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Home , Antoinette Halloran, Bliss (opera), Catherine Zuber, Cheryl Barker, David Hobson (tenor), Evert Ploeg

OPERA ANNUAL REPORT 2012 VISION

Enriching Australia’s cultural life with exceptional . MISSION

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

CORPORATE GOVERNANCE is a Company Limited by Guarantee. Its governance is the responsibility of its Board of Directors, who are elected by its Members. The Board is responsible for the overall strategic direction of the Company and its ongoing viability. The Company’s direction and activities are underpinned by its agreed Values:

Pursuit of excellence in everything we do Respect for knowledge, imagination and creative ambition Honesty and integrity in all our dealings Fairness Sustainability Encouragement of professional development Respect and compassion for people Safe working environment

The Board of Directors of Opera Australia is also the Board of Directors of Opera and Ballet Orchestra Limited, a wholly-owned subsidiary company of Opera Australia.

The Board of Directors delegates to the Chief Executive, and through him to the executive team, authority to manage, within the parameters set by the Board, the Company’s activities.

The work of the Board is supported by:

The Audit and Risk Committee, which comprises all Directors. The Chief Executive and Finance Director attend its meetings, and the Company’s Auditors meet with it regularly to report on their processes and findings. The Audit and Risk Committee meets before each Board meeting, and otherwise as required, and is responsible for closely scrutinising the Company’s management systems, financial processes, risk management practices and the financial prudence of its strategies.

The Remuneration Sub-Committee, which consists of the Chairman of the Board, the Chairman of the Audit and Risk Committee and one other Director. The Human Resources Director attends its meetings when required. The Remuneration Sub-Committee meets as necessary, and is responsible for overseeing the Company’s remuneration policy, including the remuneration of the Chief Executive and the executive team. CONTENTS

Vision, Mission, Corporate Governance 2 Chairman's Report 5 General Manager and Artistic Director's Report 11 Our People 24 Artists - 2012 25 Australian Opera and Ballet Orchestra Report 27 Patron Program 30 Opera Australia Capital Fund 32 Opera Australia Capital Fund - Chairman's Report 33 Opera Australia Activities 36 Opera Australia Salutes its 2012 Partners 39

Photographs Jeff Busby, Branco Gaica, Ben Symons and Lisa Tomasetti

CHAIRMAN'S REPORT Dr

As the largest performing arts organisation in Australia supported by substantial federal and state government funding, Opera Australia is required to produce a five-year strategic plan and report against its milestones as agreed with the Major Performing Arts Board, one of seven boards within the Australia Council. This process is good corporate governance which imposes certain disciplines upon the Company in terms of financial decisions, pursuit of artistic vibrancy, risk management, and measurement and benchmarking of key performance indicators. The late management guru, Peter Drucker, always emphasised that ‘strategy is a sense of direction around which you improvise', a definition tailor-made for the arts. Our new business model remains such a work-in-progress.

Our latest report makes the following points. In the last two years Opera Australia has undergone a major artistic and operational review which led to significant growth in its activities. The Company has focused on creating new content, broadening the audience for its work and, most importantly, deepening the level of engagement with the Australian public.

In 2012, the first full year of the new business model, many initial milestones have been met and there is growing confidence in the decision to expand activities and diversify programming. The early successes of the first Handa Andrew Jones as Papageno 5 ANNUAL REPORT 2012

CHAIRMAN'S REPORT CONTINUED Opera on Harbour, the national tour of , our community partnerships and the overwhelming interest in the 2013 Ring support our confidence in the validity of our strategy. During the flurry of new activities, the Company's mainstage seasons in Melbourne and Sydney have continued with new productions of The Magic Flute, , , Lucia di Lammermoor and . Oz Opera commenced its biennual regional tour with a new production of and the Company has co-produced two presentations in Asia – in Taipei and in Tokyo.

The new business model reinforces that mainstage seasons are fundamental to our role as the national opera company but forecasts that the broadening of our activities will not diminish. Few dispute that Opera Australia is already one of the busiest and most diversified opera companies in the world with 227 mainstage performances in Melbourne and Sydney this past year in addition to an outreach program which extends to schools, regional centres and other communities without ready access to the high arts.

The Opera Australia family includes ensemble principal singers, choristers, and orchestral musicians, in addition to specialist staff in technical, stage, wardrobe and workshop, music and artistic support as well as marketing and administration, requiring over 1000 full-time and casual staff through the year.

The 2012 year saw our total income lift sharply by $31m to $100m. Operating profits before consolidation of the Opera Australia Capital Fund (OACF) returns were $665,000 continuing the recovery from the down years post the Global Financial Crisis. With improvement in investment markets and early contributions from a major fund-raising campaign, the OACF produced a sharply higher return of $1.4m after the payment of a $400k dividend to the opera company – consistent with prior years and gratefully received. At calendar year end, OACF net assets stood at $10.5m. Our consolidated result saw a net profit of $2.07m. The operating results is a satisfactory outcome for the first full year of our new business model and the Board commends management for delivering good numbers in this past year of immense change. Our year end cash position stood at $8.5m – anomalously high and reflecting timing of cash flows associated with advance ticket sales and donations especially for the Melbourne Ring. The Company approaches 2013 with a sturdy balance sheet.

The executive architects of the strategy and business plan for Opera Australia were the former CEO, Adrian Collette, the Artistic Director, , and the acting General Manager and former CFO, Narelle Beattie. After 16 years leading Opera Australia, Adrian Collette stepped down at the end of the year and returned to Melbourne. His timing was unwelcome, understandable and exquisite. He has left the Company in rude health, confident, and pointed at the stars. The Board has thanked Adrian at a number of functions and I record our respect, appreciation and affection for our former CEO again in this Report.

Following an international search, a new CEO has been appointed. Craig Hassall, whose early career included service at our company, will return from to take up his role. In the meantime, Narelle Beattie and Lyndon Terracini continue to lead the organisation with the assistance of the strong executive team.

The Company continues to benefit from the steadfast support of the federal government through the demanding economic cycle and we are greatly appreciative of the funding they make available to the opera company. We also value the quality of our relationship and interactions with the minister and his staff. The main government agencies: Major Performing Arts Board of the Australia Council, Arts NSW and Destination NSW, Arts and Victorian Major Events Company, continue as trusted and valued partners. 7 INCOME AND EXPENDITURE COMPONENTS 2012

INCOME

74% ($73.7 m) Box office, earned income and contributions

26% ($26.4 m) Government grants

EXPENDITURE

57% ($56.1 m) Staff and employment expenses

14% ($14.1 m) Venue, transport and travel costs

18% ($17.3 m) Depreciation, other production and overhead costs

11% ($11.2 m) Marketing and promotion CHAIRMAN'S REPORT CONTINUED We’re always heartened and inspired by the support of our many benefactors. Corporate sponsors provide critical financial grants while injecting a necessary commercial discipline into our partnerships. Their support has not wavered. Individuals have continued their extraordinary philanthropy and the opera company is immensely grateful for their generosity and personal engagement.

This past year has seen further changes to our board as part of our succession planning process. Our colleague, Richard Owens OAM, stepped down after serving 17 years on the OA Board. Few key decisions or dramatic moments in our history weren't polished by Richard's attention and commercial inputs and we are grateful for his many contributions. Two new board members are joining us: David Mortimer and Mary Waldron. They will strengthen our financial and risk management processes while bringing experiences in the performing arts, sponsorship and public policy. A lot has once again been asked of the Company's board members. Boards typically do the following: hire or fire the CEO, help shape the strategy, oversee management's execution of an approved plan, and ensure compliance to the rules and values. In 2012, we endorsed a new strategy and began the (ultimately successful) search for a new CEO. The other duties weren't neglected, however, but made easier by a very capable management team. I am very grateful for the efforts of all my colleagues on the Board, for their expert views and collegial spirit, and shared enthusiasm for the job.

Under the chairmanship of Rupert Myer, the Opera Australia Capital Fund embarked upon a significant capital raising campaign aimed at strengthening the Company's capital base, a critical step as the risk profile associated with our innovative plans inevitably increases. Unsurprisingly, our patrons and benefactors have responded generously and we expect to reach key targets in the year ahead. The Company is fortunate to have a Capital Fund carefully structured by the late David Clarke and led by a very committed group of Trustees and Governors.

Past annual reports have forewarned of seriously interesting years ahead. Well, those times have arrived. This past year has revealed our intentions and hinted at what's possible. Our former chief executive deserves much credit but the future is now with a team of executives who have also been on this journey for some time. The Board thanks Lyndon Terracini, Narelle Beattie and all members of the OA family, and welcomes Craig Hassall. We've taken careful artistic and commercial risks, and in a world of opera companies seeking a viable path into the future, we hope to have found the right one for Australia. 9

GENERAL MANAGER AND ARTISTIC DIRECTOR'S REPORT Narelle Beattie and Lyndon Terracini

In 2012 Opera Australia connected with more Australians and in more places than ever before in its history. This watershed year is reflected in a ream of statistics: record audience numbers, box office, employment figures, performance numbers, private and public support, geographic reach, and a forty-four percent growth in total turnover. Just as importantly, within the Company itself there was a continued focus on striving to present work of the highest quality to an audience of the broadest reach across the many diverse activities that now make up our annual program.

During the year Opera Australia played across a wide demographic spectrum – from the Yarrabah community in far north Queensland to mainstage audiences at , and Queensland Performing Arts Centre; from community groups in the suburbs of Western Sydney to a South Pacific audience of over 150,000 patrons in Melbourne, Sydney and ; from regional audiences in twenty-four centres across four states and territories to over 70,000 school children in metropolitan and regional Victoria and NSW.

Emma Matthews as Lucia di Lammermoor In many ways the new performance season geographically closest to Lucia di Lammermoor our Surry Hills home had the greatest reach – Handa Opera on Sydney Harbour: La Traviata played to an international and national audience with a presence in New York Times Square and international cinemas. 11 CHIEF EXECUTIVE'S REPORT CONTINUED ANNUAL REPORT 2012

GENERAL MANAGER REPORT CONTINUED Tourists attended the event at Fleet Steps in their thousands and it put Opera Australia firmly on the world opera stage; Handa Opera on Sydney Harbour: La Traviata was named number one cultural event in the world in March 2012 by The Guardian Online. The success of La Traviata, with its iconic chandelier suspended above Sydney Harbour and with more than 60% of its audience new to opera, has re-imagined what an opera company can be in the twenty-first century.

As we head into 2013 the second season of Handa Opera on Sydney Harbour is in full swing – a breathtaking fiery lighting up the Sydney skyline. In Melbourne our other great undertaking for the year has started to take shape with rehearsals commencing for The Ring Cycle. Opera Australia’s first production of Wagner’s masterpiece will be presented in Melbourne in November and December 2013. During 2013 we will also present a full mainstage program in Sydney and Melbourne; deliver the second half of the Don Giovanni regional tour to Queensland, and ; continue the South Pacific tour to Brisbane, Sydney and ; and further expand our community partnership activities in Alice Springs, Melbourne and Western Sydney. Clearly the level and diversity of activity in 2012 was not a one-off – while retaining the fundamental importance of its mainstage seasons the Company has expanded and transformed to the production house model of programming.

The first full year of our expanded business model was a successful beginning to a planned period of sustained growth through diversity and expansion of activities. In last year’s report we talked about our desire to connect with as broad an audience as possible and seek an active engagement with diverse communities. This ambition remains key to the Company’s artistic programming and future plans. The following table summarises the impact of 2012 activities compared with the previous year:

In the past year many opera companies have struggled and most certainly no other company in the world has increased ticket sales to the same extent as Opera Australia. The new diverse programming and extent of activities is not without its risks but these are measured risks that we will keep on taking in an effort to remain relevant and engaged with our audience.

Mainstage Seasons Underpinning highly successful mainstage seasons across three cities, Sydney, Melbourne and Brisbane, was a new production of Mozart’s The Magic Flute. This dazzling production features giant puppetry and beautiful costumes and is based on the production for New York. With a new English language translation and shorter performance length this Magic Flute was billed as ‘family friendly’ and did attract a large number of children as well as other new audience members.

The Sydney Winter season opened and closed with two important new productions, Die tote Stadt and Salome. These productions, along with a new Lucia di Lammermoor, The Magic Flute, and the musical South Pacific, epitomise the diversity of programming and broad audience spectrum Opera Australia is seeking to reach.

2012 saw the Australian première of Korngold’s Die tote Stadt. Directed by and designed by John Stoddart, the piece was a 13

GENERAL MANAGER REPORT CONTINUED wonderfully innovative production which featured a very large orchestra playing not in the pit but elsewhere at Sydney Opera House in the Studio. The sound was piped in via 111 speakers strategically placed throughout the Theatre so that the audience was able to experience the full impact of the orchestral playing in cinematic surround sound. The size of the pit is usually a constraint in our Sydney venue but in this instance it led to a ground-breaking solution. The sensational effect could not have been achieved without the hard work and support of our colleagues at Sydney Opera House.

Towards the end of Sydney Winter we opened new productions of Lucia di Lammermoor and Salome. The former is a co-production with Teatro La Fenice and and was directed by John Doyle. It offered a fresh new interpretation of an opera well loved in the Opera Australia repertoire. Equally, the new production of Salome, a co-production with Opera Conference partners and directed by Gale Edwards, lived up to the demands of ’ one-act opera. Both Lucia and Salome transferred together with Madama Butterfly to the Melbourne Spring season. For many, this final Opera Australia mainstage season for 2012 featuring three powerful (but very different) heroines, represented the Company’s greatest artistic success in Melbourne for some time. The two new productions and Moffatt Oxenbould’s iconic Butterfly sustained and enhanced the very fine accomplishments of the performing company. Australian and international artists came together to play to highly appreciative Melbourne audiences.

South Pacific Without doubt our new production of ’s South Pacific was one of the highlights of Opera Australia’s year. Based on the highly acclaimed Lincoln Center Theater production, Opera Australia’s South Pacific teamed the original New York creative team with an all- Australian cast. This proved to be a winning combination with director and audiences alike delighted with the Australian show. South Pacific played to sell-out audiences in Sydney for four weeks, then transferred to Melbourne’s Princess Theatre for ten weeks before seeing in the new year at Brisbane’s QPAC for a five-week season. The show will return to Sydney Opera House to complete its Sydney run in September Opposite above: Rachelle Durkin as Violetta Handa Opera on Sydney Harbour La Traviata

Opposite: as Violetta and Gianluca Terranova as Alfredo Handa Opera on Sydney Harbour La Traviata 15 ANNUAL REPORT 2012

GENERAL MANAGER REPORT CONTINUED 2013 before transferring to Perth at the end of 2013. During the first half of its run in Sydney more tickets were sold to South Pacific than any other show in the history of Sydney Opera House. It was also the first time a Rodgers and Hammerstein musical had been presented there. We are thrilled with the audience response and equally pleased with the very high artistic standards that have been maintained throughout the 2012 run.

Handa Opera on Sydney Harbour: La Traviata For many years 2012 will be remembered as the first year Opera Australia presented Handa Opera on Sydney Harbour (HOSH). The show captured the imagination of both Sydneysiders and visitors; over half the 38,000 strong audience had never previously been to an opera performance. The magnificent setting of Sydney Harbour combined with the fabulous production of La Traviata so beautifully directed by produced something very special. The Swarovski crystal-encrusted Brian Thomson-designed chandelier became the third icon of Sydney Harbour for the duration of the show’s season. Images of the Chandelier, the Harbour Bridge and Sydney Opera House were transmitted across the world. At the Australian Event Awards in September 2012 Handa Opera on Sydney Harbour: La Traviata won the Australian Event of the Year, surely a world first for an opera production.

The success of Handa Opera on Sydney Harbour was underpinned by key private and public support. Firstly, one of the foundations run by the Japanese philanthropist Dr Handa, the International Foundation for Arts and Culture, provided funding which made the project viable in the first instance. As our founding partner we are immeasurably grateful to Dr Handa for his vision and support. Secondly, the NSW Government through Destination NSW provided significant funding which enabled the HOSH production and temporary venue site at Fleet Steps to be of a standard that would entice visitors from around the world. Community Partnerships, Education and Oz Opera Access and engagement across a broad spectrum are highly valued at Opera Australia; with our stated objective of reaching the broadest possible audience it is important that we move beyond the mainstage venues of traditional opera performance. For many years our consistently successful Oz Opera regional tour has allowed us to play to audiences across regional and remote Australia. So too our Oz Opera Schools Tours in NSW and Victoria and various Education programs have provided access and interaction with primary and high school students – both within their schools, at The Opera Centre and in our performing venues. These activities continued in 2012 with the first year of the Don Giovanni regional tour playing at 24 venues across ACT, NSW, South Australia and Victoria. This highly acclaimed production was directed by Michael Gow and designed by Robert Kemp; it is rightly viewed as one of our most successful touring productions. The regional tour continues to be supported by funding from the Federal Government’s Playing Australia program, and both it and the Schools Tours enjoyed significant support from Australia Post in 2012. The Schools Tours played to 70,000 primary school students – The Magic Flute in Victoria and Hansel and Gretel in NSW. Several additional Education programs using digital technology to engage students in regional areas, including a mentor program between regional conservatorium students and AOBO musicians, were successfully completed during the year.

Additional to this swathe of activity, in 2012 Opera Australia commenced a three-year program in Community Partnerships. This program was partly funded by a significant grant from the Australia Council’s Creative Communities Partnership Initiative as well as matching funding from private philanthropists and foundations. Opera Australia is the first major performing arts company to be the recipient of a CPPI grant. It has certainly been a breakthrough moment for our company in terms of the reach and depth of activities undertaken and is an important part of our new audience development program. 17

GENERAL MANAGER REPORT CONTINUED In the first year of the new Community Partnerships program two major projects were completed – Western Sydney Community and Yarrabah! The Musical. The Choirs project is based around the notion of an Opera Australia music director (in this case Simon Kenway) working with community choir groups over several months. The project culminated with a concert in the SOH Concert Hall – 400 singers supported by the AOBO and guest soloists. Most of the singers and their supporters who filled the auditorium had never before stepped foot in the Sydney Opera House. It was a most moving event for everyone in the Concert Hall that Saturday afternoon and it absolutely spoke to Opera Australia’s charter as national opera company as much as any of our mainstage performances.

Yarrabah is an Indigenous community about an hour south of Cairns; the aim of this project was to create a musical allowing the community to tell its story. Director Rhoda Roberts was commissioned to listen to the stories and write the script and a group of musicians led by Shenzo Gregorio wrote and played the music. An Opera Australia production team created a beautifully lit stage in the middle of the community park. Yarrabah! The Musical played over two nights, first to the community and then the second night was open to all with many travelling out from Cairns for the show. Staging the show meant a great deal to the people of Yarrabah – music was a wonderful means of communicating both within the community and telling their story to the outside world.

The Yarrabah project would not have been possible without significant philanthropic support from The Christensen Fund and Tim Fairfax Family Foundation as well as private individuals. We are very grateful for their generosity.

Co-presentations in Asia In 2012 Opera Australia toured two productions to the Asia region – Madama Butterfly to Taipei and Don Pasquale to Tokyo. The productions were joint efforts with local partners National Chiang Kai-Shek Cultural Center in Taipei and the Tokyo Art Foundation. Given the cost of touring a full opera company, this co-presentation model continues to be a very effective means of profiling Opera Australia productions offshore. as Salome and Thomas Hall as Jokanaan Salome

19 ANNUAL REPORT 2012

GENERAL MANAGER REPORT CONTINUED Digital Media Another very effective way of significantly broadening the audience of Opera Australia, both at home and overseas, is through the distribution of recorded productions. 2012 saw a continuation of the recording program which has been ongoing for several years. Don Giovanni, La bohème, Lakmé and were all broadcast nationally on ABC; and Handa Opera on Sydney Harbour: La Traviata was broadcast on Studio. A suite of our continues to be distributed worldwide through cinema, DVDs and on-line. And in an Opera Australia first, a simulcast of a performance of Madama Butterfly from Arts Centre Melbourne, with the assistance of QPAC colleagues, was seen in eight regional Queensland centres – a true cross- state collaboration funded by the Federal Government’s Office for the Arts.

Support Opera Australia could not achieve this level of programming or reach the number of people we have in 2012 without significant support. As well as the specific support and funding mentioned above it is important to acknowledge all of our corporate sponsors and individual patrons who contribute so generously. In particular 2012 was the first year of Mazda Australia’s commitment as Opera Australia’s Principal Partner. Mazda’s generous sponsorship underpins two very significant events for the Company – Mazda and Mazda Opera in the Bowl. The three government agencies which provide our base funding – the Australia Council’s Major Performing Arts Board, Arts NSW and Arts Victoria provide stalwart support to the Company as we continue to implement our new business model. Crucial government funding is also provided to our Victorian performance partner . We wholeheartedly thank the agencies and their ministers and governments.

The Company We want to acknowledge the work of all colleagues at Opera Australia. 2012 was a challenging year. The Company took on a lot and it was CHIEF EXECUTIVE'S REPORT CONTINUED

absolutely reliant on all of its members working together to achieve success. Everyone, from singers and musicians, to stage crew, to workshop and wardrobe staff, to administrative staff, played their role and contributed to the growth of activities and the increased audience reach. We particularly recognise the significant contribution from all members of the senior management team.

The Board of Opera Australia must be greatly thanked – it remained steadfast in its support while at the same time providing wise counsel and guidance. Our Chairman Ziggy Switkowski is due to retire at the upcoming AGM after almost eight years on the Board and over four years as the Chair. Ziggy has been a very fine chairman – considered, thoughtful, tough when he needs to be, always supportive and good- humoured. During his tenure the Company has come through difficult times and is now set on a new path.

Finally, our long-serving CEO Adrian Collette left Opera Australia at the end of 2012. It is difficult to quantify Adrian’s contribution to the company he led for sixteen years – he oversaw periods of great change and growth, saw some wonderful highs and a few lows, and outlasted most of his artistic and music directors and chairmen. Through all this he continued to love the Company and its work and to be challenged by its potential. Opera Australia was very fortunate to have Adrian Collette at its helm for so long and we wish him the very best. Overleaf - page 22 (clockwise):

Lorina Gore as Tytania and Tobias Cole as Oberon A Midsummer Night's Dream

Milijana Nikolic as Amneris

Hiromi Omura as Cio-Cio-San Madama Butterfly 21 Peter Coleman-Wright in the leading role, Harry Joy, with members of the ensemble, Peter Coleman-Wright in the leading role, Harry Joy, with members of the ensemble, Bliss OUR PEOPLE EMPLOYEE NUMBERS, DECEMBER, 2012

Opera Australia employs around 400 permanent and seasonal staff, and over 1,000 people in total when guest artists and casual staff are included. Our staff includes singers, instrumentalists, repetiteurs, language coaches, directors, conductors, designers, electricians, mechanists, props technicians, dressers, make-up technicians and other production staff, stage managers, stores-persons, carpenters, welders, tailors, sewers, wig-makers, painters, writers, ticket sellers and administrators.

Opera Australia’s activities also depend on the contribution of a significant number of staff at its performance venues, in particular at the Sydney Opera House and the Arts Centre Melbourne. These include technical and backstage staff, ticket sellers, ushers, catering and facilities management staff. Smaller venues, such as those used for Oz Opera regional touring performances, also supply staff to support the Company’s activities.

Full Time Equivalents

Ongoing Seasonal Casual Total Principal singers 25 11 0 36 Choristers 40 8 16 64 Orchestral players 60 8 23 88 Other performers 9 23 18 50 Music staff 10 3 1 14 Artistic and Orchestra administration 16 0 2 18 Oz Opera and tours administration 3 0 0 3 Total Artistic 163 53 57 273

Stage management 8 10 0 18 Stage staff 20 21 11 52 Set and props workshop 12 3 5 20 Wardrobe and wigs 21 10 4 35 Stores 7 0 6 13 Facilities 3 0 5 8 Technical administration 5 1 0 6 Total Technical 76 45 31 152

Marketing and sales 20 0 5 25 Administration and management 38 0 0 38 Total Administration 58 0 5 63 TOTAL 297 98 93 488

Previous page - page 23 (clockwise):

Nicole Car as Léïla and Henry Choo as Nadir The Pearlfishers

Opera Australia Ladies Chorus

Stephen Smith as Ferrando and Samuel Dundas as Guglielmo Così fan tutte

John Longmuir as Almaviva, José Carbó as Figaro and Sian Pendry as Rosina

Amelia Farrugia as Hanna Glawari with members of the Opera Australia Chorus OPERA AUSTRALIA Adrian Collette AM, Chief Executive Lyndon Terracini, Artistic Director Anthony Legge, Associate Music Director Artists 2012 Christine Anu Deborah Humble Jonathan Abernethy* Aldo Di Toro Andrew Moran Cheryl Barker Milica Ilic Richard Alexander Gennadi Dubinsky John O'May Carrie Barr Adele Johnston Richard Anderson Samuel Dundas Ji-Min Park Zara Barrett Hyeseoung Kwon Jud Arthur James Egglestone David Parkin Angela Brun Teresa La Rocca Carlo Barricelli Christopher Field Eddie Perfect Danielle Calder Victoria Lambourn Stephen Bennett Blake Fischer John Pickering Elizabeth Campbell Lisa McCune Jonathan Biggins Warren Fisher * Jacqueline Mabardi Joshua Bloom Sam Roberts-Smith* Daria Masiero John Bolton Wood AM Luke Gabbedy Barry Ryan Dominica Matthews Kanen Breen Gyton Grantley Stephen Smith Rachelle Durkin Emma Matthews Andrew Brunsdon Thomas Hall Jeremy Stanford Jane Ede Giorgio Caoduro David Hamilton Amelia Farrugia José Carbó Christopher Hillier Gianluca Terranova Elvira Fatykhova Hiromi Omura Henry Choo James Valenti Tania Ferris Emma Pearson Nick Christo Andrew Jones Stefan Vinke Sian Pendry Daniel Koek Jason Wasley Susan Foster Sharon Prero Tobias Cole John Wegner Lorina Gore Suzanne Shakespeare Peter Coleman-Wright Michael Lewis OAM Paul Whelan Sarah Sweeting Andrew Collis John Longmuir* Rowan Witt Lisa Harper-Brown Elisa Wilson Shane Lowrencev John Xintavelonis Anke Höppner Celina Yuen David Corcoran Graeme Macfarlane Kiandra Howarth* Anna Yun Bradley Daley Douglas McNicol Chorus Chloris Bath Vanessa Lewis Margaret Plummer Malcolm Ede Jeffrey Lock Helen Borthwick Yolanda Lorenzato Leah Thomas Thomas Hamilton Jonathan McCauley Emma Castelli Jodie McGuren Katherine Wiles Scott Hannigan Kent McIntosh Annabelle Chaffey Marjory McKay Dean Bassett Michael Honeyman Robert Mitchell Lisa Cooper Ke-Lu Ma Christopher Bath Jin Tea Kim Clifford Plumpton Rachael Cunningham Lynette Murray Gregory Brown Andrei Laptev Benjamin Rasheed Jane Dunstan Sandra Oldis Martin Buckingham Nara Lee Sitiveni Talei Deirdre Elliott Sharon Olde Brad Cooper David Lewis Adrian Tamburini Mary-Ann Fraser Conductors Christian Badea Stephen Gray Paul Kildea Brian Castles-Onion Andrew Greene Anthony Legge Ryusuke Numajiri Guillaume Tourniaire Jonathan Darlington Simon Hewett Andrea Licata Giovanni Reggioli Arvo Volmer Tom Woods Music Staff Chorus Master Michael Black Assistant Chorus Master Thomas Johnson Repetiteurs Phoebe Briggs John Haddock Tahu Matheson Brian Castles-Onion Anthony Hunt Stephen Walter Kate Golla Jennifer Marten-Smith Italian Language Coach Renato Fresia-Verdino German Language Coach Tanja Binggeli French Language Coach Marie-Claire Ch.Légion d’Honneur, Ch. Arts et Lettres Directors Peter J Adams Christopher Dawes Moffatt Oxenbould Benedict Andrews John Doyle Tama Matheson Ann-Margret Pettersson Bartlett Sher Matthew Barclay Gale Edwards Moshinsky Roger Press Julie Taymor Bruce Beresford Julie Edwardson Johanna Puglisi Kim Walker Michael Campbell Andrew Frith Luise Napier Neil Rutherford Francesca Zambello Cathy Dadd Giles Havergal Designers Liz Ascroft Peter England Scott Lehrer Dan Potra Leslie Travers Alice Babidge Julie Lynch Tess Schofield George Tsypin Russell Cohen Dona Granata Bill Marron John Stoddart Gabriela Tylesova John Conklin Catherine Martin Julie Taymor Michael Yeargan Tony David Cray Mic Gruchy Clare Mitchell Brian Thomson Catherine Zuber Michael Curry Tim Gruchy Ralph Myers Lighting Designers Robert Bryan Oliver Fenwick Donald Holder Gary Marder John Rayment Damien Cooper Howard Harrison John Drummond Nick Schlieper Jane Cox Montgomery Bernie Tan-Hayes Choreographers Matthew Barclay Belynda Buck Rosetta Cook Lucy Guerin Graeme Murphy Stephen Baynes Joshua Consandine Andrew Frith Stuart Hopps Oz Opera Stacey Alleaume Ben Clark Luke Gabbedy Anthony Mackey Matt Scott Robert Beasley Hannah Dahlenburg Ashley Giles Tahu Matheson Clarissa Spata Don Bemrose Jessica Dean Michael Gow Cameron Menzies Adrian Tamburini Jennifer Bonner Lara de Wit David Hidden Eddie Muliaumaseali'i Leah Thomas Christopher Cartner Samuel Dundas Kiandra Howarth* Kathryn Radcliffe janet Todd Emma Castelli Jane Ede Thomas Johnson Sam Roberts-Smith* Brett Weymark Annabelle Chaffey Naomi Edwards Robert Kemp Samuel Sakker Katherine Wiles Pamela Christie Louise Fenbury Eve Klein South Pacific Ensemble Natalie Alexopoulos David Denis Erin James Jasper Lloyd Danielle O’Malley Marika Aubrey Ayanda Dladla Nicholas Jones Elise Mccann Nhlanhla Phewa Jamal Sydney Bednarz Tamaiah Dladla Lyndon Keenan Sam Marks Justine Puy Caitlin Berry Michael Hart Todd Keys Avigalle Mendoza Tod Strike Andrew Broadbent Natalie Herrera Michael Lindner Glen Oliver Jeff Teale Andrew Conaghan Jordan Holtam * Members of the Moffatt Oxenbould Young Artist Program, proudly sponsored by Australia Post. Program Coordinator: Andrew Greene

AUSTRALIAN OPERA AND BALLET ORCHESTRA REPORT

The Australian Opera and Ballet Orchestra (AOBO) is the busiest of all Australian orchestras, giving around 250 performances each year. A wholly owned subsidiary of Opera Australia, the AOBO performs for Opera Australia and The Australian Ballet during their respective Sydney seasons.

With over forty years of performance history, the AOBO has earned a reputation for warmth of sound and impressive flexibility in one of the most challenging musical environments. The repertory performance schedule of Opera Australia means that up to five different productions are being performed and prepared at any one time, resulting in up to eight performances per week. The confined space of the orchestra pit presents occupational health and safety issues, mainly high noise levels. Excellent seasonal and casual musicians provide respite for the permanent musicians of the Orchestra.

Notable productions for Opera Australia in 2012 included: Handa Opera on Sydney Harbour: La Traviata, which saw the orchestra playing on a harbour stage in the acclaimed first season of this landmark Sydney event; Die tote Stadt, a ground-breaking production conducted by Christian Badea and directed by Bruce Beresford, which featured the orchestra 'beamed' into the Sydney Opera House Joan Sutherland Theatre from The Studio; and The Australian Ballet‘s wonderful season of Prokofiev’s Romeo and Juliet directed by Graeme Murphy and conducted by Nicolette Fraillon. The AOBO was intrinsic to the success of Opera Australia’s iconic production of South Pacific, providing full orchestral forces that are seldom to be heard in the world of music theatre.

The Orchestra also features on recent recordings of live performances in the Sydney Opera House of The Marriage of Figaro, , , La bohème and Swan Lake for cinema and DVD release. The Australian Opera and Ballet Orchestra and members of the Community Choirs Community Choirs Project

27 Lisa McCune as Nellie Forbush South Pacific AUSTRALIAN OPERA AND BALLET ORCHESTRA

Associate Concertmaster Huy-Nguyen Bui

VIOLIN FLUTE TRUMPET Adrian Keating+ Elizabeth Pring˚ Joshua Clarke˚ Catalin Ungureanu+ Amanda Hollins* Craig Ross* Tony Gault+ Alistair Howlett Bruce Hellmers Airena Nakamura˚ (2nd Violins) Mark Fitzpatrick* (2nd Violins) PICCOLO CORNET Virginia Blunt Diane Berger Brian Evans Rachel Easton Yu-Qing Rebecca Irwin OBOE TROMBONE Marek Kruszynski Conall McClure Gregory van der Struik˚ Samuel Podjarski Matthew Tighe* Brett Favell* Daniel Rosenbaum Mark Bruwel William Farmer Robert Sek Jaroslaw Talar COR ANGLAIS BASS TROMBONE Rachel Westwood Andrew Malec Brett Page

VIOLA CLARINET TUBA Virginia Comerford˚ Peter Jenkin˚ Edwin Diefes Amanda Murphy*˜ Catherine McCorkill* David Dixon Richard Rourke PERCUSSION Magda Kruszynska Shaun Trubiano˚ Marilyn Wilson BASSOON Allan Watson* Douglas Eyre˚ CELLO Matthew Ockenden* TIMPANI Eszter Mikes-Liu˚˜ Gillian Hansen David Clarence Andrew Hines*˜ Pierre Emery HORN HARP Margaret Iddison Victoria Chatterley˚˜ Jane Rosenson Henry Urbanavicius Lisa Wynne-Allen˚˜ Bourian Boubbov# DOUBLE BASS Michael Dixon# Italics Principal Brett Berthold˚ Phillip Wilson# ˚ Section Leader Andrew Meisel* + Principal 1st Violin Edmund Bastian * Associate Principal Jennifer Penno ˜ Acting # Contract Musician

Orchestral Management

General Manager, Orchestra Gérard Patacca Deputy Orchestra Manager Emma In der Maur Orchestral Operations Manager Anna Dodgshun Assistant Orchestra Manager Ella Howard Orchestra Coordinator Valérie Morgan-Pertus Senior Staging Assistant Scott Moon GETTING INVOLVED Opera begins with you Opera begins before the curtain rises, and continues well after it falls. It extends into the lives of every person it touches; nurturing, inspiring, and challenging them to excellence. AM, Patron-in-Chief But first, opera begins with you, and in the hearts and imagination of the 400,000 people we perform to each year and with our growing broadcast audience. With your support and the dedication of the thousands of Australian artists and artisans we work with, we will deliver great opera for everyone, on stage at the Arts Centre Melbourne, the Sydney Opera House or in a school gymnasium in outback Australia. Box office revenue only covers a portion of our costs. So if opera moves you, please consider joining the Patron Program or becoming a friend, giving you a tangible connection with Opera Australia.

AMBASSADOR PATRONS - $20,000+ Robert Albert AO RFD RD Mrs Amina Belgiorno-Nettis Lady (Mary) Fairfax AC OBE Dr I J Hunter Anthony and Sharon Lee and Elizabeth Albert Martin Dickson AM and Hans and Petra Henkell D and I Kallinikos Maureen Wheeler Philip Bacon AM Susie Dickson

ARTIST PATRONS - $12,000+ Antoinette Albert Mrs Rowena Danziger AM Rex Irwin, Esq. Dr Douglas and Fred and Dorothy Street The Board of and Mr K G Coles AM Mr and Mrs Monica Mitchell Alden Toevs and Judi Wolf Opera Australia Ian Dickson and Aron Kleinlehrer Mrs Patricia New Professor Jennifer Brukner Reg Holloway Drs Kathryn Lovric and Richard Owens OAM Barbara van Ernst AM Mr Harold Campbell- Mrs Peter Duncan Roger Allan Kenneth R Reed Graeme Wood and Pretty and Mrs Krystyna Mrs Jane Hemstritch Nick and Brenda and Annette Olle Campbell-Pretty Irwin Imhof, in memory Caroline Minogue Laurence Scofield Mrs David Clarke of Herta Imhof Juliana and Robert Clemesha

GOVERNOR PATRONS - $6,000+ Nance Atkinson Trust Beryl Crusi and the late Mr Ian Harper AM and Peter Mason AM and Peter and Leonie Szabo Peter Bartholomew and Henry Crusi Mrs Ian Harper Kate Mason Mr Kevin Troy Donna Pelka Mary Davidson and Peter and Jenny Hordern Tom and Ruth O'Dea Michael Troy Her Excellency Professor Frederick Davidson Mrs Cynthia Jackson AM The Hon Mr Justice Mr and Mrs Peter Turner AC Mrs R Dechert and the late Barry O'Keefe AM and Keith Walkerden The Hon The Decor Corporation Dr Edward Jackson AM Mrs Jan O'Keefe Alex and Claire Weis MP Lee MacCormick John Lamble AO Dr David and Cameron Williams Ita Buttrose AO OBE Edwards Ph.D Sheila and Harry Johnston Dr Gillian Ritchie Lyn Williams AM Mrs K E Bryan Vic and Katie French Dr Judith Kinnear Rod Sims and Alison Pert Elizabeth Windschuttle Michael and Chris and Judy Fullerton Peter and Carol Sisson R and G Woodward Shanny Crouch The Greatorex Foundation Pamela McKee

BENEFACTOR PATRONS - $3,000+ Jeannette Abrahams Mrs David Darling Nora Hinchen and Mabs Melville Graeme Samuel AC and David and The Hon Mrs Ashley John Flint Mr and Jill Davies Elizabeth Adams Dawson-Damer H and R Hofmann Mrs Richard H Melzak Penelope Seidler AM L R Alway Suvan and Erwin and Judith Katz Graham Miller Tim and Lynne Sherwood Betty Amsden OAM Shamistha de Soysa Anna-Lisa Klettenberg Ethel Mitchell OAM Dr Michael Slaytor Janette and Jim Bain AM Mr J T Dominguez CBE AM Kloeden Foundation Associate Professor Margot Smith Michael Ball and Mrs Dominguez Ms Eugenia Langley JP Jane Munro AM Mr Sam Smorgon AO and Judith and Mrs Gordon Douglass AM Dr Joan M Lawrence AM Thomas Timothy Murphy Mrs Minnie Smorgon David Beal Sandy and Phil Dudgeon G D Levy and J M Hockey Mrs Judith Myers Val Smorgon OBE and Margaret and Suellen and Ron Enestrom Solomon and Rosie Lew Colin Nicholson Jack Smorgon AO James Beattie Dr Helen M Ferguson Alex and Dr Paul Nisselle AM and John and Jo Strutt Tom Begg Diana and Richard Fisher Halina Lewenberg Mrs Sue Nisselle Dr and Stephen Bell Mr Bill Fleming Peter Lovell Dr Robert and Mrs David Sugerman Mrs Christine Bishop John Gale OBE Peter Lowry OAM and Mrs Joan Osborn Victoria Taylor Graeme Black Neilma Gantner Carolyn Lowry OAM Mrs Roslyn Packer AO Mrs Graham Thorp Rosemary and Dr Donald and Justice Robert McDougall Dr Kevin Pedemont Mrs Alma Toohey Julian Block Dr Rosita Gibson Suzanne and John and Moya Phillips Peter Tremewen Ms Judith Brinsmead Rachel Goldberg and Antony Maple-Brown Dave Poddar and Mrs Dawn Troy Jannie Brown Alan Goldberg AO QC The Martin Family Angela Flannery John Tuckey Dr Andrew Buchanan Peter Griffin AM in memory of Greeba Pritchard Isaac and Susie Wakil Pam Caldwell Leonard Groat Lloyd Martin AM Mark Renehan Ray Wilson OAM in Dr Lionel Chan Nereda Hanlon and Justice Jane Mathews AO Bruce Rosenberg memory of The Clayton Family Michael Hanlon AM Dr and Mrs P J Meddings Janis Salisbury James Agapitos OAM The Hon Justice Pat and Frank Harvey Dr Mark and Mr and Sue and Bill Wood Dennis Cowdroy OAM Alistair Hay Dr Alla Medownick Mrs Mark Sampson Donna Woodhill Ian and Diana Daly

PATRONS - $1,500+ Anthony Adair Dr Jane Beeby Virginia Braden OAM and Elise Callander P F and M J Crane Dr and Mrs Mario Adamo Dr and Mrs Donald Behrend Ken Woolley AM Ian Cameron M and M Cranitch Elizabeth Aitken Dr Simon Bell and Alix Bradfield Mrs Naomi Carrick I F Crawford Zenon Alexander Dr Jennifer Coghlan-Bell Ms Judy Bretherton Mr and Mrs M H Carriol Mr Charles P Curran AC and The Hon Richard Alston Nicole Berger Ms Jane Brodribb Mr J A Carroll Mrs Eva Curran Sidney and Charles and Dr Roderick Brooks Paul Carter Mrs Mary Curtis Lynn Anderson Annarosa Berman Beth Brown and Emily Chang Rod and Marie Dalziel Dr Patricia Tom Best Tom Bruce AM Greg and Terry Chesher Joanne Daniels Armstrong-Grant OBE Minnie Biggs Professor David Bryant Caroline and Mrs June Danks Rosalind Baker Kevin Bleasel AO Ian and Jillian Buchanan Robert Clemente Mrs Jeanette Davies Jenny Barnes Betty Blomfield Mr R J Burbidge QC and J C Conde AO Ernest Dawes OBE and Ross and Ann Barnetson Audrey Blunden Mrs R J Burbidge Maxwell J Connery OAM Nola Dawes Tony Barnett Mrs Jan Bowen Diana Burleigh and Joan R Connery OAM Matthew Delasey Laurie Bebbington and Mrs Rose Boyd and David Byrne Miss Renata Conrad Kathy and Elizabeth O’Keeffe Miss Rhonda Boyd Hugh and Hilary Cairns Tim and Bryony Cox George Deutsch Alasdair Beck Mr Michael Mrs Pamela Hall Peter Lazar AM Leon Nicholas and Mrs H Showniruk Diamond AM MBE Louis Hamon OAM Margaret Lederman Robert Furley Dr R J Simmie Jennifer and Louise Hamshere Catherine and Professor G C O'Brien and Bernadette Slater Robert Dickerson Judy and John Hastings Yick Him Lee Dr I E O'Brien Michael and Disium Pty Ltd Alan Hauserman and Stephanie Lee Lynne and David Olsson Melissa Slattery The Hon. Janet Nash Barbara and Bernard Leser George and Jillian Pappas Denise Smith John Dowd AO QC Peter Hennings Ann and David Levitan Timothy and Eva Pascoe Assoc. Prof. Ross Steele AM Andrew and Dr W J Heriot Richard and G Pearson In memory of Barbara Dowe Jennifer Hershon Elizabeth Longes Fred Peisah Beryl Stephens Dr William Downey D S and S P Heywood Jill and Brian Loton Professor Mr Nigel Stoke Margaret Dunstan Dr and Mrs R F Hicks Mr Howard Lowe David Penington AC Anthony Stolarek Professor Peter Ebeling John David Hobbs Susan McCarthy Ms Janine Perrett Rev Prof Michael Tate AO and Mr Gary Plover Michael Hobbs Mrs Marie McCann OAM Phillip and Jennifer Perry Mrs Joan Tayler Charles Edmonds Ms A Hooper A S Macansh Valmai Pidgeon AM Victoria Thorogood James Fairfax AC Dr Ron Houghton Dr Ann McFarlane Mr Ian Plater Sandy and Anna Todd Margaret Fisher Ian Hunt and Avril and Peter McGrath Ray Poon Richard and Mrs M Ford Vicki Nicholson George and Robin Potter OAM Caroline Travers Annette Freeman Michael and Penny Hunter Patricia McGregor Mr Peter Charles Prior CLJ Nevenka Tucker John and Diana Frew Dr Victor Hurley and Robert and Sarah McKay Railx Aluminium Products Suzanne and Vivienne Fried and Maria Leoni Mimie MacLaren Judith and Ernest Rapee Ross Tzannes AM the late Ruben Fried Dr Alastair Jackson Marcus and Angela Raymond Ullmer Family Sabina and David Full Patricia Jackson Brooke MacLean Mr and Mrs A R Rayward Charitable Endowment Robert Furley and Stuart Jennings and Peter and Anne Mc Namara John and Leah Read Visium Pty Ltd Leon Nicholas Diana Mummé Hon Ian and Frank A Robertson John S Walton AM Eric and Tonia Gale John S Jessup Mrs Julie Macphee Mr Geoffrey Robertson QC The Shirley Ward Justin and Anne Gardener Dr Michael Joel AM and Geoffrey Magney Mr Graeme Robertson Foundation John Garnsey QC Mrs Anna Joel David Malouf AO Michael and Angela Rodd Mrs Suzanne Mrs David Gibbs Dr Garry Joslin and Kirsten Mander Mr Jeremy Ruskin QC and A R Waterhouse Minnie Gibbs Prof Dimity Reed AM Jenny Manton Ms Roz Zalewski Ms Pinky Watson The Hon Mr E W Gillard QC Anne and Bruce Judd Merilyn Marel Rowan and Susie Russell Derek Watt and Dr Nicholas S Girdis CBE John Kaldor AM and Professor Bernard and Margaret Sammut Cathy Brown-Watt and Mrs Marina Girdis Naomi Milgrom Kaldor Mrs Joyce Marks A J and S M Sasse Arthur and Topsy Webster The Hon. Justice and Mrs Mathilde Jennifer K Marshall The Satir Centre Dr Eric Wegman Mrs G Giudice Kearny-Kibble Rohan Mead of Australia The Honourable Leon and Judy Goldman Mr Kevin Kelleher Dr Bryan and Mrs M Saunders Justice Anthony Whealy George H Golvan QC Dr Susan M Kelly Mrs Debora Mendelson Garry E Scarf Professor and George and Kay Gordon James and Diana Kimpton The Monarch Investment Aubrey G Schrader Mrs Chris Whitaker Wirat Sukprem and Julia King AM Group of Companies Tom Schrecker Dr Eva Wicki Alexander Gosling Mrs Deborah Kirk John and Isobel Morgan Phillip and Sue Schudmak Caroline Wilkinson Mrs Wallis Graham In memory of Adrian Morris and Edward and Susan Schutz Christine and Price Williams Beatrice Gray Suzanne Korbel Eileen Chanin Caroline Serventy Evan Williams AM and Dr Anthony Grigg and Drs Marjorie and Ted and Brenda Mouritz Mrs Penelope Service Janet Williams Mr Paul Williamson George Kossoff AO Dr Stephen Mulligan David Shavin QC Jocelyn Woodhouse James and Sarah Guest George Krawat Philip J W Murphy Dr John Sheehy Mr Kerry Wright The Hon Justice Ian V Gzell Mr F Kunc SC and Rupert and Annabel Myer Professor Gillian Dr Kun-Gay Yap and Jean Hadges Ms F Rourke Irena Nebenzahl Shenfield AM Dr Kuldip Kaur Richard and Judy Haes David and Megan Laidlaw New Vision Clinics Helene Shepherd

INTERNATIONAL PATRONS DR , Honorary International Patron Victor K Atkins in Roderick and Em Green, in memory of Hamish O Parker memory of Leslie Gillian Deane her father Josef Tardy Pritchard

ARTISTS’ SPONSORSHIPS

Cheryl Barker is sponsored by Anthony and Sharon Lee Michael Honeyman is sponsored by Brenda and Michael Black, Chorus Master, is sponsored by Sterling Mail Laurence Scofield Order Pty. Ltd. Andrew Jones is sponsored by Maureen Wheeler Nicole Car is sponsored by Jane Hemstritch Dominica Matthews is sponsored by David Corcoran is sponsored by Drs Kathryn Lovric Professor Barbara van Ernst AM and Roger Allan and he is Opera Australia's ambassador Emma Matthews is sponsored by Jennifer Brukner for the Asthma Foundation of NSW Teddy Tahu Rhodes is sponsored by Rex Irwin, Esq. Jacqueline Dark is sponsored by Juliana and Robert Clemesha Stefan Vinke is sponsored by Martin Dickson AM Taryn Fiebig is sponsored by Maureen Wheeler and Susie Dickson Lorina Gore is sponsored by John Wegner is sponsored by Hans and Petra Henkell Mrs Rowena Danziger AM and Mr Kenneth Coles AM The Opera Australia Chorus is proudly sponsored by ExxonMobil

FRIENDS OF OPERA AUSTRALIA As a Friend of Opera Australia you will enjoy a closer involvement with the opera as well as helping to support the work we do. As a Friend you are invited to our seasonal Insight evenings, to hear artists perform and the creative team discuss works from new productions. Friends are also given access to select dress rehearsals and discounted tickets where possible during the season.

OPERA SOCIETY INC Opera Society Inc is a Melbourne-based organisation which supports Opera Australia through its fund-raising activities and provides its members with informative and entertaining events throughout the year. The Society offers access to dress rehearsals, insights, film nights, lunches, brunches, concerts and recitals. Information about the Society is available from the office on (03) 9685 3757 or at www.operasociety.org.au

To receive further information about Opera Australia’s event program, please contact Ailsa Eckel in Sydney on (02) 9318 8333 or Sally Percival in Melbourne on (03) 9685 3752

OPERA AUSTRALIA CAPITAL FUND Chairman's Report Rupert Myer AM

With thanks to improved investment returns and the success of the Tenth Anniversary Capital Campaign, it is with pleasure I report that the Opera Australia Capital Fund’s total equity reached $10.5 million at the end of 2012, a significant increase on the previous year's result.

In keeping with the Fund’s aim of assisting Opera Australia’s activities, another distribution of $400,000 was paid to the Company in support of artistic standards and thus, audience enjoyment and satisfaction. The Board of the Capital Fund is hopeful that it will now be possible to increase the annual distribution from next year on a sustained basis.

As a result of the loyalty and generosity of the Fund’s donors, the target for the Tenth Anniversary Capital Campaign, has been exceeded. In support of this crucial campaign, a number of the Capital Fund’s friends hosted events. Cheryl Barker, Nicole Car, Taryn Fiebig, Jud Arthur, Andrew Jones and Teddy Tahu Rhodes joined guests at a reception at Ashley Dawson-Damer's lovely residence; Teddy Tahu Rhodes sang at a recital hosted by Jane Clarke at her beautiful home; my wife Annabel and I hosted a recital at Cranlana, where Taryn Fiebig both sang and played the cello, and in springtime Chris and Judy Fullerton hosted a delightful lunch at their home in the Southern Highlands, where Taryn once again performed.

We have now formally concluded the Campaign and are pleased that the combination of cash donations received, single and multi-year pledges and notified bequests is greater than the $5 million target that we set. Whilst we are very pleased with the results and proud of the increased financial capacity that the Capital Fund now has to 33 ANNUAL REPORT 2012

CHAIRMAN'S REPORT CONTINUED serve the Company, our challenge remains to provide certainty and security over the long term. Our task remains formidable.

My fellow Capital Fund Directors have played an enormous role in the success of the Campaign and in ensuring 2012’s positive result. I am grateful for the contributions of Philip Bacon AM, Michael Bartlett, Adrian Collette AM, François Kunc SC, Ziggy Switkowski, Michael Traill AM and Maureen Wheeler. On behalf of all of us at the Capital Fund, I am deeply appreciative of the enthusiastic support from our donors for the Campaign and for all aspects of what we do.

Following his resignation, Adrian Collette stepped down from the Capital Fund Board at the time of his departure from Opera Australia. In his 16-year term as Chief Executive, Adrian made an enormous contribution to the Company’s artistic standards and financial well- being. For many years his was Opera Australia’s public face and voice, and his unflappable diplomacy steered the Company through good as well as challenging times. We owe Adrian an immense debt of gratitude.

2012 ended on a memorable note, with Maureen Wheeler kindly hosting the Council of Governors’ dinner at her home. This annual gathering brings together supporters who have either made leadership contributions or pledged significant bequests. During the year we welcomed four new members: Leonard Groat, Poppy and Iphy Kallinikos and Ray Wilson.

In 2013 we are looking forward to the realisation of an exciting new project when, in September, the Opera Australia Capital Fund UK hosts a fundraising event in London. In combination with other occasions when we can honour donors for their benefaction and support, we are keen to maintain the Capital Fund’s proud reputation for giving certainty and pleasure to our benefactors. CHIEF EXECUTIVE'S REPORT CONTINUED

The Annual General Meeting of the Capital Fund on 14 May 2013, marks the conclusion of my period as Chairman. I have greatly appreciated the support that the Fund has received from so many of our supporters during my term. I am delighted that Michael Traill has agreed to serve as Chairman and I wish him well for his time in office. I would particularly like to acknowledge and thank Neroli Hobbins for her professionalism and dedication as General Manager and for the pleasure that comes from working with her. I know that I express this appreciation on behalf of everyone connected with the Capital Fund.

Finally, I would like to take this opportunity to express heartfelt thanks to all those benefactors who continue to contribute to the Capital Fund through donations and bequests. As patrons of the opera, they make a valuable contribution to Australian cultural history.

35 ANNUAL REPORT 2012

ATTENDANCES AND BOX OFFICE 2012

Season Opera Composer Performances Venues Admissions Box office ($) 2012 2011 2012 2011 Mainstage Sydney Summer The Magic Flute (NP) Mozart 28 Sydney Opera House Turandot Puccini 18 The Marriage of Figaro (NP) Mozart 12 Così fan tutte Mozart 8 66 76,716 76,450 10,603,497 11,135,614

Melbourne Autumn Turandot Puccini 9 Arts Centre Melbourne The Magic Flute (NP) Mozart 10 The Barber of Seville Rossini 7 The Merry Widow Lehár 8 34 38,339 41,887 4,414,908 4,560,427

Brisbane The Magic Flute (NP) Mozart 6 Queensland Performing Arts Centre A Midsummer Night's Dream Britten 4 10 9,580 NA 1,026,082 NA

Sydney Winter Die tote Stadt (NP) Korngold 7 Sydney Opera House The Pearlfishers Bizet 12 Aida Verdi 15 South Pacific (NP) Rodgers & Hammerstein 38 Madama Butterfly Puccini 12 Lucia di Lammermoor (NP) Donizetti 10 Salome (NP) R. Strauss 8 102 126,379 104,086 17,042,581 14,626,193

Melbourne Spring Madama Butterfly Puccini 10 Arts Centre Melbourne Lucia di Lammermoor (NP) Donizetti 8 Salome (NP) R. Strauss 6 24 28,772 28,643 3,430,462 3,370,073

Sydney New Years Eve La bohème Puccini 1 Sydney Opera House 1 1,189 NA 350,012 NA

Mainstage Subtotal 237 3 280,975 251,066 36,867,542 33,692,307

Musical Theatre The Princess Theatre, Melbourne South Pacific (NP) Rodgers & Hammerstein 85 86,649 9,040,676 Queensland Performing Arts Centre, Brisbane South Pacific (NP) Rodgers & Hammerstein 6 * 7,820 871,519 subtotal 91 94,469 NA 9,912,195 NA

Handa Opera on Sydney Harbour Farm Cove, Sydney La Traviata (NP) Verdi 17 38,119 6,058,891 Handa Opera on Sydney Harbour subtotal 17 38,119 NA 6,058,891 NA

Concerts Sydney Opera House Great Opera Hits Various 8 4,097 262,126 Sydney Opera House New Year's Eve Opera Gala Various 1 1,832 525,606 Concerts Subtotal 9 5,929 6,003 787,732 913,857

Total Mainstage/Music Theatre/Handa Opera on 354 5 419,492 257,069 53,626,360 34,606,164 Sydney Harbour/Concerts

Free Events Mazda Opera in the Domain The Pearlfishers Bizet 1 20,000 Mazda Opera in the Bowl Opera Highlights Concert Various 1 7,000 Creative Communities Partnerships Initiative Western Sydney Community Choirs Various 1 1,170 Creative Communities Partnerships Initiative Yarrabah! The Musical Gregory, Brady, Dyer, 2 6,500 Webb, Johnson Free Events subtotal 5 3 34,670 55,566

Oz Opera Schools Tours Victoria The Magic Flute Mozart 145 103 24,824 145,502 Hansel and Gretel Humperdinck 225 148 45,383 268,917 Regional Tour ACT, NSW, SA, VIC Don Giovanni Mozart 34 24 11,084 597,896 Oz Opera subtotal 404 275 81,291 71,930 1,012,315 708,064

Copresentations National Chiang Kai-Shek Cultural Center, Tapei Madama Butterfly Puccini 6 8,344 Copresentations subtotal 6 1 8,344 3,904

Total Admissions - All Activities 769 284 543,797 388,469

NP = New Production *Previews only - full Brisbane South Pacific season 27 December 2012 to 27 January 2013

AR_OA ac(vi(es2012_p1 BROADCASTS AND CINEMA SCREENINGS 2012

Broadcasts/ Description Production Composer Screenings

Radio Salome R. Strauss 1 Subtotal 1

Television Don Giovanni Mozart 2 La bohème Puccini 2 Lakmé Delibes 2 La Traviata Verdi 2 The Mikado Gilbert & Sullivan 1 Subtotal 9

Cinema Simulcasts Madama Butterfly* Puccini 1 Subtotal 1

Cinema Don Giovanni Mozart 51 Australia and New Zealand La Traviata Verdi 39 The Mikado Gilbert & Sullivan 1 Turandot Puccini 43 Subtotal 134

Cinema Der Rosenkavalier R. Strauss 15 Rest of World Don Giovanni Mozart 44 La bohème Puccini 40 La Traviata Verdi 444 Lakmé Delibes 58 The Marriage of Figaro Mozart 2 Rigoletto Verdi 3 The Mikado Gilbert & Sullivan 15 Turandot Puccini 65 Subtotal 686

Total Broadcasts and Cinema Screenings 831

* simulcast to 8 regional Queensland cinemas and the Queensland Performing Arts Centre

HIRES AND COPRODUCTIONS 2012

Hires & Description Production Composer Performances Coproductions Australian Hires State Opera South Australia La bohème Puccini 1 4 State Opera South Australia Orpheus in the Underworld Offenbach 1 4 State Opera South Australia Beethoven 1 4 Opera Queensland Carmen Bizet 1 7 Australian Hires Subtotal 4 19

Australian Coproductions - Other West Australian Opera Elektra R. Strauss 1 3 Australian Coproductions Subtotal 1 3

International Coproductions staged elsewhere Toyko Art Foundation Don Pasquale Donizetti 1 2 International Coproductions Subtotal 1 2

Total Hires and Coproductions 6 24

37

AR_OA ac(vi(es2012 p2 Michael Lewis as Count Almaviva, Taryn Fiebig as Susanna and Joshua Bloom as Figaro The Marriage of Figaro OPERAOPERA AUSTRALIA AUSTRALIA THANKS OUR PARTNERS SALUTES ITS 2012 PARTNERS

PRINCIPAL PARTNER

Official Car Sponsor HERO PARTNERS

GOLD PARTNERS

SILVER PARTNERS

Handa Opera on Sydney Harbour Wine Partner

MAJOR SPONSORS

Opera Australia Wine Partner

QUAY GRAND SYDNEY HARBOUR

Government Partners Opera Australia is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

Opera Australia is supported by the Victorian government through Arts Victoria.

Opera Australia is assisted by the NSW Government through Arts NSW.

Performance Partners Cheryl Barker as Marie/Mariette Die tote Stadt CORPORATE CIRCLE

Dress Circle Membership Australian Opera Clifton Productions Pty Ltd Jardine Lloyd Thompson Sir Stamford at Auditions Committee Gilbert + Tobin Circular Quay

Executive Membership ARIA Catering Evert Ploeg Macquarie Pretty Beach House The Deck Restaurant ARIA Restaurant Fourth Wall Events Group Foundation Pullman Quay Grand The Fink Group Association of Australian Guillaume at Media Monitors Sydney Harbour Theme & Variations Decorative & Fine Bennelong MoVida Qantas Airways Pty Ltd Piano Services Arts Societies Howard Park Wines Number One Wine Bar Renaissance Tours Universal Music Bulgari Australia John Chen Gallery Pages Event Silversea Cruises Australia Bunda Langton's Wine Equipment Small Luxury Hotels Dorchester Collection Auctions & Exchange Park Hyatt Sydney of the World

CORPORATE FRIENDS

Akira Design Studio Equator homewares Justin Pearson Pinetrees Lodge, Sydney Andrew Caillard MW Estee Lauder Companies Kiwi Collection Lord Howe Island Symphony Orchestra Art Est. Art School European Catering La Bastide de Moustiers Poole’s Rock Wines Tamara Dean Australian Executive Retreats La Mer Quay Restaurant Tanonga Luxury Chamber Orchestra Farage Le Domaine Rail Plus Australia Eco Lodges Australian Galleries Fine Wine Partners Le Louis XV Ramada Hotel and Taronga Foundation Bangalow Guesthouse Four Seasons L'Hostellerie de Suites Ballina Taste Burgundy Bannisters Hotel Sydney l'Abbaye de la Celle Reef House Boutique The Australian Opera Barossa Vista Four Seasons LifeTime Resort & Spa and Ballet Orchestra Belvoir Resorts Bali Private Retreats Rex Irwin Art Dealer The Byron at Byron Bodum Australia Fresh Catering Lillianfels a Luxury Rick Stein at Bannisters Resort and Spa Bollinger Gerhard Haas Collection Resort Rob Geddes MW The Clifford Bonville Golf Resort Gemmological Blue Mountains Robert Albert Wallace Agency Busato Graphic Association of Australia Lindt & Sprungli Robyn Cosgrove Rugs The Farm at Art Workshop Great Southern Rail L'Occitane Ross Tzannes Cape Kidnappers Cable Beach Club GreenPan Luke Sciberras R. G. Rosenblum The Grand Villa Resort & Spa Grossi Florentino Medina Sailors Thai, The Rocks Furnishings Carlos Barrios Restaurant Apartment Hotels Sally's Paddock The Nut Shop Champagne-Ardenne Guillaume at Bennelong Melbourne SanPellegrino The Persian Tourism Guinot Symphony Orchestra Savaterre Carpet Gallery CHANEL Australia HarperCollins Publishers Melbourne Segafredo Zanetti The Royal Albert Château de Sours Henry Bucks Theatre Company Sheraton Mirage The Traill Conciergerie.com Hermitage Lodge Mercure Resort Port Douglas Resort The Turpentine Tree Cradle Mountain Herringbone Gerringong by the Sea Silver Spoon Caterers Thomas Buich Huts Walk Hopewood Museum of Six Senses Vietnam Tony White Jeweller Cynthia Hundleby Health Retreat Contemporary Art, Smiths Beach Resort Torbreck Vintners Cypress Lakes Resort Hopscotch Films Australia Sofitel Bora Bora Marara Wedgwood Dan Murphy's Hotel Le Cep**** Nomiki Glynatsis Beach & Private Island Wild Bush Luxury Diana Eddy & Associates Hugos Group Couture Soirées Littéraires Wilderness Australia Eaglereach Huka Lodge Ocean Room Southern Ocean Lodge William Robinson Wilderness Resort Hyatt Regency Coolum Paperbark Camp Suzy O'Rourke Millinery Winevault Eco Beach Jennifer Hershon Paradise on the Swarovski WineInProvence Wilderness Retreat Jenolan Caves Beach Resort Sydney Harbour Woolworths Elderton Wines Reserve Trust Paspaley Federation Trust Supermarkets Emirates Wolgan Valley Jo Bertini Peugeot Sydney Opera House Yering Station Resort & Spa Jonah's Restaurant & Pierro Margaret Sydney Seafood School Yindi Day Spa Enrique Del Val Boutique Hotel River Vineyards

COMMUNITY PARTNER The Asthma Foundation NSW

MOFFATT OXENBOULD YOUNG ARTIST PROGRAM The Moffatt Oxenbould Young Artist program is proudly sponsored by

For information about Corporate Partnerships with Opera Australia please contact Amanda Michetti on (02) 9318 8241 or [email protected] 41

OPERA AUSTRALIA ACN 000 755 153 ABN 26 000 755 153 The liability of the members of Opera Australia is limited. Incorporated in New South Wales in 1970, Opera Australia is an authority holder under the Charitable Fundraising Act 1991.

Sydney Office: The Opera Centre 480 Elizabeth Street Surry Hills, NSW 2010 Sydney Postal Address: PO Box 291, Strawberry Hills, NSW 2012 Telephone: (02) 9699 1099 Fax: (02) 9699 3184 Melbourne Office: Corner Fawkner and Fanning Streets, Southbank 3006 Melbourne Postal Address: PO Box 389, South Melbourne, Vic 3205 Telephone: (03) 9685 3777 Fax: (03) 9686 1441

Auditors Ernst & Young

Bankers Commonwealth Bank of Australia

Solicitors Gilbert + Tobin