2019 Annual report Cover image: enjoyed seasons in and playing to over 12,000 people and earning three Green Room Enriching ’s Awards. Photo: Prudence Upton cultural life with Vision exceptional .

To present opera that excites audiences and sustains and Mission develops the art form.

TABLE OF CONTENTS 2 At a glance 3 Chief Executive The Melbourne Opera Centre 25 Opera Gala at Uluru 39 Officer’s Report 11 Productions: performances Sector Services: Artists 40 and total attendance 4 Artistic Director’s Report 12 Collaborating across the arts 26 Orchestra, Season star ratings 5 National Tour 13 Orchestra 28 Chorus 41

Revenue and expenditure 6 Regional Scholarships 17 30 Philanthropy 42

Australia’s biggest Schools Tour 18 Handa Opera on Sydney Opera Australia arts employer 7 Harbour – West Side Story 32 Capital Fund 46 Auslan shadow-interpreting 20 Community reach 8 New Australian works 34 Staff 49 Professional and Talent Chairman’s Report 10 Development Programs 21 2019 awards 36 Opera in the Kimberley 51

Community events 24 Ambitions for the future 38 Partners 52 Click on page names or numbers to link directly

opera.org.au 2 At a glance 775 performances 80% self-generated revenue . $73Box office6M

1495 employees 664,667 540,000 60,600 attendees tickets sold school audience

11 313 productions new to Australia performances in schools

opera.org.au 3 Productions

Performances and total attendance Productions Performances Attendance

Andrea Chénier, Melbourne, Sydney 3 6,270 Anna Bolena, Sydney 8 9,742 Bryn Terfel in Concert, Melbourne, Sydney 2 3,693 By the Light of the Moon, NSW Schools tour 222 42,049 Così fan tutte, Melbourne 5 6,294 Faust, Melbourne 5 6,748 Ghost Sonata, Melbourne, Sydney 8 2,087 Great Opera Hits, Sydney 35 27,781 Il viaggio a Reims, Melbourne, Sydney 9 12,800 ’s production of Puccini’s . Photo: Jeff Busby La Bohème, Sydney 23 29,305 , National Tour 24 10,836 Madama Butterfly, Sydney 23 29,958 Mazda , Sydney 1 16,000 Mazda Opera in the Bowl, Melbourne 1 10,000 , Melbourne 7 10,230 , Sydney 7 8,102 Studio Recitals, Sydney 3 448 , VIC Schools tour 91 18,574 Donizetti’s Anna Bolena directed by Davide Livermore with Ermonela Jaho in the title role. Photo: Prudence Upton , Sydney 10 13,543 The Opera Gala on NYE, Sydney 1 2,407 Turandot, Melbourne, Sydney 31 44,504 Two Weddings, One Bride, Melbourne 5 2,425 Werther, Sydney 8 7,403 Whiteley, Sydney 6 6,411 Wozzeck, Sydney 7 7,728 Other Productions 230 329,329

Totals 775 664,667 Aribert Reimann’s Ghost Sonata played in Sydney and Melbourne. Photo: Prudence Upton opera.org.au 4 Season star ratings Sydney and Melbourne seasons 2019

Question: If you were reviewing this production, how many stars would you give it? Answer: 2019 season average 4.27 2019 season average: 4.27

La Boheme, Sydney: 4.03 Madama Butterfly, Sydney: 3.98 The Marriage of Figaro, Sydney: 4.69 Ghost Sonata, Melbourne: 3.72

Turandot, Sydney: 4.21 Anna Bolena, Sydney: 4.20 Il viaggio a Reims, Sydney: 4.54 Andrea Chenier, Melbourne: 4.66

Wozzeck, Sydney: 3.96 Whiteley, Sydney: 4.06 Rigoletto, Melbourne: 4.24 Turandot, Melbourne: 4.51

Werther, Sydney: 4.09 Andrea Chenier, Sydney: 4.83 Cosi fan tutte, Melbourne: 4.07 Faust, Melbourne: 4.51

Salome, Sydney: 4.13 Ghost Sonata, Sydney: 4.16 Il viaggio a Reims, Melbourne: 4.14 Two Weddings, One Bride, Melbourne: 3.79 opera.org.au 5 Revenue and expenditure Income

20.3% Government grants

56.3% 6.6% Box office Philanthropy 7.5% Sponsorship 9.3% Other Income 4.7% Expenditure Technical staging & manufacturing 7.1% Scores, royalties & instruments 49.7% 13.8% Artists and staff Marketing and promotion 9.3% Venue costs 6.4% 9% Travel and transport Other

opera.org.au 6 Australia’s biggest arts employer Opera Australia employees Total employees 1495 15% 36% Full-time Artists Permanent 12% Admin/ 50% 1% Management Part-time 53% Permanent Casual 40%

30%

20%

10% 2% 29% 24% 28% Part-time Full-time Musicians Trade/ Fixed term2 Fixed term1 Technical 0% 0–18 19–25 26–45 46–65 66+

By work status By employment category By age

All figures are headcounts. 1 includes Full-time temporary and Contractors 2 includes Part-time temporary

opera.org.au 7 Community reach Own channels and broadcast

3,581,538 4,935,906 unique visits page views

website: opera.org.au

181,597 750,000 105,000 subscribers listeners print run

eNews ABC Classic FM Subscription brochures

opera.org.au 8 Community reach Social channels 60,647 23,277 likes followers , 22,500 8050 followers 7,989 subscribers followers

The Opera Centre tours 800+ visitors 12 98 volunteer tours guides

opera.org.au 9 “built with the foresight of so many of our past and present benefactors.” Chairman’s Report

Opera Australia has completed two years Whilst the content of this report relates and ensuring we can provide some financial The Board greatly appreciates the efforts of consolidation after the closure of the Joan to 2019, it is important to note the radically support to our artists and staff. Our executive of management who have committed Sutherland Theatre for a major updating of its changed environment in 2020. The coronavirus team has made substantial financial and personal unfailingly in these difficult times. The quality theatre machinery in 2017. The comprehensive pandemic clearly means 2020 will be a difficult sacrifices to support the Company during this of our executive team continues to develop and imaginative 2019 program generated total year for Opera Australia, the whole arts sector shutdown period, working tirelessly to produce and this is a credit to the leadership of Rory revenue of $130.7 million, up from $116.2 million and the nation. The pandemic has led to the information to assist the Board in our decision Jeffes, who has systematically strengthened in 2018, an increase of 12.5%. During the year cancellation of productions, lost employment making, working with employees and unions the team over recent years. we entertained over 660,000 people and and the loss of the majority of revenue to see we all get the best possible outcome Lately, the Board has been called on to presented 775 performances. These numbers budgeted for the year. The Company faces in the most trying circumstances. The company make some difficult decisions. I must extend reflect our strengths: the quality of our an extended and unknown period without has been well supported by the Federal and my appreciation to them for their wisdom, productions and the dedication of our people income, but with many continuing obligations, State Governments with JobKeeper allowances commitment and guidance in dealing with in inspiring and entertaining our community. making it necessary to temporarily stand down and other support programs, and these have the current crisis. Financial results for the year were pleasing a large proportion of our people. been critical in helping support our employees For my part I remain optimistic. I hope the with a trading profit of $198,534 up from The strength of the 2019 financial performance, through this period. worst is behind us and we can commence $161,728 the previous year. After allowing together with the support of the Capital Fund, While we will suffer a serious financial rebuilding our vibrant operatic and artistic for bequests and the contribution from the gives us confidence in our ability to weather reversal in 2020, the Company has robust community and economy Opera Australia Capital Fund, the Company’s these unprecedented times and to resume management, good banking relationships, as soon as practical. consolidated surplus for the year was activities to the high standards our stakeholders and solid support from stakeholders and $6,313,226. These results include unrealised expect we emerge from the coronavirus sponsors, built with the foresight of so many profits from the group’s investment portfolio crisis. At the same time we have to acknowledge of our past and present benefactors. which we are required to bring to account that there will be a substantial reversal You, our patrons, audiences and supporters, under current accounting standards. of the investment portfolio’s value in 2020, have been exceptionally generous; many have The Company finished the 2019 year with total given the volatility in the investment markets. converted refunds of tickets to donations or equity of $42 million (up from $36 million in 2018) During March and April 2020, management have deferred refunds and accepted credits. and total assets of $85.5 million (including and the Board have focused their efforts The Company is unbelievably grateful. David Mortimer AO property assets built up over many years). on securing the Company’s financial position

opera.org.au 10 “The arts give the heartbeat to the body of our community. It is part of what makes us know we are not simply alive – but living life.” Chief Executive’s Report

2019 was in every way an exceptional year and one Victorian audiences also strongly embraced In 2019 the Opera Australia Orchestra gave We are enormously grateful to the that we will look back on with great joy, pride and, the musicals , which continued its run 304 performances of 22 productions philanthropists and patrons and those faithful for some time to come, fond nostalgia. from 2018, and West Side Story. of opera, ballet, and concerts. supporters whose backing and belief in the The Sydney Summer Season started the year These seasons all demonstrate Opera The 58 permanent and 100+ freelance vision of the Company make it possible for with a mix of popular together with Australia’s ambitions for the future in musicians are among 1,495 employees for us to try to achieve ever-expanding goals. rewarding though less-often performed works delivering new works and classics in new ways, whom the Company provided livelihoods We acknowledge the corporate partners with – including the extraordinary William Kentridge while still presenting popular favourites under in the year, making it the largest arts whom we deliver unique opportunities and bring production of Alban Berg’s Wozzeck, as well as the exceptional leadership and vision of our employer in Australia. great cultural experiences to new audiences. ’s Salome and Massenet’s Werther. Artistic Director, AM. As the coronavirus crisis led to the effective I pay tribute to our incredibly talented and This approach to programming, balancing audience Opera Australia’s comprehensive programs shutdown of performing arts across Australia dedicated staff. All our employees own the favourites with a drive for innovation in creativity, throughout the year, the exceptional in March 2020, our high reliance on our success of 2019, as do our generous volunteers, was further shown in the Sydney Winter Season standard of the casts, orchestra, chorus success at the box office, combined with our who show another side of opera to so many which saw three new productions with fully digital and our wonderfully talented production large workforce, presents new challenges visitors, both Australian and from overseas. sets: Graeme Murphy’s Madama Butterfly; Anna team and crews, delivered to our audiences in a radically changed world. Compulsory Particularly in this unprecedented environment Bolena, directed by Davide Livermore; and the world an exceptional year of many highlights. closures and cancelled seasons have put I pay tribute to David Mortimer AO, Chairman of premiere of the Opera Australia-commissioned In 2019 the Company presented an all-time a stop to the best-laid plans, with uncertainty Opera Australia, and to every one of our Board work Whiteley, with by and record of 775 performances, confirming as to when we will be able to return to theatres members for their support, encouragement and music composed by Elena Kats-Chernin AO. Opera Australia as one of the busiest opera with grand opera. commitment to the Company. These innovative productions were complemented companies in the world. Over 660,000 Across the Company, our extraordinary The arts give the heartbeat to the body of our with the rarely offered Ghost Sonata, the striking people attended an Opera Australia people are committed to seeing us through community. It is part of what makes us know Il viaggio a Reims, The Marriage of Figaro, and production in 2019, generating over $73 million this period of crisis and to rebuilding for the we are not simply alive – but living life. Together a concert presentation of Andrea Chénier with the in ticket sales, making the Company one future, continuing to develop the art form in we will navigate the challenging future of this extraordinary trio of soloists Eva-Maria Westbroek, of the most successful box office earners contemporary contexts, inspiring our audiences magnificent company and play our part in the Jonas Kaufmann and Ludovic Tézier – supported by among the world’s major opera companies. and supporting the nation’s creative ecology. re-emergence of our nation. ten principal singers from the Company. Opera by its nature has very high fixed costs, The support and understanding of our Ghost Sonata and Il viaggio a Reims played in being a labour-intensive artform. It needs government partners, the Australia Council Melbourne as well as in Sydney, drawing enthusiastic many people to realise productions at the for the Arts, Create NSW and Creative audiences, with Rigoletto, Così fan tutte, Turandot, level to which the Company strives: principal , is more critical than ever and we are Faust and Andrea Chénier rounding out our opera artists, musicians and chorus; creatives, grateful for their commitment to both Opera presentations at the . production crews and administrative staff. Australia and the broader arts sector. Rory Jeffes

opera.org.au 11 “Every single person who worked for us Artistic Director’s in 2019 is responsible for this success. Report

2019 was one of the greatest years in the We were fortunate to engage Ermonela Jaho it to Melbourne. The outstanding cast in Melbourne with Karah Son and our free Company’s history. For now at least, let’s in the title role in Donizetti’s Anna Bolena, was conducted by Keri-Lynn Wilson in her community performances all contributed celebrate the great artists who in 2019 with Topciu as Jane Seymour. Davide Opera Australia debut. to 2019 as a phenomenally successful year. moved us, thrilled us, and gave us many Livermore directed this new digital production Andrea Chénier needs the world’s greatest The Opera Australia Chorus performed moments to treasure. and Renato Palumbo conducted the exceptional singers and a brilliant conductor. For these superbly in absolutely everything. I thank the Amber Wagner and Yonghoon Lee were Opera Australia Orchestra with finesse. concert performances, we were blessed to Opera Australia Orchestra, and in particular, magnificent in Graeme Murphy’s stunning The world premiere of Whiteley by Elena Kats- have the greatest living tenor, Jonas Kaufmann, the Concertmaster and Orchestra Director production of Turandot. Conductor Christian Chernin AO, with libretto by Justin Fleming, in spectacularly good form; arguably the Jun Yi Ma, for their exceptional musicianship, Badea energised the performances with was a major accomplishment: powerful and world’s greatest , Ludovic Tézier; while maintaining a heavy workload. passion. William Kentridge’s production beautiful music, and Whiteley’s artwork looked and the magnificent Eva-Maria Westbroek I thank, too, for its valued of Alban Berg’s Wozzeck was a landmark superb. Conductor Tahu Matheson, Director singing Maddalena. Pinchas Steinberg contribution to the Company’s Melbourne production imbued with Kentridge’s David Freeman assisted by John Sheedy, and conducted in masterly fashion. seasons. Every single person who worked for extraordinary eye. Michael Honeyman the cast, led by Leigh Melrose and Julie Lea West Side Story had sell-out seasons us in 2019 is responsible for this success. as Wozzeck, Lorina Gore as Marie and Goodwin, were all outstanding. in Sydney and Melbourne, and Now however is the most difficult time conductor Andrea Molino were outstanding. Damiano Michieletto’s sensational production enjoyed huge success as Eva Peron in Evita. in Opera Australia’s history. COVID-19 and Elena Maximova were of Rossini’s Il viaggio a Reims was a tremendous Charles Gounod’s epic Faust was performed is devastating our industry. We will rebuild superb as Werther and Charlotte respectively, success in Sydney and Melbourne: visually in Melbourne in Sir David McVicar’s and again create some of the most wonderful and and Alexander Krasnov stunning and brilliantly conducted by Daniel incomparable production. and productions on earth to move and thrill our were spectacular in Richard Strauss’ Salome. Smith, the cast both funny and virtuosic. Maria Mudryak were superb, as was conductor audiences. We ask simply for your support West Side Story, directed by Francesca In his Australian debut in Moshinsky’s Guillaume Tourniaire. Aribert Reimann’s and understanding in the coming years. Zambello with Brian Thomson’s brilliant production of Rigoletto, Amartuvshin Enkhbat powerful and disconcerting Ghost Sonata was Un abbraccio design, became a huge success at Handa confirmed his reputation as one of the greatest appreciated in both Sydney and Melbourne. Opera on Sydney Harbour. Graeme Murphy’s . Stacey Alleaume was an outstanding The national tour of Madama Butterfly was striking new production of Puccini’s Gilda and Liparit Avetisyan made the very performed over seven weeks across Australia. Madama Butterfly, with Opera Australia’s difficult role of the Duke sound easy. Our wonderful Schools Company played new digital technology designed by Michael Sir David McVicar’s magnificent production to over 60,000 schoolchildren in NSW and Scott-Mitchell and Sean Nieuwenhuis, had of Così fan tutte is the benchmark Victoria. The New Year’s Eve Gala Concert and a powerful effect on audiences. Karah Son production, and I was pleased we could bring La Bohème in Sydney, a wonderful Turandot Comm. Lyndon Terracini AM as Cio-Cio-san was close to perfection.

opera.org.au 12 National Tour Bringing great opera to all Australians, wherever they live

“It was life changing.” Cast members of Madama Butterfly on the road. Photo: Prudence Upton - April, Rockhampton QLD 95% rated the Madama Butterflyexperience “I was moved to tears. at 5 stars It was an unforgettable experience. Thank you.” - Jeannette, Gold Coast QLD 94% “Just fantastic that enjoyed that the regional places like opera was performed Alice Springs get the in its original language opportunity to see world class opera.” 94 - Vicki, Alice Springs NT % would attend an Opera Australia “Eva Kong as Butterfly, The 2019 tour of Madama Butterfly was a resounding success. On the second year performance in I cried for you nearly of its two-year regional tour, Puccini’s opera played 24 performances in 20 venues the future the whole second act. over 7 weeks. Of venues visited in both 2017 and 2019, 78% reported an increase in sales. The overall attendance of 10,836 exceeded anticipated audience figures. The entire cast During 2019 the production travelled across Queensland, the , 94% and performance and South Australia, with 10 singers and an 11-piece chamber orchestra. agreed or strongly was breathtaking.” agreed that in - Tenneale, Gladstone QLD Over two years our National Tour: performing locally, Opera Australia • visited every state and territory in Australia fosters a greater sense “Fantastic to have • reached over 30,000 audience members of community and our national opera • performed in theatres, lecture halls, school gyms and cinemas. improves the quality company reaching out of life in their region. Travelling to large regional centres, small towns and remote communities, to regional Australia.” Opera Australia’s National Tour reaches far beyond traditional touring circuits. (760 respondents) - Elise, Mount Gambier SA

opera.org.au 13 National Tour Tennant Creek

Returning to Tennant Creek, Opera Australia transformed the Civic Hall for one night only as part of the annual Desert Harmony festival, building an entire stage, lighting rig, backstage area and auditorium with help from locals working with the festival through the Barkly Work Camp. We supplied half of the house seats to Barkly Regional Arts who distributed those tickets to locals who https://www.youtube.com/watch?v=rSzMc4K6aIM&feature=youtu.be would otherwise have had no means of attending. The Opera Australia chamber To sense the magic of opera in the outback, please take orchestra performed a one minute and 20 seconds to view this beautiful video pre-show concert with local produced by the Leading Partner of Opera Australia’s Room for the orchestra in Tennant Creek. Photo: Prudence Upton musicians. This followed a day National Tour, QBE Insurance. You’ll appreciate the of working together, providing logistical challenges and why the tour is so important a live orchestral backing to communities across the nation. track to the artists’ original QBE Insurance shares our dedication to making great compositions. Alan Murn, opera accessible to all Australians, and we salute them Executive Officer at Barkly for the contribution they make to the . Regional Arts, says their relationship with Opera Madama Butterfly is supported by the Australia Council Australia “is a special one for the Arts, Create NSW and Creative Victoria. Invaluable of collaboration, mutual support is also provided by The Opera Conference, the respect and excitement national partnership of professional opera companies. on many layers… It’s about the whole far exceeding the sum of the parts.” The audience in Tennant Creek. Photo: Prudence Upton opera.org.au 14 National Tour 330children participated Community engagement The 2019 tour of Madama Butterfly garnered large audiences and appreciative feedback across the country. The community engagement programs Opera Australia 24performances runs alongside the tour were also very well received, with the Regional Vocal Scholarship program, Regional Children’s Chorus program and Education Workshops engaging 572 people across the country.

22local choir leaders Regional Children’s Chorus

The Regional Children’s Chorus program gives young singers in each town the chance to perform as the chorus in Opera Australia’s touring productions. In 2019, the program also provided professional development through masterclasses for 22 local Choir Leaders, ensuring that they had the skills and resources to take back to their community and teach their Children’s Chorus. 330 children participated in the program, training for several months before final rehearsals. After being costumed and warming up, finally they step onstage, putting all they have learnt into practice: performing alongside a company of professional singers in front The Regional Children’s Chorus. Photo: Jeff Busby of their family, friends and local community.

opera.org.au 15 National Tour 186participants Workshops

13workshops

“When everyone works “The introductory meeting with together we can make magic. the performers and conductor We can be spectacular! was a new and rewarding We can make this a night experience. To hear them sing to remember for both the so intimately and to be able performers and the audience.” to discuss and ask questions - Elsa, 14 yrs, Rockhampton QLD about their lives and work was wonderful. Thank you so much.” “A wonderful opportunity - Graham, Mount Gambier SA for young people to experience the performing “I enjoyed the string master arts and be shown respect class. The musicians were and gratitude for their thoughtful and their expertise efforts by the company.” RegionalAlywarre Scholarship. musician Photo: Lester Keith Peterson Saunders played his own composition with the orchestra. Photo: Prudence Upton helped me a great deal.” - Colleen, grandparent, Darwin NT - Emma, Burnie TAS “I was blown away. I think Cultivating a love of live music and engagement with their local arts ecology, “It was marvellous for the we offer Education workshops to venues, secondary schools and local community the children’s chorus is great groups. Company members share their personal experience, techniques, tips and children to experience the for local children and I hope tricks to demystify the art form and break down pre-conceived notions of Opera. magic of theatre. Children some of them may be inspired This is an opportunity to transfer skills to emerging artists, music lovers and eager still stop me in the street to to a future in music or opera theatre technicians living in regional and remote areas. talk about how wonderful because of it.” Over the course of the tour, 186 students and members of the public participated it was to be involved.” in over 13 workshops, in Alice Springs, , Geraldton, Gladstone, Gold Coast, - Neville, Albany WA - Paul, Broome WA. Kalgoorlie, Karratha, Mackay, Maryborough, Mount Gambier and Tennant Creek.

opera.org.au 16 Regional scholarships The Regional Vocal Scholarship finds four talented stars of tomorrow

Four young singers from Toowoomba, The four travelled to Sydney for a week Orange, Tamworth and Speewah won of intensive training with Opera Australia’s the highly competitive Opera Australia artistic, music, drama and language coaches, Regional Student Scholarships for 2019. gaining exclusive behind-the-scenes insight Vocally gifted senior students across into the working life of an opera singer. regional Australia applied, auditioning Both Aylish and Hannah were previously for the scholarship online for the first participants in the Regional Children’s time in 2019. Open to all Year 11 and Chorus when the National Tour visited 12 students who live more than 100km their home towns of Toowoomba and from a capital city, the Scholarship Tamworth respectively. Opera Australia’s aims to create pathways in the arts Regional Children’s Chorus Master Mark accessible to those living in regional Connors said, “The fact that two of our and remote areas. winners were previous members of the The winners were selected based Regional Children’s Chorus means we are on their skill and potential to develop successfully fostering a love of opera with careers in opera and musical theatre. our touring program.” This year’s recipients join an alumni Nor is this the end of our involvement of 19 talented singers who have used with our young singers. We stay in contact their scholarship to go on to enjoy as they progress, keeping up to date success in music, education and the with their education, achievements and performing arts. Previous recipients career prospects. Hopefully, in a few have studied at the Sydney and years’ time, we’ll see them at a Schools Queensland Conservatoriums and or General Audition, and know that the the Western Australian Academy Scholarship helped them on the path of Performing Arts. Some have become to achieve their dreams. singing and music teachers while others have performed with Pacific Opera and, The 2019 Opera Australia Regional Vocal Scholarship winners are: Thanks go to the Australia Council, in 2019 for the first time, been employed Amelia Bland, 18 (Orange, NSW), Hannah Burton, 18 (Tamworth, NSW), Create NSW, Creative Victoria and in Opera Australia’s Extra Chorus. Luke London, 17 (Speewah, QLD) and Aylish Ryan, 16 (Toowoomba, QLD). the Bourne Foundation. Photo: Keith Saunders opera.org.au 17 Schools Tour Accessible, engaging and entertaining

This year over 60,000 school children enjoyed Opera Australia’s new Australian commission By the Light of the Moon in NSW, and Opera Australia’s production of The Barber of Seville in Victoria. Our primary schools company toured NSW and Victoria for 36 weeks, performing 313 times. Every day a small group of four talented opera singers and a pianist drove to a school, built the set, organised their costumes and props, and then performed up to three times in one school. Opera Australia has been touring to primary schools since 1997. Our repertoire of schools performances consists of adapted classics and commissioned works such as By the Light of the Moon, by Liesel and Michael Badorrek.

Launching the NSW Schools Tour and By the Light of the Moon in The Opera Centre, Surry Hills. Photo: Keith Saunders , 60School children saw623 an opera

“Our students were... absolutely enthralled, clapping and smiling throughout the entire performance. Thank you very much for providing the students with an insight into opera, in a way that is highly accessible, engaging and entertaining for all.” - Lucas Gardens School, NSW 37weeks touring

opera.org.au 18 “It was a major success... presenting the arts as an everyday experience” - Nillumbik Shire Council, VIC 189schools as venues

41Western Sydney school shows

40regional school shows

42,049 children saw 18,574 children 222 saw performances in NSW 91 performances in Victoria

The Barber of Seville. Photo: Jeff Busby

opera.org.au 19 2,767 Schools Tour children saw Auslan shadow-interpreting

Opera Australia is dedicated to making opera performances 9 performances accessible to Deaf and hard-of-hearing audiences through our 1,228 “Our students in Victoria children Auslan Shadow-interpreting program. and teachers saw In 2019 we continued to offer shadow-interpreted versions absolutely LOVED of our schools touring production in both Victoria and New South the performance. Wales. Shadow-interpreting incorporates Auslan interpreters It was wonderful... 7 your best to date.” into the onstage action with stage direction and costumes, performances - Deputy Principal Hearing, rather than having them stand to the side of the stage. The result Nuwarra Public School, NSW in NSW is a more comprehensive and exciting theatre-going experience for Deaf, hard of hearing and hearing audiences.

Benefits of music in our schools We believe that music and singing are a universal language, an inspiring way to bridge Music communities and a profound stimulus to learning. Participating in music creation has • improves confidence and been shown to lead to better learning outcomes, improve literacy and numeracy, and self-expression, and fosters creativity • promotes teamwork and collaboration help develop confidence, collaboration and communication skills. • improves fine-motor skills and audio and visual sensory perception The benefits of music education are well established. Music making, and exposure • develops neural pathways to music in everyday environments, helps to prime children to more diverse and and social cognition expansive learning, aiding results in traditional subjects such as Maths and English. • provides joy and variety in the classroom environment. Music programs have also been shown to help with attendance, and can be beneficial for students who are not achieving well in school. http://www.creativityaustralia.org.au/wp-content/uploads/SW_Benefits-of-Music.pdf opera.org.au 20 Professional and Talent Development Programs

The Young Artist Program The Young Artist Program is a two-year training program for selected young Australian opera singers to supplement their already evident talent and performance skills. Opera Australia funds the Young Artists’ salaries; provides opportunities for principal roles in the company’s performance program; prepares and presents the Young Artists in recital; and conducts regular workshops for the Young Artists that include language coaching, acting, stagecraft and choreography. More than 100 artists have been through Opera Australia’s Young Artist Program since its inception in 1984.

2019 Young Artists: Anna-Louise Cole, soprano Nicholas Jones, tenor Haotian Qi, baritone Shanul Sharma, tenor Luke Spicer, conductor Young artists Shanul Sharma and Danita Weatherstone in Ghost Sonata. Photo: Prudence Upton Danita Weatherstone, soprano

TAP TO FIND OUT MORE opera.org.au 21 Professional and Talent Development Programs

The George and Nerissa Johnson Regional Internship: Memorial Scholarship Conservatorium Emerging Directors The George and Nerissa Johnson Memorial Scholarship provides funds for Interns Opportunities are offered to aspiring, individuals to pursue overseas study and professional development in opera. emerging and established theatre and The five Regional It is available to performing musicians, including conductors and repetiteurs. opera directors and assistant directors Conservatorium Interns to observe Opera Australia’s production The scholarship also funds residencies of up to six weeks twice-yearly for observe rehearsals and rehearsal and preparation processes. international vocal coaches to work with Opera Australia’s principal singers, performances from the pit and chorus and music staff. auditorium, experience two 2019 Observers: rounds of practice auditions 2019 Recipients: and learn about the life of an Christian Cavallo, Mikala Westall, Anna-Louise Cole opera orchestra musician. Rebecca Hart, Sarah Ampil ( Il viaggio a Reims, Melbourne) Shanul Sharma Conservatorium Lucinda Pezzimenti (Rigoletto) Danita Weatherstone interns for 2019: Justice Jones (Salome) Tomas Dalton Andrew Collins, flute Jessica Westcott (Werther) Jessica An, violin Tait de Lorenzo (Wozzeck) The Hephzibah Tintner Conducting Fellowship Heejin Kwen, viola The Hephzibah Tintner Conducting Fellowship goes to an emerging talent who Mikala Westall, Keiren Brandt-Sawdy Hayley Witmore, double is expected to contribute to the cultural and artistic life of Australia. ( Il viaggio a Reims, Sydney) Zoe Chen, oboe The fellowship provides training and mentorship opportunities for two years. Keiren Brandt-Sawdy The fellow will take part in the conducting activities at , ( The Marriage of Figaro) Opera Australia and the Sydney Symphony Orchestra.

2017–2019 Fellow: Patrick Burns TAP TO FIND OUT MORE

opera.org.au 22 Student Placements and Workplace Learning West Side Story on Sydney Harbour

In 2019 Handa Opera on Sydney Harbour partnered National Institute of Dramatic Arts (NIDA): “Observing how a professional with institutions to deliver formal placement programs: one student focused on lighting and production, production works was Charles Sturt University (Bathurst): the other on stage management. one student specialised in stage management, Queensland University of Technology (QUT): incredible. I feel like I have the other student in event administration. one student majoring in Fine Arts (Technical a much better understanding Enmore Design Centre: Production) worked on lighting set-up and design of how professionals in my one Diploma of Live Production student regularly during the bump-in period. industry conduct themselves assisted with research and sourcing for the site : and their roles. I especially design and set-up, including signage and furniture. A group of 10 international students were hosted loved being able to watch International College of Management: for a performance of West Side Story, including one student in an event administration capacity. a pre-performance backstage tour and a discussion how all the different roles outlining the logistics of event delivery. interacted with each other.” - Student

West Side Story. Photo: Hamilton Lund

opera.org.au 23 Community events Free and first class!

Opera Australia is committed to presenting operas and musicals to as wide Mazda Opera in the Domain What was the best part? an audience as possible. We want all Australians, old and young, near and far, The Domain “ I still can’t believe this is a free event. to have the opportunity to see live music of quality, performed and presented Saturday 19 January 2019 The quality of the orchestra and the artists by passionate, professional Australians. is mind blowing! I love this event so much.” Our free community events this year included: Mazda Opera in the Bowl “ It was free and the entertainment Mazda Opera in the Domain: a much-loved free outdoor event stretching was first class!” back to 1982. Under the sparkling January night sky, thousands enjoy some Sidney Myer Music Bowl of opera’s finest moments. Saturday 30 November 2019 “Just Wow” Mazda Opera in the Bowl: the largest opera event in Victoria, attracting “ I would find it impossible to name a ‘best groups, families, new and existing opera attendees. part’, it was all in the best part category!” Outstanding feedback from audience members claimed this to be the best “ Being able to see opera live even free opera concert they have attended. though I’m broke; I recently lost my job so it’s comforting to know that culture isn’t out of reach.”

Mazda Opera in the Domain. Photo: Ben Symons Mazda Opera in the Bowl. Photo: James Thomas opera.org.au 24 The Melbourne Opera Centre New contemporary spaces

Demonstrating its long-term commitment to Victoria, Opera Australia is currently completing works on a new Melbourne Opera Centre, due to become operational in 2020. The new Melbourne Opera Centre is on the premises of Opera Australia’s former offices: 35–47 City Road Southbank. Opera Australia sold its freehold to the site in 2017 and the Company has since spent $3 million fitting out a floor specifically constructed as a modern contemporary centre for opera. The larger building will also contain commercial offices, retail shops and a hotel. The new Opera Australia premises are approximately the size of the old building: 14,025 square metres. The premises contain the following spaces for Opera Australia use, which are also available for third-party, commercial hire: • Three musical coaching rooms • Two soundproof, acoustically treated rehearsal spaces (one mixed-use space includes sprung floors, mirrors and ballet barres) • Greenroom, conference and board rooms • Office space for 25 staff. New Melbourne Opera Centre. Photo: Jeff Busby Continuing its support of the wider arts sector in Victoria, Opera Australia will offer these spaces • Two eight-person school touring companies • Opera Australia’s Commercial Division, which coordinates to arts companies at significantly reduced hire rates. • two touring music theatre companies (each with over 100 The Melbourne Opera Centre will also be used for Opera Australia’s national touring company of 32 cast, musicians and technicians singers, musicians, technicians and creatives), free community public recitals, seminars and ticketed events. concerts at Sidney Myer Music Bowl and the Sydney Domain • At the conclusion of 2019, Opera Australia employed Philanthropic operations for Melbourne donors (each involving 100 staff), and commercial New Year’s Eve 14 staff based in Melbourne. They support: • Box Office operations for Melbourne ticketing events at the involving 250 employees.

opera.org.au 25 Sector Services Collaborating across the arts

Opera Australia is an integral part Companies we support include: of the Australian arts sector, providing • Pinchgut Opera a broad range of services to small, • The Australian Ballet medium and large performing arts • companies across Australia. • Melbourne Theatre Company Over $500,000 per annum • is provided in services, in-kind, Australian Brandenburg Orchestra discounted, lent or free of charge • Australian Youth Orchestra to other arts companies. This ranges • Belvoir St Theatre from lending Victorian Opera the • Sydney Philharmonia Choirs set, properties and costumes for • Pacific Opera their 2019 production of A Little • Victorian Opera Night Music, to providing office and rehearsals space, ticketing Opera Australia provides: and marketing support for • office space Pinchgut Opera. • ticketing services In Melbourne alone Opera Australia • manufacture of sets provides props to 60 Melbourne- • costume making based arts companies: large and small • providing / manufacturing props theatre and opera companies, film and • TV production houses, dance studios instrument hire and 40 schools and universities. • free and discounted studio time We retain the best artisan technicians, • loans of sets, props, all experts in producing the highest costumes, instruments quality, world-class productions, from • donated tickets grand opera to touring musicals, • orchestra time concert staging to media launches. • conductor time, and more Creating props for The Australian Ballet’s Happy Prince. Photo: Derrin Brown

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opera.org.au 26 Our departments: Wardrobe and Millinery Wigs Scenic Art Steel Fabrications Carpentry Props Manufacturing Design Studio We’ve also established capabilities for non-agricultural quarantine clearance for international imports in our Sydney and Melbourne stores.

Opera Australia’s scenic artists create a backdrop for the Australian Brandenburg Orchestra. Photo: Michela Caffagna. opera.org.au 27 “You could sense the enthusiasm emanating from Orchestra the orchestra pit as the musicians The hardest-working orchestra in Australia were let loose on a score so adventurous The Opera Australia Orchestra maintains its international reputation as highly skilled, professional and outside their and nuanced. It is Australia’s busiest orchestra with over 300 annual performances of more than usual remit.” 22 productions of opera, ballet, musical theatre and concerts. Performing under some of the world’s - Ben Neutze, Time Out Sydney finest conductors, the core orchestra is supported by exceptional seasonal and freelance musicians. Wozzeck review

High points for 2019 Wozzeck: An extraordinary and difficult score, challenging for all, and successfully realised. Salome: Conducted by the brilliant – the spectacular score was musically and artistically, a highlight of the season. Whiteley: A brand new score, changing right up until the last dress rehearsal. The orchestra took everything in their stride. The percussion section in particular had all sorts of unusual and strange instruments (car brake drums, tuned cowbells, singing bowls, and pots and pans). Andrea Chénier: A collaboration with the world’s most famous tenor, Jonas Kaufmann, and eminent conductor Pinchas Steinberg shed light on this seldom-performed gem. Ghost Sonata: A demanding, contemporary chamber music score. The players enjoyed bringing it to life! The Orchestra also featured in the Handa Opera on Sydney Harbour production of West Side Story. Andrea Chénier in rehearsal. Photo: Keith Saunders opera.org.au 28 “The orchestra negotiated the remarkable demands Berg places on them Orchestra seemingly without effort.” - Nicholas Routley, Australian Stage Wozzeck review The hardest-working orchestra in Australia “There are riches to be found in Kats-Chernin’s In addition, the Orchestra was pleased score, colourful and to support the following initiatives: propulsive and confidently The Sydney Conservatorium realised by Tahu Internship program sees five students Matheson and the Opera observe rehearsals and performances, Australia Orchestra.” practise auditions and learn about the - Justine Nguyen, Limelight Magazine life of an opera orchestra musician. Whiteley review Each year the Orchestra plays for the finals concert of the Australian Singing “Conductor Pinchas Competition: a great opportunity to Steinberg and Opera perform on a concert platform, and for Australia Orchestra’s some of the young singers, the first time shrewd tempo and they have performed with a full orchestra. dynamic control ensured Studio recitals: put together with limited rehearsals around the orchestra’s busy their accompaniment schedule and working on some challenging was ideally paced, repertoire, chamber music is a very seamlessly negotiating different way of working for the players, the many changes of with distinct demands and rewards. mood and atmosphere.” The Opera Australia Orchestra list - Murray Black, The Australian Members of the Orchestra perform on stage for Wozzeck. Photo: Keith Saunders is on page 41. Andrea Chénier review

Opera Australia is the only opera company 304 58 100+ in Australia with performances permanent freelance a full-time orchestra in 2019 players players

opera.org.au 29 “The lyrics and West Side Story music still blaze a trail like shooting stars in the musical theatre night sky.” - The Sydney Morning Herald

“Electrifying dance numbers...executed perfectly.” - Time Out

West Side Story. Photo: Jeff Busby

opera.org.au 30 Opera Australia boldly presented two separate productions of West Side Story in 2019. Hailed as “the No. 1 greatest musical of all time”, “A ground-breaking musical the genius of its four original creators – for a new generation with a remarkable collaboration between composer a cast of fresh young faces .” Leonard Bernstein, author Arthur Laurents, lyricist Stephen Sondheim and choreographer Jerome -Broadwayworld.com Robbins – produced a timeless masterpiece whose “It’s the perfect combination thrilling unity of music, dance, book and lyrics has of dance, music, and theatre, been rarely matched since. and... it features a bunch The Opera Australia, GWB Entertainment and of young Aussie talent BB Group production of West Side Story played performing the original to rave reviews, and was seen by over 168,000 people. Both this production and Handa Opera choreography which still on Sydney Harbour were hugely successful; takes your breath away together accounting for more than 35% of our despite being more than total audience last year. five decades old.” West Side Story toured both Australia and - Melbournelyf.com internationally for a period of months from April to December 2019. In Australia, Opera Australia presented 124 performances across four cities: Melbourne (27), Sydney (61), (22) and (14). The touring company also performed 58 times internationally in the opera houses of in New Zealand and Cologne, Berlin and Dresden in Germany. The all-Australian cast of 34 featured a dynamic mix of established performers alongside some of Australia’s most exciting emerging talent. One of the key points of difference for this particular production was the youth of the cast members. “What makes this production stand out,” said director and choreographer Joey McKneely, “is the youth of the cast. The youngest member is 16…It’s teens playing teens for the first time.” A retelling of Romeo and Juliet set in 1950s Upper West Side New York, this story of rival gangs and racially motivated violence lost none of its power and relevance. West Side Story. Photo: Jeff Busby

opera.org.au 31 Handa Opera on Sydney Harbour

315project staff and West Side Story crew employed

Opera Australia’s first musical on the Handa Opera on Sydney Harbour stage proved a smash hit, the most successful production in the event’s eight year history. A record 65,000 people watched this retelling of West Side Story, which was 85artists employed nominated for seven including Best Musical, and feedback from audiences was immensely positive.

137volunteers 65,000 attended West Side Story on Sydney Harbour (record box office!) With a growing international reputation as a must-see event, Handa Opera on Sydney Harbour has attracted 400,000 attendees over the past eight years, assuring its place as a signature not-to-be- missed event in Sydney. In 2019 Opera Australia introduced to the season a dedicated relaxed and accessible performance, working closely with Vision Australia, The Captioning Studio and Autism Spectrum Australia (Aspect). The performance was audio- described for those with sight considerations, a tactile backstage tour was offered and the performance was also live captioned on handheld devices for guests with hearing considerations.

West Side Story opening night. Photo: Hamilton Lund opera.org.au 32 Handa Opera on Sydney Harbour

Best part of the event? “ Everything. With such a large stage West Side Story to work on/with (especially for the dancing), this is truly what Bernstein and Sondheim would have wanted for this musical. The best West Side Story The following data is from Destination NSW 17% came from interstate Annual personal income production I have ever seen.” post-show surveys (2900 respondents): 14% came from regional NSW The biggest clusters (pre-tax): “ ...the future of performing arts in Australia is in very good hands!!” 69% of non-Sydney respondents 13% or 9,000 came from overseas 16.5% earn $40–$60K p.a. said Handa Opera on Sydney (the highest figure on record) 16.4% earn $60–$80K p.a. “ EVERYTHING WAS GREAT” Harbour was a main reason 15.8% earn $80–$100K p.a. “ The location was outstanding. for their visit to Sydney / NSW Travel This was the first time for us visiting 56% were attending an Opera Australia Of the non-Sydney respondents: Australia and this show was one event for the first time 52% stayed at a luxury hotel / serviced Feedback of our favourite things we did.” apartment / resort Nine in ten rated the event Demographics “ Everything – it ticked all the boxes – 52% travelled to Sydney by plane as ‘Good or Very Good’ exquisite singing, incredible 56% of respondents came from Sydney dancing, top notch production 33% from elsewhere values all around.”

65,000 attended West Side Story on Sydney Harbour (record box office!)

Handa Opera on Sydney Harbour West Side Story. Photo: Hamilton Lund

opera.org.au 33 New Australian works

Whiteley Workshops, auditions, rehearsals, performance season July 2019. Whiteley, the opera based on the life of iconic Australian artist , premiered in July 2019, playing to 6,400 people. Produced by an all Australian creative team, Whiteley was composed by Elena Kats- Chernin AO with libretto by playwright Justin Fleming and directed by David Freeman.

“It’s quite startling to watch an opera unfold on stage that is so unashamedly, so unapologetically, so gloriously Australian.” - Daily Telegraph, Australia Whiteley. Photo: Prudence Upton

opera.org.au 34 New Australian productions

The Track Reviving Bran Nue Dae, a new production 2019 productions new to Australia Commission (2018), Workshops, Anna Bolena, Sydney workshops (2019). auditions, rehearsals Così fan tutte, Melbourne Set in outback Queensland Bran Nue Dae originated in Broome thirty years Evita, Melbourne in 1936, this story of grief, ago. The creative team on this Opera Conference Faust, Melbourne violence and retribution production worked with the Broome community Ghost Sonata, Melbourne, Sydney is set against the boxing during 2019 to workshop, audition and rehearse tournaments then popular. a revival of this first-ever Aboriginal musical. Il viaggio a Reims, Melbourne, Sydney Workshops were held on this Singing and dancing workshops were conducted Madama Butterfly, Sydney opera with music and libretto by there, along with auditions and rehearsals. Eight of Two Weddings, One Bride, Melbourne the cast, three of the band and two of the creative/ John Haddock, a member of the West Side Story, Handa on Sydney Harbour Opera Australia music staff. production team subsequently hailed from Broome. Whiteley, Sydney Wozzeck, Sydney

245,373 people saw a production new to Australia

Rehearsing Bran Nue Dae in Broome. Photo: Julia Rau opera.org.au 35 2019 Awards

Salome earned Lise Lindstrom the 2019 Helpmann Award for Best Female Performer in an Opera. Photo: Prudence Upton

opera.org.au 36 In the midst of the most difficult time in living memory for the arts in Australia, it was heartening to see Opera Australia recognised so comprehensively at the 37th Annual in Victoria. This is an extraordinarily trying time for artists and theatre workers, and recognition Congratulations to by the artists’ peers brightens the otherwise gloomy times many people are experiencing. Opera Australia’s This recognition is a tremendous boost for all of the nominees as well as the eventual Green Room Award winners during this most difficult of times. winners: Congratulations also These successes would not be possible without the support and commitment to Opera Australia’s 2019 Female Lead of everyone at Opera Australia, so while we applaud those in the spotlight, I also want Helpmann Award winners: to thank and congratulate the whole company of Opera Australia for playing your roles Kara Son in our continued success. Turandot Best Female Performer Congratulations to the winners and hats off to the Melbourne Green Room Awards Artist in a in a Supporting Role for not only recognising the outstanding artists named above, but for also finding Supporting Role in an Opera an innovative mechanism to present the awards in 2020. Luke Gabbedy Bravi tutti! Faust Metamorphosis (2018) Lighting, Set and Best Female Performer Comm. Lyndon Terracini AM Costume Design in an Opera Alessandro Carletti, Lise Lindstrom Paolo Fantin and Salome (2019) Carla Teti Best Male Performer Il viaggio a Reims in an Opera Conductor Michael Honeyman Christian Badea Wozzeck (2019) Turandot Best Direction of a Musical Direction Damiano Michieletto Handa Opera on Sydney Harbour – Il viaggio a Reims West Side Story (2019) Production Il viaggio a Reims , , Melbourne. Photo: Jeff Busby Ilviaggio Reimsa

opera.org.au 37 Ambitions for the future

Opera Australia’s 2019 Sydney winter season showed the extent of our ambition for the future of opera. As the first opera company in the world to present a fully digital repertory season, we are proud of these three new productions: • Graeme Murphy’s new Madama Butterfly • Davide Livermore’s striking interpretation of Donizetti’s Anna Bolena • the world premiere of Whiteley by Australians Elena Kats-Chernin and Justin Fleming all incorporated 14 seven metre high, suspended LED screens, each weighing 650kg, choreographed to create a dynamic landscape. The season marked the company’s ongoing commitment to engaging new audiences in the modern era. Again, most subscribers (65%) and single ticket buyers (75%) strongly agreed that the digital sets added to their overall experience. As a contemporary arts company still steeped in tradition, the 2019 program indicated our forward-thinking approach to the art form, along with a mix of crowd favourites, revivals and concert presentations: • the rarely offered Ghost Sonata, staged in the industrial surrounds of our Surry Hills scenery workshop • Rossini’s rediscovered opera Il viaggio a Reims, a visually striking production, set in an art gallery, as famous artworks come to life • crowd favourite The Marriage of Figaro • superstar tenor Jonas Kaufmann as Andrea Chénier, with the celebrated Eva-Maria Westbroek, Ludovic Tézier and conductor Pinchas Steinberg. Opera Australia presented , our first entirely digital production in 2018. It remains a fervent hope to stage one of our most ambitious projects to date: a brand new, fully digital production of Wagner’s epic Ring cycle at the . Photo: Prudence Upton Prudence Photo: . Queensland Performing Arts Centre in November 2020. Internationally acclaimed movie, theatre and opera director Shi-Zheng Chen will be the first Chinese director to take on the Ring at this scale, bringing the epic Norse saga into the future but with Chinese mythology woven into the production. Madama Madama Butterfly

opera.org.au 38 Opera Gala at Uluru

In another first, Opera Australia staged an outdoor concert at Uluru in partnership with Voyages Indigenous Tourism: • Five of our Principal Artists were accompanied by a chamber ensemble made up of players from the Opera Australia Orchestra • Local school children also attended a rehearsal, followed by a school-based engagement • Opera Australia’s crew worked in 40° temperatures with high winds, dust storms, flies and bush fires • Opera Australia aims to return to Uluru with an expanded program offering a range of packages and featuring four unique performances. For more information visit: opera.org.au/on-tour/opera-gala-at-uluru

Opera Gala at Uluru. Photo: Ben Fon

opera.org.au 39 Artists 2019 Conductors Directors Ludovico Gobbi Christian Badea John Bell Greta Goiris Principals Donald Chan Dean Bryant Matt Grounds Constantine Costi Kim Gunning Stacey Alleaume Keanu Gonzalez Noah Mullins Paul Fitzsimon Luc De Wit Peter Halbsgut Kate Amos Lorina Gore Paul O’Neill Johannes Fritzsch David Harvey Richard Anderson Andeka Gorrotxategi David Parkin Gareth Jones Greg Eldridge Jennifer Irwin Enkhbat Armartuvshin Paul Hanlon Emma Pearson Dane Lam David Freeman Moritz Junge Natalie Aroyan Celeste Haworth Sian Pendry Andrea Licata Hugh Halliday Emma Kingsbury Liparit Avetisyan Christopher Hillier Pavel Petrov Tahu Matheson Sally Hare Julie Lynch Taras Berezhansky Jared Holt Michael Petruccelli Nicholas Milton William Kentridge Catherine Meyburgh Jonathan Biggins Michael Honeyman Saimir Pirgu Andrea Molino Davide Livermore John Drummond Montgomery Jennifer Black Mariana Hong Anna Princeva Carlo Montanaro Joel McKneely Sabina Myers John Bolton Wood Nigel Huckle Haotian Qi David McVicar Sean Nieuwenhuis Andrei Bondarenko Todd Jacobsson Dragana Radakovic Renato Palumbo Damiano Michieletto David Parsons Paolo Bordogna Ermonela Jaho Kathryn Radcliffe Guy Simpson Andy Morton Owen Phillips Martin Buckingham Barbara Jin Matthew Reardon Daniel Smith Dan Potra Naomi Johns Pichas Steinberg Graeme Murphy John Rayment Giorgio Caoduro Andrew Jones Ekaterina Sadovnikova Warwick Stengaards Roberto Pizzuto Brigitte Reiffenstuel José Carbó Nicholas Jones Sophie Salvesani Guillaume Tourniarie Johanna Puglisi Renate Schmitzer Jonas Kaufmann Agnes Sarkis Keri-Lynn Wilson Bruno Ravella Urs Schönebaum Anna-Louise Cole Simon Kim Roberto Scandiuzzi Massimo Zanett Janet Vernon Matt Scott Andreas Conrad Eva Kong Shoumendu Schornikow Music Staff Kim Walker Michael Scott-Mitchell Leonardo Cortellazzi Maija Kovalevska Berryn Schwerdt Head of Music Francesca Zambello Adam Sutton Alexander Krasnov Shanul Sharma Tahu Matheson Jennie Tate John Daszak Michael Lapina Mariangela Sicilia Designers Chorus Master Carla Teti Paul Dawber Yonghoon Lee Ritchie Singer Robert Bryan Anthony Hunt Sabine Theunissen Anna Dowsley Kristen Leich Karah Son Alessandro Carletti Assistant Brian Thomson Zoe Drummond Ruth Strutt Tim Chappel Chorus Master Jenny Tiramani Gennadi Dubinsky Lise Lindstrom Bryn Terfel Paul Collison Michael Curtain Michael Yeargan Samuel Dundas John Longmuir Ludovic Tézier Paule Constable Jane Ede Shane Lowrencev Carmen Topciu Language Coach Damien Cooper Choreographers Joyce El-Khoury Graeme Macfarlane Diego Torre Nicole Dorigo Tony David Cray Kelley Abbey Andrea Fabi Ivan Magrì Geraldine Turner Tanja Binggeli D-Wok Andrew Hallsworth Michael Fabiano Virgilio Marino Dean Vince Repetiteurs Charles Edwards Michael Keegan-Dolan Taryn Fiebig Juan de Dios Mateos Amber Wagner Siro Battaglin Paolo Fantin Julio Monge Walter Fraccaro Dominica Matthews Lyndon Watts Simon Bruckard David Finn Graeme Murphy Elena Maximova Danita Weatherstone Brian Castles-Onion AM Giò Forma Shane Placentino Luke Gabbedy Leigh Melrose Eva-Maria Westbroek Antonio Fernandez Mariana Fracasso Nigel Poulton (Fight Director) Steven Gallop Andrew Moran Sharon Zhai Paul Fitzsimon Sachiko Tange Julie Lea Goodwin Maria Mudryak Chloe Zuel Andrew Robert Greene Paul Gallis John Haddock Kate Johnson Jonathan Wilson opera.org.au 40 Opera Australia Orchestra

Concertmaster and Orchestra Director Jun Yi Ma Associate Concertmaster Huy-Nguyen Bui Deputy Concertmaster Opera Katherine Lukey Australia Chorus Violin Cello Cor Anglais Trumpet Jonathan Alley Nara Lee Principal 1st Violin Teije Hylkema Jonathan Ryan seasonal Joshua Clarke Dean Bassett Yolanda Lorenzato Catalin Ungureanu* * * Eszter Mikes-Li Clarinet Craig Ross Chloris Bath Anthony Mackey Principal 1st Violin ** Andrew Hines Peter Jenkin Colin Grisdale seasonal Christopher Bath Jonathan McCauley Tony Gault* Pierre Emery Phillip Green* Cornet Jennifer Bonner Kent McIntosh Principal 2nd Violin Margaret Iddison Gregory Brown Lynette Murray Airena Nakamura Richard Rourke Brian Evans Emma Castelli Sharon Olde Associate Principal Double Bass Bass Clarinet Trombone Annabelle Chaffey Sandra Oldis 2nd Violin Brett Berthold John Lewis Gregory van der Struik * Changyang Choi Adam Player Mark Fitzpatrick* Andrew Meisel Brett Favell* Bassoon Bradley Cooper Clifford Plumpton Virginia Blunt Edmund Bastian William Farmer Douglas Eyre Rebecca Currier Benjamin Rasheed Rachel Easton Bonita Williams Matthew Ockenden* Bass Trombone Tomas Dalton Vanessa Rosewarne Yu-Qing Rebecca Irwin Flute Gillian Hansen Brett Page Keara Donohoe Ryan Sharp Adrian Keating Elizabeth Pring Horn Tuba Malcolm Ede Ruth Strutt Marek Kruszynski Amanda Hollins* Sydney Braunfeld Edwin Diefes Tom Hamilton Sitiveni Talei Daniel Rosenbaum Nicola Crowe seasonal Scott Hannigan Leah Thomas Rachel Westwood Bourian Boubbov Percussion Piccolo Alexander Hargreaves Margaret Trubiano Kelly Tang seasonal Lisa Wynne-Allen Shaun Trubiano Diane Berger Stuart Haycock Ashlyn Tymms Ben Smith seasonal Robert Johnson seasonal Kevin Man* Oboe Lee Wadenpfuhl seasonal Angela Hogan Katherine Wiles Timpani Viola Conall McClure Phoebe-Celeste Humphreys Kathryn Williams David Clarence Virginia Comerford Matthew Tighe* Jin Tea Kim Anna Yun * Allan Watson* Jacqui Cronin seasonal Mark Bruwel Celeste Lazarenko Tara Houghton Harp Magda Kruszynska Jane Rosenson Amanda Murphy

Italic Name = Section Leader *Principal 1st Violin / Associate Principal **Acting Assistant Principal

opera.org.au 41 Philanthropy Loyalty, commitment and generosity

It is never more clear than in our current turbulent times that Philanthropy is the backbone of the arts, innovation and creativity. Philanthropy at work It remains a vital component of Opera Australia’s income and we Wozzeck was supported by 27 donors who collectively raised are sincerely grateful for the loyalty, commitment and generosity over $300,000, enabling us to present this new production. of our donors. In 2019 Opera Australia realised some outstanding projects due to the generosity of our donors. One of the most extraordinary was the opportunity to commission and perform a new opera, Whiteley, based on the life of Australian artist Brett Whiteley. Donors to this syndicate made it possible to create this new work, which is now a part of contemporary repertoire. A second syndicate helped us bring William Kentridge’s innovative and visually sumptuous production of Wozzeck to Sydney. The newly formed Artistic Directors Circle has established a fund with the purpose of nurturing artistic excellence, pushing the boundaries of the art form and bringing the best of opera to Australia. Alongside these projects, many donors have supported us through the Patron Program, the Young Artist Program, the Regional Tour and the Schools Tours of NSW and Victoria. Thank you for your loyalty and commitment to these core programs. We particularly want to acknowledge Dr and the International Foundation for Arts and Culture which supports Handa Opera on the Harbour, the Susan & Isaac Wakil Foundation whose access program makes it possible for thousands of people to experience opera for the first time, and Dr Lydia and Dr Irvine Hunter whose love for opera has ensured that The Opera Centre rehearsal floor is refurbished and available to artists for years to come. Wozzeck. Photo: Keith Saunders From all of us at Opera Australia to all of you – thank you!

opera.org.au 42 $460,000 raised to support new productions, Whiteley and Wozzeck $500,000 Philanthropy at work raised towards Support from donors enabled us to commission and present Whiteley artistic excellence

Whiteley. Photo: Prudence Upton

Wakil Access Program ticket buyers at a performance of Madama Butterfly

5 $1M+ $1.5M 2,600+ singers supported raised for education, raised by the people experienced opera for through our Young outreach and access Patron Program the first time through the Artist Program programs Susan & Isaac Wakil Foundation Access Program

opera.org.au 43 DONORS ARTIST DONORS – $15,000+ Lawrence AM, Rosie Lew and Family, Peter Dr Haruhisa Handa, Patron-in-Chief Antoinette Albert, Martin and Ursula and Pamela McKee, Suzanne and Anthony Armstrong, Ballandry (Peter Griffin Maple-Brown, Robyn Martin-Weber, LEADERSHIP DONORS – $100,000+ Family) Fund, Tom and Eva Begg, Peter Mason AM and Kate Mason, Nelson Philip Bacon AM, Hans and Petra Henkell, John and Jennifer Brukner Foundation, Meers Foundation, Dr Bryan and Mrs Henkell Brothers Investment Managers, Ian Dickson and Reg Holloway, Mr John Debora Mendelson, Dr Robert Mitchell, The late Dr Lydia and Dr Irvine Hunter, Frost AM, Tom Hayward and Fiona , Timothy and Eva Pascoe, Metal Manufactures Limited, Renaissance Martin-Weber, Mrs Jane Hemstritch, Fiona and Miles Prince, Mark and Ruth Ms F Rourke, Stephanie Lee, Tours, the Susan & Isaac Wakil Foundation, Professor Andrew J A Holland, Rex Irwin, Sampson, Penelope Seidler AM, Professor David Levitan, Tony and Helen Anonymous (2) Esq., Mr Aron Kleinlehrer OAM, John Gillian Shenfield AM, Deena Shiff and Lewis, Paul Lindwall and Joanne Frederiksen, PRINCIPAL DONORS – 50,000+ Lamble Foundation, Marianne and James Gillespie, John and Diana Smythe Warren Lesnie, Mrs Juliet Lockhart, Foundation, The Stirling Family, John Peter Lowry OAM and Ina Bornkessel-Schlesewsky and Matthias Carolyn Lowry OAM, Michael Schlesewsky, Martin Dickson AM and Susie Lisa McKern, Judith McKernan, and Jo Strutt, Victoria Taylor, Kevin Troy, Nick and Caroline Minogue, Colin Michael Troy, Mr David Valentine, I S and Markiewicz, The Alexandra and Dickson, David and Angela Li, Catriona Lloyd Martin Family Foundation, Mordant AM and AM, and Rosalyn Nicholson, In memory H Wilkey, Lyn Williams AM, Elizabeth of Katharine Olsen, Mr Robert Peck AM Windschuttle, Christine Yip and Dr Mark and Dr Alla Medownick, David Mortimer AO and Barbara Mortimer, Mrs Margot Melzak OAM, Peter Reilly & Linton Soderholm, and Ms Yvonne von Hartel AM, Lady Paul Brady, Anonymous (2) Potter AC CMRI, Cameron Williams, Thomas Timothy Murphy, Andrew Sisson AO and Tracey Sisson, BENEFACTOR PATRONS – $4,000+ Miki Oikawa, A/P Emeritus Maureen Wheeler AO, Anonymous (2) Ray Wilson OAM in memory of James Agapitos OAM, Professor Emeritus David and Elizabeth Adams, Richard Robert and Mrs Joan Osborn, AMBASSADOR DONORS – $20,000+ Barbara van Ernst AM, Roy and Gay and Colin Adams, Lesley Alway and Paul Mrs Roslyn Packer AC, Robert Albert AO RFD RD and Elizabeth Woodward, Anonymous (2) Hewison, Janette and Jim Bain AM, G Pearson, Fred Peisah, Susan Albert, Esther and Brian Benjamin, Judith and David Beal, Margaret and Perrin-Kirby, Ms Jo Phillips, Rosemary Block, Kay Bryan, Richard GOVERNOR PATRONS – $7,500+ James Beattie, Nicole Berger, Mrs Christine Greeba Pritchard, Dr Mark Campbell, Juliana and Robert Clemesha, Nance Atkinson Trust, John Barrer, Bishop, Audrey Blunden, Mr Tom Breen, Renehan, Bruce Rosenberg, Mrs Rowena Danziger AM and Mr Ken Peter Bartholomew and Donna Pelka, Jannie Brown, Maggie Brown, Dr Andrew Gary Singer and Geoffrey Smith, Coles AM, Ms Christine Davis, Lady (Mary) Dame AD CVO, The Hon Buchanan, Pam Caldwell, Mrs David Clarke, Dr Michael Slaytor, Libby Fairfax AC OBE, Katie and Vic French, , J. Brownell, Ian and Roxane Clayton, Caroline and Robert Smith, Margot Smith, Mr Sam Ingrid Kaiser, Iphygenia Kallinikos in Jillian Buchanan, Tatiana Crockett, Mary Clemente, Maxwell J Connery OAM and Smorgon AO and Mrs Minnie memory of Despina Kallinikos, Mrs Davidson and Frederick Davidson AM, Joan R Connery OAM, Leith Cooper and Smorgon, Ross Steele AM, Suzanne Kirkham, the late Hon Jane Mrs R Dechert, The Denton Family Trust, David Bruce-Steer, Dr Peter Craswell, Tony Stolarek, Wirat Sukprem Mathews AO, Helen and Phil Meddings, Suvan and Shamistha de Soysa, Ermes Michael Crouch AC and Shanny Crouch, and Alexander Gosling AM, MIA Contract Lawyers, Tom and Ruth de Zan, Diane and Edward Federman, Mrs Joan Darling, Mrs Catherine Davies, Peter and Leonie Szabo, O’Dea, Drs Keith & Eileen Ong, Hamish Mr Gerhard and Mrs Monica Flechsig, John and Ros Dowling, Sandy and Phil Mrs Alma Toohey, Claire and Parker, Dr Alison Pert and Rod Sims, Chris and Judy Fullerton, Margaret Dudgeon, Suellen and Ron Enestrom, Elizabeth Weis Fund, Sue and Kenneth R Reed AM, Dr David and Dr Gillian Gibbs, The Greatorex Foundation, Pat David Epstein and Nell Bennett, Dr Helen Bill Wood, Anonymous (5) Ritchie, Geoffrey Robertson AO, Graeme and Frank Harvey, Peter and Mrs Melissa Ferguson, Leonard Groat, Wendy and Robertson, Tim Robertson, Carol Sisson, Hebbard, Jennifer Hershon, Peter and Andrew Hamlin, Darryl and Katherine John and Georgina Story, Leslie C Thiess, Jenny Hordern, Mrs Cynthia Jackson AM Hodgkinson, In memory of Beryl Hooley, Judge Robyn Tupman, Rachel Verghis and and the late Dr Edward Jackson AM, Andrew Kaldor AM and Renata Kaldor AO, Sigurdur Arngrimsson, Ms Gabby Walters, Dr Judith Kinnear, Kloeden Foundation, Ervin and Judith Katz, Anna-Lisa Anonymous (2) Ms Eugenia Langley JP, Dr Joan M Klettenberg, The Hon Justice F Kunc and

opera.org.au 44 PATRONS – $2,000+ Frost, Sabina and David Full, Robert MacLennan, Anne and Peter McNamara, Jeannette Abrahams, Julie and Tony Furley and Leon Nicholas, Eric and Tonia Geoffrey Magney, Professor Bernard and Adamo, Rae and David Allen, Noel and Gale, Justin and Anne Gardener, John Mrs Joyce Marks, Jennifer K Marshall, Sylvia Alpins, Dr Ben Anderson, Sidney Garnsey QC, Fleur Gibbs, Dr Nicholas Graham Matheson, Desmond B Misso, Esq, and Lynn Anderson, Rosalind Baker, S Girdis CBE and Mrs Marina Girdis, the The Monarch Investment Group, Adrian Jenny Barnes, Ross and Ann Barnetson, Hon Geoff Giudice AO and Mrs Beth Giudice, Morris and Eileen Chanin, Ted and Brenda Tony Barnett, Dedicated to John Beaton, Mr Timothy Glanville, George Golvan QC Mouritz, Dr Stephen Mulligan, Heidi Munzinger and John Shott, B P Murphy, Laurie Bebbington and Elizabeth O’Keeffe, and Naomi Golvan, George and Kay Bequests Dr and Mrs Ken Neale, Irena Nebenzahl, Alasdair Beck and Dr William Brooks, Gordon, Beatrice Gray, C M Gray, James We are grateful to the Dr Paul Nisselle AM and Mrs Sue Nisselle, Dr Jane Beeby, Dr Simon Bell and and Sarah Guest, Jean Hadges, Mrs Pamela Mary Dolores David Estate, Professor G C O'Brien and Dr I E O'Brien, Dr Jennifer Coghlan-Bell, Gita Bellin, Tom Hall, Louis J Hamon OAM, Dr Laurence John Stuart Drabble Estate, Mrs Robyn Pal, George Pappas AO Best, Minnie Biggs, Kevin and Marianne Harewood, Drs Glenda Hartley and Peter Mrs Eva Nissen and and Jillian M Pappas, Mrs Patsy Patten, Bleasel, Ellen Borda, Mrs Jan Bowen AM, Prichard, Judy Hastings, Alan Hauserman Mr Albert H Ullin OAM for Dr Kevin Pedemont, Professor David Mrs Roslynne Bracher AM, Barbara Brady, and Janet Nash, Mr Alistair Hay and their generous bequests. Ms Jane Brodribb, Dr Roderick Brooks, Dr Jennifer Miller, Mr Nicholas Hayes, Penington AC, Phillip and Jennifer Perry, Professor David Bryant, Richard Burbidge Assoc. Prof. Bernard Haylen and D E Pidd, Mr Ian Plater, Mr Peter Charles Trusts and Foundations QC and Taru Burbidge, Diana Burleigh, Mrs Denise Haylen, Peter and Barbara Prior CLJ, Railx Aluminium Products, The Bourne Foundation Ita Buttrose AC OBE, Prof Anthony Hennings, D S and S P Heywood, Dr and Madelein Rares, Jane Recny, Inge Riebe, Crown Resorts Foundation Buzzard AM and Dr Pamela Craig, Mrs R F Hicks, Mr Thomas Hillenaar, Michael and Angela Rodd, Bruce and Ruth Dr Lee MacCormick Edwards Dr Andrew Byrne and Mr Allan Gill, Nora Hinchen and John Flint OAM, John Rodell, Rowan and Susie Russell, Margaret Charitable Foundation David Hobbs, Michael Hobbs, Dr Rosita Sammut, Graeme Samuel AO and Jill Hugh and Hilary Cairns, Elise Callander, Foundation Ian Cameron, Michel-Henri Carriol and Holenbergh-Gibson, Ms A Hooper, Davies, Mrs M Saunders, Garry E Scarf The Susan and Isaac Julie Carriol OAM, Emily Chang, Jan and In memory of Peter Hrebeniuk, Ian Hunt and Morgie Blaxill, Aubrey G Schrader, Wakil Foundation Andrew Cheetham, Dr Janice Cheng, Greg and Vicki Nicholson, Michael and Penny Tom Schrecker, Edward and Susan Schutz, and Terry Chesher, Mrs Margot Chinneck, Hunter, Dr Victor Hurley, Dr Alastair Caroline Serventy, Mrs H Showniruk, Donald Wright Opera Trust Ms Linda Chung, David Churches and Jackson AM, John S Jessup, Dr Michael Michael and Melissa Slattery, Denise Smith, Supported by Australian Helen Rose, Pauline Cleary, J C Conde AO, Joel AM and Mrs Anna Joel, Anne and In memory of Beryl Stephens, Communities Foundation. P F and M J Crane, M and M Cranitch, Bruce Judd AM, John Kaldor AM and Mr Nigel Stoke, Mrs Josephine Sukkar Dr Peter Craswell, Charles P Curran AC Naomi Milgrom Kaldor, Mrs Mathilde AM, Victoria Thorogood, Sandy and Anna and Eva Curran, Mrs Mary Curtis, Marie Kearny-Kibble, Dr S M Kelly, Dr Robert Todd, Richard and Caroline Travers, Peter If you would like to know Dalziel, Mrs Jeanette Davies, Ernest Kenrick, James and Diana Kimpton, Tremewen, Suzanne and Ross Tzannes AM, more about making a gift Dawes OBE OAM and Nola Dawes, Mrs Deborah Kirk, In memory Ullmer Family Charitable Endowment, to Opera Australia please Sir Roderick and Lady Deane, of Dr Suzanne Korbel, Dr Barry Landa, Dr Jacques Van Schalkwyk, John S Walton AM, contact our Development Mr Michael Diamond AM MBE, Beatrice Lang, Peter Lazar AM, Catherine The Shirley Ward Foundation, Louise Office on 02 9318 8283. Jennifer and Robert Dickerson AO, and Yick Him Lee, Alex and Halina and Suzanne Waterhouse, Derek Watt Mr J T Dominguez CBE AM and Lewenberg, Richard and Elizabeth Longes, and Cathy Brown-Watt, Dr Eric Wegman, Mrs Dominguez, Andrew and Barbara Mr Howard Lowe, Mrs Marie McCann OAM, Roslyn Weiley and Chris Harper, the Dowe, Mrs Rose Downer, Michael Drapac, Susan McCarthy, Dr Ann McFarlane, Ian Hon Justice Anthony Whealy, Hilary Dana Dupere, Charles Edmonds and and Pam McGaw, Avril and Peter McGrath, Whitehouse and Fiona Fleming, Ann and Bernadette Slater, James Fairfax AC, George and Patricia McGregor, Brooks Wilson, Jill Wran, Dr Kun-Gay Yap Melody and Jonathan Feder, Mrs M Ford, Robert and Sarah McKay, Marcus and Dr Kuldip Kaur, Anonymous (32) Vivienne Fried, Helen Frost and Malcolm and Brooke MacLean, Mark and Sue

opera.org.au 45 Opera Australia Capital Fund

The Opera Australia Capital Fund (OACF) plays a vital role in supporting Opera Australia enjoyed a memorable recital by British-Australian “The success and never has its contribution to the national opera company been more important. soprano Samantha Clarke, who recently won the of the OACF Established twenty years ago to help secure the future of Opera Australia, it has been Guildhall School’s 2019 Gold Medal. able to make consistent annual grants and support the Company as it responds to the I thank Roslyn Packer AC most sincerely for hosting is a result considerable challenges of recent times. an intimate fundraising dinner at her home, featuring of judicious It is with pleasure I report that the OACF’s total equity reached $21.8 million at the end an unforgettable recital by and her husband, of 2019. This significant increase in reserves has enabled the Capital Fund to make its Etienne Dupuis. This dazzling couple has international investment annual distribution to Opera Australia this year of $1 million. The cumulative distributions commitments well into the future so it was thrilling and the to the Company now total $7.9 million. to hear each of them up close and in splendid voice. The success of the OACF is a result of judicious investment and the remarkable support of I could not be more proud of the board of the OACF remarkable our loyal donors. I reported last year on the outcome of the 20/20 Campaign which aimed and for the wisdom, enthusiasm and steadfastness to create a corpus of $20 million by 2020. I can now report that due to the magnanimity brought to the table by my fellow Directors, David support of our of our donors we are well on the way to achieving a new target of $25 million, through Armstrong, Ashley Dawson-Damer AM, Rory Jeffes, loyal donors.” additional pledges and donations of $2.5 million in 2019. The success of this campaign Justice François Kunc, David Mortimer AO, is a welcome vote of confidence by committed opera lovers. Roslyn Packer AC and Tania Seary. As I write, I know that Opera Australia, along with every arts organisation in the country, 2020 will probably be the toughest year our national is under enormous pressure. I reflect on the perspicacity of David Clarke, our founding opera company will endure. We also know that humanity Chairman, who established the OACF to ensure that the national opera company could is turning to the arts to seek solace and make sense always withstand extreme headwinds. of the new world order. Opera is on the front page again I would like to thank our Council of Governors whose unwavering support sustains the as a way of transcending abnormal times. I offer my OACF. In 2019 we introduced a Leadership Circle to acknowledge the increasing number profound thanks to all those generous supporters of benefactors who have contributed, or are in the process of contributing, a donation of of the OACF whose mission continues to be to secure at least $500,000: exemplary philanthropists whose contribution makes all the difference the future of Opera Australia. You inspire us. to our cultural life. An annual dinner, held in October in the Utzon Room at the Sydney Opera House, paid tribute to the extraordinary generosity of our Council of Governors. We are fortunate to have had the ongoing involvement of the Australian High Commission in London. Last July His Excellency The Hon George Brandis QC, Australian High Commissioner to the UK, hosted a fundraising dinner at Australia House. Sixty guests Philip Bacon AM, Chairman

opera.org.au 46 The Capital Fund continues to grow and makes an annual distribution to Opera Australia. This significant achievement has been made possible through the generosity of the following donors as well as Australia Council for the Arts and Government of and Government of Victoria through the Reserves Incentive Funding Scheme.

The Opera Australia Capital Fund was Benefactor Circle Russell and Lucinda Aboud Alan and Elisabeth Cornell established to build capital reserves David Armstrong* Antoinette Albert Robin and Judy Crawford to help ensure the ongoing financial Michael and Mim Bartlett Robert Albert AO RFD RD and Michael Crouch AC and Shanny Crouch viability of Opera Australia. Jane Brodribb Elizabeth Albert Crowe Horwath The Council of Governors comprises Jennifer Brukner Betty Amsden AO Cruise Brokers Australia Pty Ltd Directors of the Trustee Company Kay Bryan Megan and David Armstrong Mr Charles P Curran AC and Mrs Eva Curran and members who have either Anthony and Bronny Carroll Philip Bacon AM Win Danby contributed a significant donation Andrew and Jane Clifford (Mrs) Carole Bailey Elizabeth Dangar or pledged a specific bequest. Ken Coles AM Jim and Janette Bain Mrs Rowena Danziger AM and Mr K G Coles AM Rowena Danziger AM Ballandry (Peter Griffin Family) Fund Mrs David Darling Ashley Dawson-Damer AM* Mim and Michael Bartlett John Dauth AO LVO Gretchen Dechert Alasdair Beck Sir Mick and Lady Barbara Davis Mark Dimmitt Lewis and Sally Bell The Hon Mrs John Dawson-Damer AM Rory Jeffes* Berg Family Foundation Mrs R Dechert Council of Governors Iphy Kallinikos Alan and Christine Bishop Matthew Delasey Judith Kinnear Allan and Jane Blaikie Suvan and Shamistha de Soysa Leadership Circle Wayne Kratzmann Stephen Blamey Ian Dickson and Reg Holloway Philip Bacon AM* (Chairman) The Hon Justice François Kunc* Jan Bowen Martin Dickson AM and Susie Dickson Jane Clarke and David Newby Chris Lynch and Tania Seary* Alix Bradfield Francis Douglas Martin Dickson AM and Susie Dickson Nicholas and Helen Moore Dr and Mrs P Breidahl Mrs Gordon Douglass AM and Michael and Helen Gannon David Mortimer AO* In memory of Lennox Brewer the late Mr Gordon Douglass Shaun and Suzanne Kenny Roger Muller Dr Roderick Brooks Dr William Downey Phil and Helen Meddings Roslyn Packer AC* Dr Catherine Brown-Watt PSM Marie Dreux Rupert Myer AO and Annabel Myer Gary Payne Jennifer Brukner Jane and David Duncan Hamish Parker John Reid AO Kay Bryan Suellen and Ron Enestrom Kenneth Reed AM and Leonard Groat Gary Singer and Geoffrey Smith Carolyn Cameron James Fairfax AO Jill Thorpe Anthony and Bronny Carroll The late Lady (Mary) Fairfax AC OBE Michael Traill AM and Louise Christie Pip and Gordon Fell Jenny Gage Traill Mr David Clarke AO and Mrs Jane Clarke Jenny Ferguson Barbara van Ernst AM Tony and Hellen Clarke The Hon W K and Mrs M Fisher Ray Wilson OAM Andrew and Jane Clifford Mr Bill Fleming Roy and Gay Woodward Adrian Collette AM and Victoria Watson Chris and Judy Fullerton Andrew Connolly Michael and Helen Gannon Prof Malcolm Coppleson AO and Mrs Peter Geddes *denotes Opera Australia Capital Fund Mrs Patricia Coppleson Donald and Rosita Gibson Director, some of whom are also donors Mr Bruce Corlett AM and Mrs Ann Corlett The Goodman Family

opera.org.au 47 Bequests Alexander Gosling AM and Wirat Sukprem Mr Kevin McCann Andrew Thyne Reid Charitable Trust You can make a lasting contribution to the Ian and Ruth Gough Tim McFarlane AM and Thyne Reid Trust No. 1 future of opera in Australia by making a bequest Grant Family Charitable Trust Caroline McFarlane John B Reid AO and Lynn Rainbow Reid to the Opera Australia Capital Fund. Robert and Beatrice Gray Peter and Pamela McKee Patricia H Reid Endowment Pty Ltd Your bequest will provide financial security Peter Griffin AM Judy Mackinnon Renaissance Tours to enhance Opera Australia’s artistic John and Jo Grigg Mrs Barbara McNulty OBE In memory of Lilian Renard achievements and outreach programs. Leonard Groat Dr Penelope McNulty Michael Rennie Deirdre Hall and David Greatorex AO Macquarie Group Foundation David and Gillian Ritchie The Company is enormously grateful for the Mr and Mrs Ian Harper David Malouf AO Juliana Schaeffer support it has received through bequests from Dr John Harvey AO and Mrs Yvonne Harvey Maple-Brown Family Foundation In memory of Clare Scott-Mitchell the estates of:- In memory of the late Philip Hemstritch Eddie Scuderi Susan Maple-Brown AM Mrs Diana Chapman Hans and Petra Henkell Penelope Seidler AM Peter and Kate Mason David Clarke AO Jennifer Hershon Servcorp Phil and Helen Meddings Ruth Davidson Hershon Family Gary Singer and Geoffrey Smith Don and Angela Mercer Dame Joyce Margaretta Daws DBE Neroli Hobbins The Hon Warwick L Smith AM and Nicholas and Helen Moore Kenneth Engelsmann Miss Jennifer Hole Mrs Kathryn Joy Smith Robert Morgan Mrs Leslie Feather Mrs Cynthia Jackson AM and Suzanne and Peter Steigrad David Mortimer AO and Ms Wendy Fenson the late Dr Edward Jackson AM James and Jeanne-Claude Strong Barbara Mortimer Mr Jonathon Greening Major General Michael and John and Jo Strutt The Dame Elisabeth Murdoch Mrs Nola J Hassall Mrs Marlena Jeffery Antony and Josephine Sukkar Charitable Distribution Account Mrs Elise Herrman Reg and Marie Jewell Simon Swaney and Carolyn Kay Rupert Myer AO and Annabel Myer Irwin Imhof Mrs Diana Jones AM DSJ and Dr Hugh Taylor and Mrs Elfie Taylor Dr and Mrs Ken Neale G H Johnson for the George and Nerissa Mr David Jones AM OBE Jill Thorpe Mark and Louise Nelson Johnson Memorial Scholarship H Kallinikos Pty Ltd Robert Tobias OAM David Newby Mr Stefan Kruger Noelene Keen-Ward and David Whitfield Michael Traill AM and Jenny Gage Traill Jim and Shirley Nield Miss Patricia Lance The Hon Ros Kelly AO and Caroline Travers OAM Liz Nield Barbara McNulty OBE Dr David Morgan AO Kevin Troy Michael and Helen Nugent Ivy Marshall Shaun and Suzanne Kenny Michael Troy Justin and Sally O’Day Mr Will Noble Dr Judith Kinnear Ann and Larry Turner Conrad and Alice Oppen Dimiter Kanev Stantchev Mrs Jean E Kirk Professor Barbara van Ernst AM Meredith O’Rourke Dr Dawn Thew Aron and Helen Kleinlehrer Isaac and Susie Wakil Richard Owens OAM Mrs Nancy Williamson Kloeden Foundation Maureen Wheeler AO Roslyn Packer AC Dr Donald Wilson The Hon Justice François Kunc and A D White Pages Event Equipment Betty Wright Felicity Rourke Raymond Wilkinson Hamish Parker Mr Gerald Sidney Wronker John Lamble AO peckvonhartel architects Lyn Williams AM Dr Joan M Lawrence AM John and Moya Phillips C R Wilshire Liangrove Foundation Pty Ltd Valmai Pidgeon AM Ray Wilson OAM and the late Paul and Joanne Lindwall Robin Potter OAM James Agapitos OAM If you wish to discuss either a donation Juliet Lockhart PricewaterhouseCoopers Jill Wran to the Capital Fund or your bequest Drs Kathryn Lovric and Roger Allan Greeba Pritchard Dr Anna Ziegler hopes, please contact Neroli Hobbins Chris Lynch and Tania Seary Kenneth R Reed AM Anonymous (22) in Sydney on 02 9318 8386.

opera.org.au 48 Staff Major Projects Deputy Orchestra Manager Board and Management Executive Producer Louisa Robertson Ella Howard Chairman David Mortimer AO Company Office Supervisor Production Manager Pablo Puig Orchestra Operations Manager Board Members Katharina Houy Site and Venue Operations Manager Rhonda Jones Philip Bacon AM Casting Supervisor/ Company Mitchell Dunn Assistant Orchestra Manager Anna Bennett Brian Benjamin Office Jocelyn O’Brien Assistant Producer Lucy Tesoriero Orchestra Coordinator Ashley Retter Jonathan Feder Company Office Assistant Assistant Producer Production Orchestra Coordinator Brighdie Chambers Jane Hansen Caitlyn Livingston Phoebe Lane Manufacturing and Stores Tim McFarlane AM Travel Consultant Lilla Ito Recording & Broadcast Consultant Business Operations Manager Derrin Brown Alison Pert Planning Consultant Ian McCahon Ian McCahon Business Cooordinator Katie Flood Deena Shiff Program Editor Clive Paget Touring and Commercial Andrew Sisson AO Design Manager Linda Matthews Workshop Executive Producer Alex Budd Head of Workshop Tim Madden Josephine Sukkar AM Head Mechanist Jeremy McComish Associate Producer Susie Parks Chief Executive Officer Deputy Head Mechanists Workshop Administrator Emma Davis Associate Producer Touring Head of Props Manufacturing Simon Craw Rory Jeffes John Mackay, Ryan Paine Ashlee Hints Artistic Director Head Flyman Robert Bristow Props Technician Sergio Hernandez Touring Coordinator Jane Williamson Scenic Art Supervisor Emelia Simcox Lyndon Terracini AM Deputy Head Flyman Sam Kilpatrick Office Administrator Tara Smith Chief Operating Officer Mechanist Supervisor Workshop Supervisor Charles Chen Operations Coordinator Scenery Technician Robert Yi Min Dai John Horn Tony Bergin, Ken Frost Jennifer Bartlett Advanced Mechanist Whetu Haddon Head of Steel Fabrication Adam Christie Executive Support Production Coordinator Technical Scenery Steel Fabrication Head of Lighting Jason Morphett Robbie Carmellotti Producer–Research and Development Deputy Head of Lighting Benjamin Freifeld Ruth Thomas Catherine Alexander, David Parsons Artistic Services Scenery Technician Arend Beekhoven Executive Assistant to CEO and AD Advanced Lighting Technician Senior Manager– Performing Artists Deputy Supervisor / Scenic Art Angeline Long Sam Wylie Joanne Goodman Meg Roberts In Theatre Head of Stage Props Gerard Foley Supervisor, Performing Artists Deputy Supervisor Mitchell Ramsay Executive Producer Stage Props Supervisor Isabella Sampson Senior Draughtsman David Spark Georgia Rivers Stephen Adamson Assistant, Performing Artists Constuction Draughtsperson Business and Operations Manager Sound & Vision Supervisor Janet Brown, Arnold Klugkis Nina McDonald Linda Barrie Alison Bremner Senior Resident Director Props Coordinator Carlos Johnson Technical Director Clif Bothwell Sound & Vision Operator Matthew Barclay Deputy Supervisors/Props Technicians Associate Producer Anika Vilée Helge Schlosser Music Librarian Peter Alexander Roswitha Adlidinger, Jo-Anne Parkin Director – Technical Production Senior Stage Manager Crissie Higgins Music Library Coordinator Props Buyer Marty Jay Chris Potter Stage Managers Jennifer Fung Head of Wardrobe/Wig Manager, Senior Production Manager Eugenia Farrell, Ben Lynch Music Editor Noel Grove Manufacturing Rebecca Ritchie James Wheeler Deputy Stage Managers Young Artist Manager Donna Balson Wardrobe Production Coordinators Production Manager Garry Alcorn, Phillip Serjeant Orchestra Management Bronwyn Jones, Cassandra Pascoli, Sara Kolijn, Kathleen Szabo Michael Rogerson Head of Performing Wardrobe General Manager, Orchestra Wardrobe Coordinator Zoe Zhiying Li Surtitle Supervisor/ Bobby McKenzie Gérard Patacca Wardrobe Buyer Miranda Brock Business Operations Executive Head of Performing Wigs/ Orchestra Manager Wardrobe Technical Supervisor Gillian Maddern Makeup Andrew Keshan Emma In der Maur Thorsten Ohst

opera.org.au 49 Corporate Affairs Operations Senior Ladies Cutter Beryl Waldron Corporate Affairs Director Yvonne Zammit Facilities Manager Neal Hughes Costumiers Erika Schwarz, Sam St Aubyn Government Relations & Grants Manager Facilities Assistant Joshua Peacocke Head of Manufacturing Wigs Leonie Hellmers Receptionist Susie Bennetts Stefanie Paglialonga Head of Corporate Relations Benjamin Moh Sales and Marketing Costume Alterations Supervisor Corporate Partnerships Coordinator Marketing Director Georgia Rivers Hanneke Raanhuis Christina Blanco Head of CRM and Digital Marketing Adriana Law Costume/Wig Makers Cheryl Ball, Julie Corporate Partnerships Coordinator Linh Tran Head of Marketing and Tourism John Quertermous Beach, Patricia Butterworth, Angeline Events Manager Georgie Parker Head of Ticketing, Sales and Tessitura Byron McDonald Cheah, Stephanie Coe, PR Manager Janet Glover Ticketing Supervisor Emma Kersey Lynn Coubrough, Carla D’Annunzio Publicist Kate Warnock Ticketing Coordinators Catherine David, Stephen Haimes, (Deputy Head of Wigs), Tracey Datson, Publicist Emma O’Brien Jenny Horler, Christine Robb Sonja Forza, Kate Herrett, PR Coordinator Maddison McCauley Customer Service Coordinator Andrew Castle Genevieve Reynolds, Steven Vella Finance Marketing Manager Lara Mahood (Art Department) Financial Controller Michael Johnson Direct Marketing Manager Phillip Booth Wardrobe Assistant Nicole Artsetos Financial Manager Mark Hansen Community Manager Audé Viart Costume Storage Supervisor Assistant Finance Manager Ann Wang Content Manager Janina Key Bonnie Harris Senior Financial Accountant Treska Janacek Digital Content Editor Jennifer Williams Stores Finance and Systems Administrator Video Producer Joshua Dang Head of Sydney Stores Geoff Holmes Pauline Fitzsimons Customer Service Representatives Robert Bevan, Stores Supervisor Sydney Finance Analyst Bobby Phang Andrew Guy, Monique Jacobsen, Brad Langby, William Dunshea Finance Business Partner Wendy Tee, Mitchell Lowrey, Daniel Macey, Rebecca Moret, Props Hire Coordinator Simon Calton Liam Gretgrix, Andras Varadi Laurence Stark, Wendy Strehlow, Rebecca Watene Props and Scenery Coordinator, Payroll Manager Anthony Gale Philanthropy Melbourne Gilles Gundermann Payroll Officer Elisa Alecci, Carla Nahlous Director of Philanthropy Laura Dee Storesperson Rory Verrenkamp Assistant Accountant Ethel Wong Major Gifts Managers Anna d’Ersu, Amelia Jones Human Resources Accounts Payable Officer Amarpreet Misra Annual Giving Manager, Sydney Jake Shavikin Human Resources Director Planning and Analysis Manager Ban-Foo Leong Annual Giving Manager, Melbourne Clare Kelly Jessica Platts Production Analyst In Theatre Silvana de Oliveira Trusts and Foundations Manager Retha Howard HR Advisory Manager/ Finance Analyst Bobby Phang Stewardship Manager Olivia Mesley Workplace Relations Lawyer Manager Operational Risk and Compliance Annual Giving Executive, Sydney Olivia Schmid Alishan Megerdichian Tammy Cootes Annual Giving Executive, Melbourne Chelsie Jones Executive Assistant Alissa Greenhaw HR Business Partners Opera Australia Capital Fund Bill Koukoumas General Manager Neroli Hobbins OAM HR Coordinator Manager Meredith O’Rourke Justin Saba, Jodie Comac Administrator Jennifer Meek

opera.org.au 50 Opera in the Kimberley Unforgettable experiences

Opera Australia’s partnerships open up unique opportunities for bringing great cultural experiences to new audiences. One striking example in 2019 came about in response to the desire of our Platinum Partner, APT, to create unforgettable experiences for their guests. By making good use of Opera Australia’s talents we were together able to mount three special performances at the magnificent Cathedral Gorge in Purnululu National Park, WA. The sandstone formation, the very blue sky and stencil art by the traditional owners already overwhelm visitors. Deploying the divine acoustic for beautiful arias, accompanied by cello in a natural amphitheatre 350 million years old, this was a concert experience like no other. Our artists presented three performances over three days to about 80 APT guests and others. The performances were very well received with standing ovations. It takes a massive effort from both partners to put a project like

this together, but the results speak Lorina Gore, Paul Fitzsimon and Taryn Fiebig receive a standing ovation in Cathedral Gorge. Photo: Benjamin Moh for themselves.

opera.org.au 51 We thank our partners Patron-in-Chief Dr Haruhisa Handa

Hero Partners Platinum Partner Leading Patrons

Official Car Sponsor

Gold Partners

Handa Opera on Sydney Harbour Food & Beverage Partner Handa Opera on Sydney Harbour Wine Partner

Silver Partners

QUAY GRAND SYDNEY HARBOUR Opera Australia Wine Partner

Bronze Partners

Marketing Partners Government Partners

Opera Australia is assisted by the Australia Council for the Arts, the ’s arts funding and advisory body; by the NSW Government through Create NSW and Destination NSW; and the Victorian Government through Creative Victoria.