Jessie Eastwood*, Kristina Fekonja*, Hannah Kostros*,
    [Show full text]