DOCSLIB.ORG

Gala Vocal Concert Progress

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gala Vocal Concert Progress Rebecca Cassidy, Brisbane Rebecca Cassidy is a Soprano who originally hails from Townsville, North QLD. Rebecca completed her Bachelor of Music (Advanced Performance) at the QLD Conservatorium of Music and has performed the roles of Merab from Handel’s Saul, Noémie from Massenet’s Cendrillon, as well as the title role of Puccini’s Suor Angelica and Ann Trulove from Stravinky’s The Rake’s Gala Vocal Concert Progress. In addition to these operatic roles Rebecca has sung with many notable ensembles in concert, oratorio and symphonic repertoire including singing the Soprano Solos in Beethoven’s 9th Symphony and Benjamin Britten’s War Requiem. In 2012 Rebecca was a member of Opera Queensland’s Developing Artist Program. Rebecca has been the recipient of many prestigious awards and bursaries including the Encouragement Award from the Dame Joan Sutherland Aria Competition (2010), 2nd Prize in the Australian Concerto Competition (2010), The Wagner Prize (2010), and the Long Tan Bursary for Academic Excellence. She has recently won the Operatic Aria section of the MTAQ Queensland Singing Competition and the Alton Budd Memorial Award. Rebecca will also be performing in Peter Grimes and Don Giovanni for Opera QLD and performing the role of Rosalinde in Die Fledermaus in 2019. Thank you to our sponsors for the Open Vocal Section 2.00pm Sunday 22 July 2018 Australian Concerto & Vocal Competition Townsville Grammar School Music Centre [email protected] Adjudicator Cheryl Barker AO www.acvc.com.au PROGRAM Kate Amos, Melbourne Melbourne-born lyric coloratura soprano, Kate holds a BMus Kate Amos, Melbourne (Perf) with Honours, Dip. Lang (Italian) and Masters of Music ‘Quando m’en vo’ (Musetta’s Waltz) from “La Boheme” Giacomo Puccini (Opera Performance) from the University of Melbourne. Recit.’Guinse alfin il momento’ Aria - ‘Deh vieni, non tardar’ from “Le Nozze di Figaro” W A Mozart In 2014 she was selected to join the Young Artist Program with Scena ed Aria ‘E strano! E’ strano!.....Sempre libera’ (Violetta’s Aria) from “La Traviata” G Verdi the Victorian Opera performing leading and supporting roles. ‘Je veux vivre’ from “Romeo et Juliette” Charles Gounod In 2016, Kate performed the title role in Cendrillon by Massenet, covered soprano Emma Mathews as Orlando/Selena in world- premiere baroque pastiche opera Voyage to the Moon and Naomi Flatman, Brisbane study-covered Lucia in Lucia di Lammermoor with Victorian ‘Se Romeo t’uccise un figlio’ from “I Capuletti e I Montecchi” Vincenzo Bellini Opera sung by Jessica Pratt. ‘Abbrucio, avvampo e fremo’ from “Rinaldo” George Frederic Handel In 2017 was invited to undertake a scholarship to attend the ‘Qui m’aurait dit la place’ (Charlotte’s Aria) from “Werther” Jules Massenet “Bel Canto Festival” in Montisi, Italy sponsored by Jessica Pratt. Recit ‘Ah, scostati,’ Aria ‘Smanie implacabili’ from “Cosi fan tutti” W A Mozart Engagements included Brahms Requiem debut (St. Martin-in- the-Fields) London, Rosina in The Barber of Seville (Mediterranean Opera Festival) in Sicily, Italy. INTERVAL Numerous awards consist of the Melbourne Male Welsh Choir Singer of the Year; 2016-2017, Sleath Rebecca Cassidy, Brisbane Lowrey scholarship, Lisa Gasteen National Opera scholarship; AME ‘Opera Scholar of the Year’ joint- ‘Dich, teure Halle’ from “Tannhauser” Richard Wagner winner 2011. Royal Overseas-League Bursary and Italian Merenda Scholarship. Kate travelled on scholarship to Jesi, Italy, winning the Italian Acclaim study-award in conjunction with Teatro Pergolesi. ‘Je dis que rien ne m’epouvante’ from “Carmen” Georges Bizet ‘Come scoglio’ from “Cosi fan tutti” W A Mozart In 2018 is delighted to be making her principal artist debut with Opera Australia. ‘Senza mamma’ from “Suor Angelica” Giacomo Puccini Naomi Flatman, Brisbane Thanks to official accompanist Maryleigh Hand Swiss born Mezzo-Soprano Naomi Flatman completed her Postgraduate studies in Opera (2018), as Official Adjudicator - Cheryl Barker AO well as her Bachelor of Music in Advanced Performance (2016), both at the Queensland Conservatorium Griffith University under Mr Gregory Massingham. Adjudication and Prize Presentation Her stage credits include Cherubino in the Marriage of Figaro Prizes sponsored by Ishiyama Foundation Mozart, with the Lyric Opera Studio in Weimar, Germany (2018), Bastien in Bastien und Bastienne Mozart (Brisbane 1st $1500 ; 2nd $1000; 3rd $500 City Opera, 2017), Lia in Debussy's L'entfant Prodigue (2017), and Nancy Waters (Albert Herring, Britten, 2016). *1st place winner will also receive an invitation to perform as a guest soloist with the Barrier Reef Orchestra Naomi has performed the Mezzo-soprano solo’s in JS Bach’s Easter Oratorio, Australian premier of JCF Bach’s Die Auferweckung des Lazarus, Handel’s Messiah, Haydn's Special Awards Paukenmesse, "Nelson" Mass, as well as Mozart’s Vesperae Solennes de Confessore, Requiem and Coronation Mass. Norton Challenor Award for Most Promising Vocalist $250 and Perpetual Trophy sponsored by Mary Paola She has been awarded the Elizabeth Muir Operatic Award (2018), Linda Edith Allen (undergraduate) award (2016) for the Audience Choice Award $300 best recital, as well as the Donald Penman prize for voices sponsored by Susan Grinsell Singing Studio joint for her work in 2015. .
Load more

Recommended publications
  • Piers Lane Biography
    Piers Lane Biography “… No praise could be high enough for Piers Lane whose playing throughout is of a superb musical intelligence, sensitivity, and scintillating brilliance…” (Bryce Morrison, Gramophone) London-based Australian pianist Piers Lane has a flourishing international career, which has taken him to more than forty countries. Highlights of the past few years have included a sold-out performance with the London Philharmonic Orchestra and Alexander Verdernikov at London’s Royal Festival Hall, concerto performances at Lincoln Center’s Avery Fisher Hall, a three-recital series entitled Metamorphoses and other performances for the London Pianoforte series at Wigmore Hall and five concerts for the opening of the Recital Centre in Melbourne. Five times soloist at the BBC Proms in London’s Royal Albert Hall, Piers Lane’s wide-ranging concerto repertoire exceeds eighty works and has led to engagements with many of the world’s great orchestras including the BBC and ABC orchestras; the Aarhus, American, Bournemouth and Gothenburg Symphony Orchestras; the Australian Chamber Orchestra, Kanazawa Ensemble, Orchestre National de France, City of London Sinfonia, and the Royal Philharmonic, Royal Liverpool Philharmonic and Warsaw Philharmonic orchestras among others. Leading conductors with whom he has worked include Andrey Boreyko, Sir Andrew Davis, Richard Hickox, Andrew Litton, Sir Charles Mackerras, Jerzy Maxymiuk, Maxim Shostakovich, Vassily Sinaisky, Yan Pascal Tortelier and Antoni Wit. His 2007 performance of Beethoven’s Emperor Concerto with the Queensland Symphony Orchestra and Pietari Inkinen received the Limelight Magazine Award for Best Orchestral Performance in Australia. 1 Festival appearances have included, among others, Aldeburgh, Bard, Bergen, Cheltenham, Como Autumn Music, Consonances , La Roque d’Anthéron, Newport, Prague Spring, Ruhr Klavierfestival, Schloss vor Husum and the Chopin festivals in Warsaw, Duszniki- Zdroj, Mallorca and Paris.
    [Show full text]
  • Beethoven: Symphony No 9 “Choral” – Australian World Orchestra Posted on April 16, 2014 by Barry Walmsley
    Beethoven: Symphony No 9 “Choral” – Australian World Orchestra Posted on April 16, 2014 by Barry Walmsley Australian World Orchestra Sydney Philharmonia Choir Conductor: Alexander Briger ABC 481 0550 The scale of a work such as Beethoven’s Ninth Symphony is truly staggering. Whilst the work has been overused for civic celebratory events, the concert experience (and this recording, which originates from a live concert in the Sydney Opera House) is something that can touch listeners in profound ways. The complexity of the music is only equalled by its challenging compositional ideas, along with the treatment of text (by Schiller), and the fusion of what, for the most part, are incompatibles, that is, the choral and the symphonic idiom. Structurally, the work is really a set of variations, showing a total connection from beginning to end. These totally new elements (the unconventional symphonic layout and the use of words within a symphony) helped to underline, in the public’s mind, that Beethoven had truly gone mad. This particular recording emanated from one of the most exciting of recent concert events, the inaugural season by the newly created Australian World Orchestra, an initiative to bring together the finest of Australian orchestral musicians from around the country and across the world. Thus, it saw players return from such illustrious orchestras as the Berlin and Vienna Philharmonics, Chicago and London Symphonies, the Concertgebouw and Gewandhaus, to be part of this concept orchestra. Bringing the whole project together, as its artistic and musical director, was conductor Alexander Briger, who has established himself on the world stage as one of the new dynamic conductors of this era.
    [Show full text]
  • Opera Australia's 60Th Anniversary Costume and Memorabilia
    MEDIA RELEASE Own a piece of opera history: Opera Australia’s 60th anniversary costume and memorabilia exhibition and auction Exhibition | Saturday 24 – Thursday 29 June 2017 | The Opera Centre, Surry Hills, Sydney Auction | Friday 30 June – Saturday 1 July 2017 | The Opera Centre, Surry Hills, Sydney Opera Australia is diving into sixty years of costumes, accessories, artworks and memorabilia in an anniversary exhibition at The Opera Centre. The week-long event will culminate in an auction where the public can bid for an exclusive piece of Australia’s operatic story. This is the first time Opera Australia has opened its vaults to give thousands of opera fans the opportunity to get up close to over 2,000 items costumes, accessories, artworks and memorabilia worn and inspired by their idols. Highlights of the exhibition and auction include: Costumes from Baz Luhrmann’s famous 1990 production of La Bohème Dame Kiri Te Kanawa ONZ DBE AC’s costume for the role as ‘Violetta’ in the 1978 production of La Traviata Yvonne Kenny AM’s costume for the roles of ‘Sylva Varescu’ in the 2001 production of The Gypsy Princess, ‘Hanna’ in the 2004 production of The Merry Widow and ‘Armida’ in the 1999 production of Rinaldo Sigrid Thornton’s costume for the role of Desirée in 2009 production of A Little Night Music. Dame Heather Begg DNZM OBE’s costume for the role of ‘The Countess Di Coigny’ in the 2001 production of Andrea Chénier Cheryl Barker AO’s costume for the role of ‘Lauretta’ in 2007 production of Gianni Schicchi Opera Australia CEO Craig Hassall explained the motivation behind the historic move.
    [Show full text]
  • OQS0762 Subs 2011 Brochure Text V6.Indd
    SEASON 2011 SUBSCRIBE Truly. Madly. Deeply. AND SAVE! From the From the Premier of Queensland and Chief Executive/Artistic Director Minister for the Arts Come and celebrate Opera Queensland’s Welcome to Opera Queensland’s fi rst 30 years with 120 years of season for 2011. superlative creation. For nearly three decades, Opera After the success of our Verdi double Queensland has been presenting operas and musicals in 2009, it seems only fair to pay Puccini the same courtesy. across our state and, recently, across state borders. While there is a 43-year overlap in ages, in operatic terms, these two composers are not contemporaries, representing Not only is Opera Queensland expanding in its reach and as they do two musical traditions. Puccini sweeps us into scope, the company has found new ways to connect with the 20th century with melody to delight us all and a masterly audiences of many ages through programs with primary workmanship set to please even the most discerning. And students and young people in regional communities. so it is in May, that we bring you a wonderful new production My government provides key funding to Opera Queensland of The Girl of the Golden West, an opera never before seen as one of the state’s fl agship arts companies. in Queensland. While in October, we present John Copley’s I would like to acknowledge Opera Queensland’s corporate celebrated production of Tosca in all its traditional glory. After partners, many of whom have been onboard for more than an eight-year gap it is a great joy to return this magnifi cent a decade and who, along with government support, help piece to the Lyric Theatre.
    [Show full text]
  • FRIENDSHIPS: GOOD and BAD a Lecture for Mercury Opera Rochester by Chuck Lundeen Guild Address P.O
    FRIENDSHIPS: GOOD and BAD A Lecture for Mercury Opera Rochester by Chuck Lundeen Guild address P.O. Box 92245 Rochester NY 14692 Mercury Opera Rochester Website: www.mercuryoperarochester.org with link to Guild Guild contacts: Dr. Agneta D. Borgstedt, President 585-334-2323 [email protected] Helga Strasser, Trip coordinator 585-586-2274 [email protected] Arthur Axelrod, Vice-President,Guild lectures and technical assistance 585-377-6133 [email protected] Playlist of excerpts used and an outline of the lecture 1. A Friendship Formed from Shared Circumstances: NORMA 1831, La Scala, Milan; by Vincenzo Bellini (1801-1835), with libretto by !Felice !Romani. ARTHAUS MUSIK DVD #101 465: From the Gran Teatre Del Liceu, Barcelona, !conducted by Giuliano Carella and directed by Francisco Negrin, 2007. Norma (soprano), High Priestess of the Druids!!Fiorenza Cedolins Adalgisa (soprano) a virgin from the Druid temple!Sonia Ganassi Norma, supposedly a virgin high priestess of the Druids, has secretly been carrying on a love affair. Oddly enough, it is with Pollione, the head of the Roman army in Gaul, which is trying to conquer the Druids. Their affair has been going on long enough for the couple to have two young sons whom Norma has successfully kept hidden from everyone! Adalgisa, one of the young virgin priestesses, is feeling guilty and comes to confide in Norma that she is having a secret love affair. During the course of her confession Norma discovers that the affair is with none other than her own lover, Pollione. In this scene Norma is in total desperation.
    [Show full text]
  • 2007 2008 2007 Note $000 $000 Note $000 $000
    PERFORMING FOR TODAY BUILDING FOR FUTURE GENERATIONS SYDNEY OPERA HOUSE TRUST ANNUAL REPORT 2007/08 PERFORMING FOR TODAY Symphonie Fantastique Le Grand Cirque Sydney Opera House is one of the busiest and most successful performing arts centres in the world. FOR TODAY Operating 363 days, 1,269,996 people attended 1,661 performances over the year. Performance Partnerships 53,726 children attended our Kids at the Through our own programming division, Resident companies – The Australian House and House:Ed programs designed Sydney Opera House Presents, our resident Ballet, Opera Australia, Sydney Symphony for young audiences. companies and major hirers we generated and Sydney Theatre Company – were 2,709 people attended the Balnaves Open a wealth of diverse performances including responsible for 54% of our total audiences House Program that extends access to the international artists and ensembles, local and and 34% of all performances. broader community by offering $5 tickets. newly commissioned works, emerging artists Our Major Partners NAB and HP, our and programs for families and schools. Approximately 120,000 unique visitors five Media Partners and our 20 Corporate visit our website every month. Sydney Opera House Presents aims to complement Sponsors help us to achieve our business the programming of our resident companies objectives. 605 people are employed at Sydney Opera and extend the cultural experiences available House and help us to achieve success every day. Our 417 private donors generously contributed to the people of Sydney and NSW. Our They are joined by many, many other people $545,305, an increase of 15% year on programming under this banner represented on site who work with our resident companies, year, to allow us to invest in the world’s best 44% of all performances across our venues.
    [Show full text]
  • 2005 Distinguished Faculty, John Hall
    The Complete Recitalist June 9-23 n Singing On Stage June 18-July 3 n Distinguished faculty John Harbison, Jake Heggie, Martin Katz, and others 2005 Distinguished Faculty, John Hall Welcome to Songfest 2005! “Search and see whether there is not some place where you may invest your humanity.” – Albert Schweitzer 1996 Young Artist program with co-founder John Hall. Songfest 2005 is supported, in part, by grants from the Aaron Copland Fund for Music and the Virgil Thomson Foundation. Songfest photography courtesy of Luisa Gulley. Songfest is a 501(c)3 corporation. All donations are 100% tax-deductible to the full extent permitted by law. Dear Friends, It is a great honor and joy for me to present Songfest 2005 at Pepperdine University once again this summer. In our third year of residence at this beautiful ocean-side Malibu campus, Songfest has grown to encompass an ever-widening circle of inspiration and achievement. Always focusing on the special relationship between singer and pianist, we have moved on from our unique emphasis on recognized masterworks of art song to exploring the varied and rich American Song. We are once again privileged to have John Harbison with us this summer. He has generously donated a commission to Songfest – Vocalism – to be premiered on the June 19 concert. Our singers and pianists will be previewing his new song cycle on poems by Milosz. Each time I read these beautiful poems, I am reminded why we love this music and how our lives are enriched. What an honor and unique opportunity this is for Songfest.
    [Show full text]
  • Nexas Quartet Biography (2020)
    Nexas Quartet Biography (2020) ‘Utterly startling … adrenaline fueled. 4.5 stars.’ Limelight Magazine ‘The quartet played with great energy and smooth precision full of virtuosity and fine ensemble work’ Lynne Lancaster Sydney Arts Guide ‘The group demonstrated its tight ensemble work and took us on a romp of colourations, each as exciting as the next’ Samuel Cottell Cut Common At the forefront of chamber music, Nexas Quartet are leaders in promoting existing and creating new repertoire for the saxophone quartet. The group’s success comes from a combination of personalities, virtuosic saxophone skills, and an ability to program concerts of a wide appeal that has seen the musicians perform in a multitude of settings. 2020 will see performances for the Australian Festival of Chamber Music in Townsville, Musica Viva, Bravo Performing Arts Cruise, Concerto performances with the Willoughby Symphony Orchestra, Orange Chamber Music Festival, Melbourne Recital Centre, the Chamber Music Project, new collaborations with Cheryl Barker and Peter Coleman-Wright, as well as the release of their CD "Tango de Saxos" featuring Daniel Rojas (piano) and Stephen Cuttriss (bandoneon). Over the last couple of years the quartets has developed an ongoing collaboration with opera star Peter Coleman-Wright. This has been highlighted by the 2017 recording ‘Ballads of a Pleasant Life’ for ABC Classics. This collaboration also resulted in the show ‘Composers in Exile’ described thus by Bill Stephens for Arts Review: ‘the brilliance of the five performers, their easy charm and obvious affection and enthusiasm for the material, proved a seductive combination in a presentation which informed the mind while pleasuring the soul’.
    [Show full text]
  • Cheryl Barker's Tribute to Joan Hammond Queensland Symphony
    The tributes with piano accompaniment provide a contrast to the preceding drama, encore pieces beloved of Joan Hammond, the biggest selling recording artist during the war. Accompanying is pianist Timothy Young. Hammond’s recording of The Green Hills of Somerset became a best seller and Cheryl includes it as a homage here. The delightful rarity – Shadows – is a song written for Hammond by the Australian composer Ronald Settle. Conductor Guillaume Tourniaire directs the Queensland Symphony Orchestra, drawing performances that bring the emotional landscape vividly to life. lluminating CD Notes are by Peter Burch of Musica Viva and the late vocal commentator John Steane, who was an insightful Iwitness to Dame Joan Hammond and all the great singers of her era and those that followed. Hammond made best selling recordings of popular arias such as Love and Music (Vissi d’arte) from Tosca, One Fine Day (Un bel dì) from Madama Butterfly, and They Call Me Mimì (Mi chiamano Mimì) from La bohème. Lauretta’s then unknown aria from Puccini’s Gianni Schicchi, O My Beloved Daddy, (O mio babbino caro) was first released as the B-side to Tosca’s Love and Music on a 78rpm disc. The coupling Cheryl Barker’s tribute to became the first operatic recording to sell more than one million copies and went on to win a gold record in 1969. It has never been out of the Joan Hammond catalogue since. Queensland Symphony Orchestra, conductor Guillaume Tourniaire and Cheryl Barker’s relationship with Melba Recordings stretches back almost to the label’s beginning with Puccini=Passion, pianist Timothy Young her acclaimed 2003 collection of arias with Richard Bonynge Arias by Verdi, Tchaikovsky, Korngold, Offenbach, Purcell and, a conducting Orchestra Victoria.
    [Show full text]
  • Dame Joan Hammond (1912-1966) 2
    AUSTRALIAN EPHEMERA COLLECTION FINDING AID DAME JOAN HILDA HOOD HAMMOND (1912-1996) PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA JULY 2018 Dame Joan Hilda Hood Hammond, DBE, CMG (24 May 1912 – 26 November 1996) was a New Zealand born Australian operatic soprano, singing coach and champion golfer. She toured widely, and became noted particularly for her Puccini roles, and appeared in the major opera houses of the world – the Royal Opera House Covent Garden, La Scala, the Vienna State Opera and the Bolshoi. Her fame in Britain came not just from her stage appearances but from her recordings. A prolific artist, Hammond's repertoire encompassed Verdi, Handel, Tchaikovsky, Massenet, Beethoven, as well as folk song, art song, and lieder. She returned to Australia for concert tours in 1946, 1949 and 1953, and starred in the second Elizabethan Theatre Trust opera season in 1957. She undertook world concert tours between 1946 and 1961. She became patron and a life member of the Victorian Opera Company (since 1976, the Victorian State Opera – VSO), and was the VSO's artistic director from 1971 until 1976 and remained on the board until 1985. Working with the then General Manager, Peter Burch, she invited the young conductor Richard Divall to become the company's Musical Director in 1972. She joined the Victorian Council of the Arts, was a member of the Australia Council for the Arts opera advisory panel, and was an Honorary Life Member of Opera Australia. She was important to the success of both the VSO and Opera Australia. Hammond embarked on a second career as a voice teacher after her performance career ended.
    [Show full text]
  • Bob & Phyllis Neumann
    The Pescadero Opera Society presents La Bohème Music by Giacomo Puccini Libretto by Giuseppe Giacosa and Luigi Illica After Henry Murger’s novel, Scènes de La Vie de Bohème Opera in Four Acts Setting: The Latin Quarter in Paris Time: Christmas Eve, 1957 Characters Rodolfo, a poet (tenor) ........................................................................ David Hobson Mimì, a seamstress (soprano) .............................................................. Cheryl Barker Marcello, a painter (baritone) ............................................................... Roger Lemke Musetta, a singer (soprano) ............................................................Christine Douglas Schaunard, a musician (baritone) .......................................................... David Lemke Colline, a philosopher (bass) ................................................................. Gary Rowley Students, working girls, townsfolk, shopkeepers, street-vendors, soldiers, waiters and children Conducted by Julian Smith Directed by Baz Luhrmann Performed by the Australian Opera and Ballet Orchestra Première performance at the Teatro Regio in Turin, Italy on February 1, 1896 ©Phyllis Neumann • Pescadero Opera Society • http://www.pescaderoopera.com 2 Synopsis Act I A garret in the Latin Quarter of Paris on Christmas Eve, 1957 The near-destitute artist, Marcello and poet Rodolfo try to keep warm on Christmas Eve by feeding the stove with pages from Rodolfo’s latest drama. They are soon joined by their roommates, Colline, a young philosopher, and Schaunard, a musician who has landed a job bringing them all food, fuel and money. While they celebrate their unexpected fortune, the landlord, Benoit, arrives to collect the rent. Plying the older man with wine, the Bohemians urge him to tell of his flirtations, then throw him out in mock indignation at his infidelity to his wife. Schaunard proposes that they celebrate the holiday at the Café Momus. Rodolfo remains behind to try to finish an article, promising to join them later.
    [Show full text]
  • Australian Opera and Ballet Orchestra Report 25 Opera Australia Is a Company Limited and the Financial Prudence of Its Strategies
    Vision Contents Enriching Australia’s cultural life with exceptional opera. Mission Vision, Mission, Corporate Governance 2 To present opera that excites audiences and The work of the Board is supported by: Chairman's Report 5 sustains and develops the art form. Audit Committee - meets before each Board Chief Executive's Report 11 meeting and otherwise as required and is Our People 22 Corporate Governance responsible for scrutinising the Company’s Artists - 2014 23 management systems, financial processes Australian Opera and Ballet Orchestra Report 25 Opera Australia is a Company Limited and the financial prudence of its strategies. Patron Program 28 by Guarantee. Its governance is the The Company’s auditors meet with the Audit Opera Australia Capital Fund - Chairman's Report 33 responsibility of its Board of Directors, Committee on a regular basis and report on Opera Australia Activities 40 who are elected by its Members. The Board is their processes and findings. Opera Australia Salutes its 2014 Partners 47 responsible for the overall strategic direction of the Company and its ongoing viability. Development and Government Committee - The Company’s direction and activities are meets as required and provides strategic advice underpinned by its agreed Values: on corporate partnerships, philanthropy and government engagement. • Pursuit of excellence in everything we do • Respect for knowledge, imagination and Property Advisory Committee - meets as creative ambition required and makes recommendations to Giacomo Puccini • Honesty and integrity in all our dealings the Board regarding the Company’s property • Fairness portfolio. • Sustainability • Encouragement of professional Remuneration and Nominations Committee - meets development as required and is responsible for overseeing • Respect and compassion for people the Company’s remuneration policy, including • Safe working environment remuneration of the senior management team.
    [Show full text]