2010 Annual Report Part 1 - Opera Australia

Contents 

Vision, Mission, Corporate Governance 5 

Chairman's Report 7 

Chief Executive's Report 15 

Artistic Director's Report 33 

Australian Opera and Ballet Orchestra Report 39 

A Tribute to Dame Joan Sutherland 44 

Sponsorship and Development Report 49 

Patron Program 54 

Opera Australia Capital Fund 56 

Opera Australia Capital Fund - Chairman's Report 57 

Opera Australia Activities 60 

Our People 62 

Opera Australia Salutes its Partners 63 

Financial Report 

Insert 

Photographs 

Jeff Busby, Albert Comper, Bridget Elliot, Branco Gaica, Paul Gosney, 

James Margan, John Parsons and Keith Saunders

Vision 

Enriching Australia’s cultural life with exceptional opera. 

Mission 

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

CORPORATE GOVERNANCE 

Opera Australia 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 the Australian 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. 

OPERA AUSTRALIA ANNUAL REPORT 2010 

5

Chairman's Report 

Dr Ziggy Switkowski 

It sometimes feels that the world of opera is being buffeted by forces 

of an unprecedented nature. Within much less than a generation, 

economic cycles have put recurring and incredible financial pressures 

on arts institutions, audience tastes shift continuously, critical opinion 

and subscriber reactions condemn artistic choices, complex technology 

infuses productions, demographics challenge a box office never centered 

on the young, and the internet changes everything. 

Yet such a feeling passes quickly. Opera, of all the arts, has chronicled 

and reflected centuries of human experience, social and economic 

upheavals, and successfully adapted to the times. Many things change 

but some stay the same such as the quality of the opera experience 

and the rich multidimensional productions. Our task is not to seek 

stability but to define a path where Opera Australia moves with the 

times while preserving the best of our art form and maintaining elevated 

standards of performance and production. Our strategy is defined by a 

growing flexibility of approach always guided by our core values and our 

obligations as a cornerstone cultural institution connected to the larger 

arts industry. 

Rosario La Spina as Cavaradossi and 

Takesha Meshé Kizart as Tosca 

Tosca 

Opera Australia had a fine year in 2010 as it went about delivering its 

mandate as a national company enriching Australia's cultural life. Our 

audiences remained strong although box office numbers present a 

continuing commercial challenge. The finances resumed an improving 

trajectory. Relationships with our main stakeholders – the OA family 

of employees contractors and artists, government agencies, sponsors 

and donors, the broader arts community – are cooperative, mature 

and progressive. 


7

CHAIRMAN'S REPORT CONTINUED 

Before consolidating the positive contribution from the Opera Australia 

Capital Fund, the Company produced a full year operating deficit 

of $500,000 – a welcome improvement on the prior year but a loss 

nevertheless. 

But the strength of the financial result is best seen in Opera Australia's 

year end cash balance which improved from a negative position of 

$448,000 in the prior year when the full force of the global financial 

crisis was felt, to cash breakeven at positive $32,000. The Company's 

balance sheet is strong. With the important contribution from the 

Capital Fund, our consolidated net deficit reduced to $297,000. 

As always, I would like to thank my fellow Board members of the Opera 

Australia Capital Fund and particularly its Chairman, David Clarke, for 

their important contribution to Opera Australia. 

Financially and artistically, the Company ended 2010 with good 

momentum and the promise of continuing improvement in 2011. 

The financial viability of the Company is dependent upon subsidies from 

the federal government and the state governments of NSW and Victoria, 

and I want to thank each of them for their ongoing investment in our 

national opera company. This support has been steadfast and enlightened 

but of course government resources are limited particularly in these 

times. This has amplified the importance of alternative sources of funds 

– philanthropy and sponsorship – while demanding intense efforts 

to improve productivity and cost management within the operating 

company. The 2010 results confirm that most of the financial levers 

within our control are very professionally managed and the Board holds 

management in very high regard. 

Both our chief executive, Adrian Collette and our Artistic Director, 

Lyndon Terracini address the 2010 year in the commentaries that 

follow. Predictably some productions hit the spot with our audiences, 

others were less well received. But the quality of our performances and 

performers was rarely questioned and our commitment to high standards 

is an enduring value. The influence of our artistic director, Lyndon 

Terracini, will become clearer as his programs are developed in the years 

Opposite above: Michael Lewis in the title 

role of Rigoletto 

Opposite: Emma Matthews as Cunegonde 

with members of the Opera Australia Chorus 

Candide 

Mazda Opera in the Domain 


9

CHAIRMAN'S REPORT CONTINUED 

ahead. But already he is having a most positive impact on the quality of 

the Company's work. 

Through the year, the board has worked with management on a 

number of key issues which include: upgrading the Company's website 

and usability, the role of social media for connecting to, and engaging 

with our audiences, consideration of new models of programming and 

scheduling that might have broader social appeal, the balance between 

classical and popular works, the nurturing of local talent and young 

artists, the threat and opportunity of global digital broadcasting and 

archiving strategy, and an approach to ticket prices which might better 

meet the needs of our various audiences. Together with its normal 

oversight functions, it's been a busy year for board members and I 

am very grateful to them for their forensic and always enthusiastic 

contributions during a particularly demanding period. 

The year saw the retirement of two long-serving board members – Julia 

King who was a director for nine years and Robert Morgan whose tenure 

spanned 11 years. Ms King and Mr Morgan can each point to momentous 

times in the past where their roles proved pivotal and where decisions 

they helped shape have strengthened the organisation mightily. On 

behalf of the board and the Company, I would like to thank them for 

being such important and active contributors over a long period. 

Such experience is not easily replaced but planned turnover of board 

members is a healthy dynamic and we welcomed David Epstein to the 

board in June. His commercial and political experience plus personal 

qualities are expected to enrich our future deliberations. 

It's safe to predict that the years ahead will be different again. The 

Company has announced an innovative Opera on the Harbour mega 

production in Sydney and an ambitious Ring Cycle in Melbourne. These 

productions will galvanise the artistic community while hopefully 

electrifying audiences. More opera will be seen in more places around 

Australia than ever before, and by a greater range of our communities – in 

schools and halls and outdoor, and via new channels, online and otherwise. 

And along the way, we aim to enrich the cultural lives of Australians. 

Tobias Cole as Oberon and 

Tyler Coppin as Puck 

A Midsummer Night's Dream 

Finally, together with my board colleagues, I would like to acknowledge 

the leadership of our chief executive, Adrian Collette, who is held in high 

esteem by us, the contributions from the executive team he has formed, 

and all the members of the OA family – singers, orchestral players, 

choristers, technicians, administrators. It is a privilege to be a part of this 

institution and to help it fulfil its mission. 


11

INCOME AND EXPENDITURE COMPONENTS 

INCOME 

65% ($42.8 m) Box office, earned income and contributions 

35% ($23.2 m) Government grants 

EXPENDITURE 

65% ($43.0 m) Staff and employment expenses 

14% ($9.5 m) Venue, transport and travel costs 

12% ($7.8 m) Depreciation, other production and overhead costs 

David Hobson and Yvonne Kenny 

Singing for Love 

Concert Tour 

9% ($6.0 m) Marketing and promotion 


13

Chief Executive's Report 

Adrian Collette AM 

It is concerning that after many years of operating surpluses, Opera 

Australia has now posted two consecutive years of operating deficits. 

Fundamentally this is because of a sharp decline in box office after 

record years of ticket sales leading up to the end of 2008. Which begs the 

question, what has changed 

Fundamentally two things, I think: 

First, we have not been immune from the effects of the economic 

slowdown on retail activity around the country. While other arts 

companies have not suffered to the same extent, the size of OA’s box 

office, both in the number of its ticket sales and the value of its sales, is 

such that the Company had a long way to fall, even if market conditions 

deteriorated only slightly. (There has also been a severe impact on our 

sales to tourists at the Sydney Opera House, given the effect of recession 

in key markets overseas.) 

Emma Matthews as Amina 

La sonnambula 

The second, related reason is a direct consequence of the price OA needs 

to charge to cover the cost of performing main stage opera of a high 

standard. Presenting opera, with full orchestra, chorus, quality principal 

singers, dancers, actors and international creative teams is expensive, 

and of course we have to recover our costs. This has proved more than 

usually challenging in a market that has been aggressively discounting 

even its most premium brands over the past eighteen months. We have 

experienced much sharper price sensitivity than in the past. 


15

CHIEF EXECUTIVE'S REPORT CONTINUED 

There is a third and more far reaching reason for OA’s declining sales, 

which I will elaborate on later. First, I am happy to report that even 

with this most challenging environment, we were able to minimise the 

impact on the Company’s financial reserves. Opera Australia has reported 

a $500,000 operating loss for year 2010. (This includes the annual loss 

incurred on the AOBO, which also provides services to The Australian Ballet’s 

Sydney seasons.) The Opera Australia Capital Fund has reported a modest 

surplus for the year, which means the depletion of the Opera Australia 

Group’s reserves is $220,000, on total annual expenditures of $66 million. 

For this result, which could have been so much worse, I have my colleagues 

to thank. To the artists and artisans, and their representatives who 

understood the Company’s challenges and responded with moderation and 

practical wisdom, I am profoundly grateful. We also have the experience 

and ‘know how’ of my management colleagues to thank: when material 

savings had to be delivered, they knew what to do to maximise savings 

without compromising a program that was set and contracted three years 

ago. And my thanks are due to our Board of Directors, whose grasp of our 

business operations allowed management the discretion to make all the 

effective changes necessary to ameliorate our result. 

But, clearly, two operating deficits in succession make a compelling 

argument for change. And it is in response to this that I find myself both 

excited and optimistic about our national opera company’s future. When 

circumstances change, the first thing we must do is recognise that they have! 

Our response to our current challenges began nearly sixteen months ago 

when we recruited OA’s Artistic Director, Lyndon Terracini. It is my view 

that Opera Australia had refined its business and organisational model over 

the last decade about as far as it could go. Changed circumstances left our 

company and its artists exposed; and we all know it takes at least three 

years to set and fully realise plans for any new agenda in opera. We needed a 

creative response, indeed an artistic response, to our changed environment. 

Opposite above: Cheryl Barker as the 

Marschallin and ensemble 

Der Rosenkavalier 

Fundamental to our thinking about the future is the simple proposition 

that if we want to increase our audience and deepen our engagement 

with the community we have to change what we offer them. 

Opposite: Sigrid Thornton as Desirée and 

Anthony Warlow as Fredrik 

A Little Night Music 


17


And fundamental to that proposition is that our response to this 

challenge must be creative, in the truest sense of the word. We cannot 

simply market our way to a larger audience; rather, at all levels we must 

create a program or programs that excites and engages a larger and more 

diverse audience. 

And this is why Lyndon’s artistic leadership is vital, because he is 

developing what I believe will be a ground breaking creative response to 

the challenges of building an opera company in the 21st century. 

Already we have seen plans put into place which will broaden and 

deepen our reach: 

At one end of the spectrum we have announced two major events: first, 

The Melbourne Ring Cycle for 2013 and, second, Opera on Sydney Harbour, 

which will be formally launched in May this year for its first season in 

2012. Both major events, which have attracted additional funding from 

Victorian Major Events and Events New South Wales respectively, will 

attract not only local support but also attract national and international 

visitors to Australia’s two major cities. I would like to note with gratitude 

the remarkably generous pledge of philanthropic support for The 

Melbourne Ring Cycle by Maureen and Tony Wheeler. While there is much 

to do, it is their belief in this project that has galvanised additional support. 

Opera Australia is now far more active in commissioning new Australian 

operas, which will be announced and presented over the coming three years. 

At the same time, we are also developing a more comprehensive 

education program and community partnerships program, including a 

meaningful engagement with indigenous culture, which will allow us to 

embrace the very diverse cultures that make up modern Australia. Our 

newly appointed Indigenous Advisory Group includes Deborah Cheetham, 

Rachel Maza Long, David Williams and Nadine McDonald-Dowd. 

Peter Coleman-Wright as Count Almaviva, 

Teddy Tahu Rhodes as Figaro, 

Tiffany Speight as Susanna and 

Rachelle Durkin as Countess Almaviva 

The Marriage of Figaro 

We have also created our own Digital Media Unit within Opera Australia, 

which will see us record and distribute the wonderful work of Opera 

Australia's artists in glorious High Definition, both nationally and 

internationally, through cinemas, television, DVD, CD and all other 


19


parts of the increasingly complex and content-hungry media matrix. (It 

was something of a coup to secure the services of Hans Petri, founder 

and former owner of Opus Arte, as our Commercial Director for our 

new Digital business.) Importantly, this is also another way that Opera 

Australia can increase its presence in regional Australia. Distribution 

partners for this exciting new venture are already in place, including 

CinemaLive, The Electric Picture Company, Sydney Opera House and 

the ABC, which will telecast 16 Opera Australia productions over the 

next three years. In 2010 The Marriage of Figaro, Rigoletto and Der 

Rosenkavalier were recorded. Among this year’s achievements has been 

the launch of our new web-site, which, among many other features, gives 

us much more capacity to exploit digital content. 

Of course at the core of all this diverse activity – activity designed to 

attract and engage a more diverse audience – is our program of main 

stage opera. And while we can’t reveal our plans in detail at this stage, 

I am confident that here too, under Lyndon Terracini’s stewardship, Opera 

Australia will present a program to engage and inspire a growing audience: 

from the great standard works of the operatic repertoire, through some 

of the finest examples of music theatre, to some of the most esoteric 

expressions of what has yet been imagined in this glorious art form. 

In essence, we are developing a plan for growth that is based on an 

artistic response about the purpose of an opera company in the twentyfirst 

century. That’s an exhilarating proposition! 

Amelia Farrugia in the title role of Manon 

As for the present, Opera Australia delivered an ambitious program in 

2010, keeping faith with all its many and important constituents. Among 

our new productions for the year we saw a deeply controversial new 

production of Tosca, directed by Christopher Alden, Stuart Maunder’s 

charming production of Stephen Sondheim’s A Little Night Music (which 

was new to Sydney audiences), the Opera Conference supported 

productions of Puccini’s rarely performed work, La fanciulla del West, 

directed by Nigel Jamieson and Julie Edwardson's production of Bellini’s 

bel canto masterpiece, La sonnambula, with musical direction by Richard 

Bonynge. Of course the other magnificent new production for the year 

was Brett Dean and Amanda Holden’s new opera, Bliss, which won 

such critical acclaim with its performances in Sydney, Melbourne and 


21


Edinburgh, where it won the Edinburgh Festival’s highly coveted ‘Angel 

Award’. Elgar Howarth’s music direction, Neil Armfield’s direction, Brian 

Thomson’s ingenious design and Peter Coleman-Wright heading an all 

Australian cast, ensured a brilliant success for the Company. 

Just as important were the revivals for the year, which saw us bringing 

favourite productions back to the stage as well as beautifully performed 

revivals of Benjamin Britten’s A Midsummer Night’s Dream, and Richard 

Strauss’s Der Rosenkavalier, which allowed both Cheryl Barker and 

Catherine Carby such important role debuts, as the Feldmarschallin and 

Octavian respectively. 

Of course there is much more to our national company than its main 

stage seasons in Sydney and Melbourne, all of which demonstrates our 

ambition to engage as broad a community as possible: 

Oz Opera 

In 2010 Oz Opera presented a new touring production of La traviata 

directed by Rachel McDonald which captured the beauty and gritty 

reality of the story. Conducted by Ollivier-Philippe Cunéo and later in 

the season by Simon Thew, performances were given in 25 communities 

across Victoria, Tasmania, New South Wales and the Australian 

Capital Territory reaching over 17,000 audience members. The forty 

performances of the season were held in diverse venues ranging from 

Hobart’s Theatre Royal, to a high school basketball court in Cowra and 

a tarpaulin-covered pig shed known as Morundah’s much-treasured 

Paradise Palladium Theatre. 

An important part of the Regional Tour is the education workshops and 

master classes with local schools and community groups known as the 

Australia Post Opera in Schools Program. Fourteen workshops were led 

by Eddie Muliaumaseali’i and were facilitated by the singers, orchestra 

members, and creative artists. In 2010, for the first time the technical 

crew also took part! 

Anke Höppner as Minnie 

La fanciulla del West 

Oz Opera’s Schools Company tours took place in primary schools in 

regional and metropolitan Victoria and New South Wales. Just under 

25,000 students in Victoria were delighted by performances of Sid the 


23


Serpent who wanted to Sing and around 37,000 primary students were 

entertained by The Sound Garden. Both of these are Australian operas 

and for many children this is the first time they have seen an opera or a 

live performance. We are very grateful to the NSW government for the 

support received through Arts NSW which extends the reach of the tour 

in that State and Western Sydney. 

Education 

Beyond the tens of thousands of primary schools students reached 

through the Oz Opera Schools Tours, Opera Australia continued to run 

an innovative education program for secondary students as well. 

WotOpera continued to challenge and inspire young Australians to 

completely create and perform their own original operas through just 

20 contact hours. Three projects ran consecutively across Bendigo, 

Western Sydney and Launceston with groups of 20 high school students 

creating stories ranging from teenage pregnancy and drug dealing to a 

speed-knitter who saves the world from Satan. WotOpera was extended in 

2010 to include a partnership with Golden City Support Services and the 

successful participation of a group of people with disabilities in Bendigo. This 

commitment to developing the creativity of Australia’s youth was made 

possible through the generous support of Principal Sponsor, Graeme Wood, 

and project-specific funding from the NSW and Victorian governments. 

OperaEd continued as one of our flagship education programs opening 

up the world of opera to young people who would not otherwise have 

this opportunity, and this program too welcomed participation for 

the first time by young people with significant physical disabilities. 

OperaEd reached some 120 students in 2010 all drawn from areas of 

socio-economic disadvantage. Barclays Capital is the most enthusiastic 

Principal Supporter of this program and the direct involvement of 

their staff is testimony to that company’s genuine commitment to 

community engagement. 

Opposite above: Students from Queechy 

High School, Launceston Tasmania, 

participating in WotOpera 

The Commonwealth Bank extended its relationship with the Company 

and communities around Australia through the proud support of Opera 

for Students. Every year this program makes hundreds of tickets available 

to school students at significantly reduced prices and through the 

Taryn Fiebig as Eliza Doolittle and 

Richard E. Grant as Henry Higgins 

My Fair Lady 

Opposite: Western Sydney secondary 

students participating in the OperaEd 

program 


25


provision of purpose-built teaching resources carefully tailored to meet 

specified Department of Education curriculum objectives. 

Being part of the education and growth of young Australians is a key 

responsibility for all Australian cultural and arts institutions. Opera 

Australia is proud to play its part and salutes the visionary individuals, 

corporations and government agencies which make the breadth and 

depth of the Company’s education program possible. 

Mazda Opera in the Domain 2010 

In front of a capacity audience under the stars in January, we presented 

Mazda Opera in the Domain, with a witty and sparkling performance of 

Bernstein's Candide. For the first time in some years we collaborated again 

with Sydney Festival and under the direction of Lindy Hume this remarkable 

work delighted tens of thousands. David Hobson, Emma Matthews and 

Paul McDermott led a wonderful cast, Hamish and Andy entertained the 

crowds before the show, and Mazda again supported a unique occasion, free 

for the community, attracting audiences who might not normally have the 

opportunity to experience the work of our company. 

ABC relationship 

Opera Australia and the ABC continued its longtime relationship in 2010 

across various fronts. Early in the year, a performance from the world 

première of Bliss was broadcast live on ABC2 and to regional cinemas, 

and a documentary, Making Opera Bliss, followed the opera’s journey 

from rehearsals to stage. A performance from the Melbourne season was 

broadcast live on Classic FM. Other live radio broadcasts included La 

sonnambula, The Marriage of Figaro and Der Rosenkavalier. Bliss was also 

recorded in Edinburgh by BBC Radio 3 for delayed broadcast. 

In November, Classic FM, ABC TV and Opera Australia worked together to 

broadcast Dame Joan Sutherland’s memorial service. Also in November 

several DVDs in Opera Australia's back catalogue were re-issued including 

best-selling Dame Joan Sutherland titles. 

Anthony Warlow as the Pirate King and 

Matthew Robinson as Frederic 

The Pirates of Penzance 

Several cinemas have also opted to show a Dame Joan tribute season, 

which began in 2010 with the Sutherland/Bonynge/Pavarotti Gala 

Concert from 1983 and continues into 2011. 


27


OA on other stages 

2010 saw the continued showcasing of Opera Australia productions both 

domestically and internationally resulting in the ongoing combination 

of production hires, coproduction presentations and staging of Opera 

Conference productions. 

Our highly successful 2009 production of Peter Grimes was presented 

in the theatres of our co-partners, West Australian Opera and Houston 

Grand Opera throughout 2010 and we also hired our production of The 

Turn of the Screw to Houston Grand Opera. Our production of Il trovatore 

was presented at the Macau International Music Festival, maintaining our 

connections in the Asian region. 

Domestically, Opera Australia hired its productions of L'elisir d'amore (to 

Opera Queensland) and The Pearlfishers and Hansel and Gretel (to State 

Opera of South Australia). Opera Conference productions of Cavalleria 

rusticana/Pagliacci and La sonnambula were presented by West Australian 

Opera and the final staging within the Opera Conference parties of Aida 

was presented in Brisbane by Opera Queensland. 

We continue to give focus to the development of our coproduction 

partnerships and to exploring new ways of copresenting productions 

both in Australia and abroad. 

Occupational Health and Safety 

The safety of our employees and guest artists remains a high priority. 

We have further developed our health and safety procedures to prevent 

mishaps and incidents on stage, and in our stores and manufacturing 

areas. This year, however, we did experience a significant injury when 

one of our lighting staff fell from a set structure and broke his arm. This 

incident was thoroughly investigated and additional safety measures 

were put in place to prevent a recurrence. Overall, our injury profile 

reflects the hazardous nature of stage work and the transport and 

erection of heavy set elements, with a predominance of minor strain 

injuries. The incidence and severity of our injuries have further decreased 

this year, with a consequent reduction in workers compensation costs 

and premiums. I am pleased to say that our performance compares well 

to industry benchmarks. 

Cheryl Barker as the Marschallin 

Der Rosenkavalier 

2011 has opened well for Opera Australia as we anticipate more robust 

sales for this year. But more than anything, I look forward to the future 

we will forge for members of our Company and our audience under the 

ambitious artistic plans we are currently developing. 

OPERA AUSTRALIA ANNUAL REPORT 2010 29

OPERA AUSTRALIA 

Adrian Collette AM, Chief Executive 

Lyndon Terracini, Artistic Director 

Tony Legge, Assistant Music Director 

Artists 2010 

Cheryl Barker 

Carrie Barr 

Angela Brun 

Elizabeth Campbell 

Catherine Carby 

Judi Connelli AM 

Jacqueline Dark 

Rachelle Durkin 

Amelia Farrugia 

Elvira Fatykhova 

Tania Ferris 

Taryn Fiebig 

Clarissa Foulcher 

Lorina Gore 

Antoinette Halloran 

Lisa Harper-Brown 

Rosemarie Harris 

Nancye Hayes 

Kate Maree Hoolihan 

Anke Höppner 

Suzanne Johnston 

Natalie Jones 

Yvonne Kenny AM 

Takesha Meshé Kizart 

Hye Seoung Kwon 

Teresa La Rocca 

Erica Lovell 

Jacqueline Mabardi 

Dominica Matthews 

Emma Matthews 

Lucy Maunder 

Kathleen Moore 

Milijana Nikolic 

Jane Parkin 

Sian Pendry 

Merlyn Quaife 

Katrina Retallick 

Tiffany Speight 

Sigrid Thornton 

Amy Wilkinson 

Elisa Wilson 

Nicole Youl 

Richard Alexander 

Richard Anderson 

Jud Arthur 

Carlo Barricelli 

Stephen Bennett 

Paul Biencourt 

Paul Blackwell 

Joshua Bloom 

Jonathan Bode 

John Bolton Wood AM 

Kanen Breen 

Andrew Brunsdon 

Jacob Caine 

José Carbó 

Peter Carroll 

Henry Choo 

Conal Coad 

Tobias Cole 

Peter Coleman-Wright 

Tyler Coppin 

David Corcoran 

Fernando del Valle 

Aldo Di Toro 

Gennadi Dubinsky 

Samuel Dundas 

James Egglestone 

Christopher Field 

Warwick Fyfe 

Luke Gabbedy 

Julian Gavin 

Manfred Hemm 

David Hibbard 

David Hobson 

Michael Honeyman 

Andrew Jones 

Todd Keys 

Rosario La Spina 

Anthony Lawrence 

Ben Lewis 

Michael Lewis OAM 

Jorge Lopez-Yanez 

Shane Lowrencev 

Paul McDermott 

Graeme Macfarlane 

Richard Mitchell 

Andrew Moran 

Paul O'Neill 

Alan Opie 

David Parkin 

Teddy Tahu Rhodes 

Matthew Robinson 

Gary Rowley 

Barry Ryan 

Stephen Smith 

Jonathan Summers 

David Thelander 

Anthony Warlow 

Byron Watson 

John Wegner 

Chorus 

Chloris Bath 

Helen Borthwick 

Emma Castelli 

Annabelle Chaffey 

Caroline Clack 

Lisa Cooper 

Rachael Cunningham 

Jane Dunstan 

Deirdre Elliott 

Elizabeth Ellis 

Mary-Ann Fraser 

Vanessa Lewis 

Yolanda Lorenzato 

Claire Lyon 

Jodie McGuren 

Marjory McKay 

Ke-Lu Ma 

Lynette Murray 

Sandra Oldis 

Sharon Olde 

Margaret Plummer 

Leah Thomas 

Katherine Wiles 

Dean Bassett 

Christopher Bath 

Gregory Brown 

Martin Buckingham 

Edmond Choo 

Malcolm Ede 

Thomas Hamilton 

Scott Hannigan 

Christopher Hillier 

Jin Tea Kim 

Nara Lee 

David Lewis 

Jeffrey Lock 

Jonathan McCauley 

Kent McIntosh 

Robert Mitchell 

Max Naguit 

Adam Player 

Clifford Plumpton 

Sam Roberts-Smith 

James Roser 

Sam Sakker 

Adrian Tamburini 

Conductors 

Philippe Augin 

Richard Bonynge AO CBE 

Alexander Briger 

Brian Castles-Onion 

Ollivier-Philippe Cunéo 

Johannes Fritzsch 

Andrew Greene 

Elgar Howarth 

Paul Kildea 

Anthony Legge 

Marko Letonja 

Andrea Licata 

Andrew Litton 

Shao-Chia Lü 

Stephen Mould 

Emmanuel Plasson 

Giovanni Reggioli 

Patrick Summers 

Arvo Volmer 

Tom Woods 

Music Staff 

Chorus Master 

Assistant Chorus Master 

Michael Black 

Anthony Hunt 

Repetiteurs 

Phoebe Briggs 

Brian Castles-Onion 

Kate Golla 

John Haddock 

Jennifer Marten-Smith 

Tahu Matheson 

Stephen Walter 

Italian Language Coach 

German Language Coach 

French Language Coach 

Renato Fresia-Verdino 

Tanja Binggeli 

Marie-Claire Ch.Légion d’Honneur, Ch. Arts et Lettres 

Directors 

Christopher Alden 

Neil Armfield AO 

Matthew Barclay 

Cathy Dadd 

Julie Edwardson 

Brian FitzGerald 

David Harmon 

Elizabeth Hill 

Lindy Hume 

Nigel Jamieson 

Richard Jones 

Baz Luhrmann 

Stuart Maunder 

Elijah Moshinsky 

Luise Napier 

Roger Press 

Johanna Puglisi 

Gavin Robins 

Imara Savage 

Matthew Thomson 

Designers 

Scott Otto Anderson 

Zoe Atkinson 

Alice Babidge 

Charles Edwards 

Dale Ferguson 

Peter J Hall 

Roger Kirk 

Matthew McCall 

Bill Marron 

Catherine Martin 

Jon Morrell 

Carl Friedrich Oberle 

John O'Donnell 

Kate Roberts 

Richard Roberts 

Michael Scott-Mitchell 

Bob Scott 

Angus Strathie 

BrianThomson 

Chris Twyman 

Michael Yeargan 

Lighting Designers 

Robert Bryan 

Trudy Dalgleish 

Rory Dempster 

Charles Edwards 

Phil Lethlean 

Nigel Levings 

Matt Scott 

Choreographers 

Belynda Buck 

Kate Champion 

Elizabeth Hill 

Gavin Robins 

Antoinette Halloran as Rosalinde, 

Catherine Carby as Orlovsky, 

Yvonne Kenny as the Special Guest and 

Amelia Farrugia as Adele 

Fledermaus 


Jonathan Alley 

Matthew Barclay 

Jonathan Bode 

Timothy Brigden 

Jo Briscoe 

Andrea Carcassi 

Christopher Cartner 

Annabelle Chaffey 

Pamela Christie 

Ollivier-Philippe Cunéo 

Cathy Dadd 

Keara Donohoe 

Genevieve Dugard 

Donna-Maree Dunlop 

Ashley Giles 

Sue Goessling 

Tom Gutteridge 

Tom Hamilton 

Victoria Lambourn 

Susannah Lawergren 

Eleanor Lyons 

Rachel McDonald 

Matthew Marshall 

Carlee Mellow 

Eddie Muliaumaseali'i 

James Payne 

Manfred Pohlenz 

Benjamin Rasheed 

Phillipa Safey 

Ingrid Sakurovs 

Heinz Schweers 

Sarah Sweeting 

Leah Thomas 

Jason Wasley 

Louise Watts 

Barbara Zavros 

Anna Zeltzer 


31

Artistic Director's Report 

Lyndon Terracini 

As Artistic Director of Opera Australia I take responsibility for the 

artistic health and well being of Australia's national opera company and 

indeed for the largest performing arts company in Australasia. 

This is a responsibility I do not take lightly. 

Through difficult financial times we must maintain and indeed 

improve the standard of performance that our loyal patrons have 

come to expect. This can sometimes be difficult, but with very talented 

individuals both on stage and behind the scenes, Opera Australia has 

had a particularly successful 2010. 

The première of Bliss was of course an extraordinary achievment and I 

would like to acknowledge the work of Simone Young in commissioning 

Brett Dean and Amanda Holden to create the opera and also Richard 

Hickox for his committment to the development of Bliss. The reception 

for Bliss in Sydney, Melbourne and particularly at the Edinburgh 

International Festival was extraordinary. Bliss was a major international 

success for Brett Dean, Amanda Holden and for Opera Australia. 

The Opera Australia Chorus 

La sonnambula 

Throughout 2010 there were many fine individual performances, 

but I must acknowledge the outstanding achievements of the Opera 

Australia Chorus and both the Australian Opera and Ballet Orchestra 

and Orchestra Victoria. 


33

Peter Coleman-Wright in the leading role, Harry Joy, 

with members of the ensemble, Bliss

ARTISTIC DIRECTOR'S REPORT CONTINUED 

I would also like to acknowledge and thank personally, the tremendous 

work of Michael Black, Opera Australia's Chorus Master, Anthony Legge, 

Opera Australia's Assistant Music Director, and Ian McCahon, the 

Company's Artistic Administrator, for their commitment and talent in 

ensuring that Opera Australia is at the forefront of international best 

performing arts practice. 

Similarly Matthew Barclay, Opera Australia's Senior Resident Producer 

and his team have done outstanding work in ensuring that the revivals 

of repertoire productions remain fresh and vibrant, and Chris Yates, 

Opera Australia's Technical Director who delivers technical expertise of 

the highest quality. 

Without the exceptional work of these talented individuals and their 

teams Opera Australia could not function. It is also a particular joy to work 

with Adrian Collette whose enthusiasm for Opera Australia is unparallelled. 

There were some exhilarating highlights for opera-goers in 2011. These 

included Der Rosenkavalier, Le nozze di Figaro and La traviata, to name a 

few, and the Company's first performances for cinema broadcast have 

been excellent. Many of these will be available on DVD. 


La traviata toured successfully throughout Victoria and will 

continue in 2011 through Queensland, the Northern Territory and 

Western Australia. Similarly Oz Opera's Schools Company played to 

approximately 61,500 school children in Victoria and NSW in 2010 and 

was very well received. We applaud everyone involved with Oz Opera in 

supporting our efforts to reach as broad an audience as possible. 

Finally, pastoral care of Opera Australia's artists has been an important 

part of 2010. I believe the Company is in a strong position artistically 

as we meet the challenges of 2011 and beyond. There are exciting 

times ahead and I look forward to sharing them with you. 

John Wegner as Baron Scarpia and 

Takesha Meshé Kizart as Tosca 

Tosca 


37

Australian Opera and 

Ballet Orchestra 

The Australian Opera and Ballet Orchestra (AOBO) is a wholly owned 

subsidiary of Opera Australia, performing for Opera Australia and The 

Australian Ballet during their respective Sydney seasons. The Orchestra 

is substantially funded by the Australian and NSW governments, 

acknowledging the central role that orchestral music has in the 

performance of both opera and ballet, and the skills of the Orchestra 

specialising in this repertoire. 

The Orchestra gives in the region of 250 performances per annum, the 

busiest of all Australian orchestras. A world-class orchestra, the AOBO 

continues to build on the Orchestra’s extensive knowledge of the opera 

and ballet repertoire after almost forty years of performance history. 

Among the AOBO’s strengths is the commitment and experience 

of individual musicians and sections of the Orchestra, led by 

Concertmaster Aubrey Murphy and Associate Concertmaster 

Huy-Nguyen Bui. 

The Orchestra has a core strength of 69 permanent musicians, 

supplemented throughout the year by around 150 seasonal and casual 

musicians as required by the repertoire. 

The Australian Opera and Ballet Orchestra 

and Opera Australia Chorus perform at the 

memorial service for Dame Joan Sutherland 

The central issue confronting the Orchestra is the challenge of 

performing in the confined space of the orchestra pit. The resulting 


39

ACTIVITIES 2010 

For Opera Australia 

Performances 

For The Australian Ballet 

Performances 

Summer Season of Opera 

Autumn Season of Ballet 

Tosca 21 Silver Rose 22 

Manon 8 Coppelia 21 

La traviata 19 43 

A Midsummer Night's Dream 10 

Bliss 6 Spring Season of Ballet 

64 Edge of Night 19 

The Nutcracker 22 

41 

Winter Season of Opera 

A Little Night Music 12 Total for The Australian Ballet 84 

The Marriage of Figaro 22 

La fanciulla del West 8 

La sonnambula 9 

The Pirates of Penzance 27 

Rigoletto 15 

Der Rosenkavalier 8 

101 

Concerts/other performances 

Mazda Opera in the Domain – Candide 1 

Great Christmas Caper 6 

New Year's Eve Gala 1 

Australian Singing Competition finals 1 

9 

Total for Opera Australia 174 Total performances 257 

AUSTRALIAN OPERA AND BALLET ORCHESTRA CONTINUED 

occupational health and safety issues, mainly high noise levels, make it 

necessary to employ seasonal and casual musicians to provide respite 

for the permanent musicians of the Orchestra. 

In addition to performances for the opera and ballet, the AOBO 

also performs mainstage concerts throughout the year, including 

Mazda Opera in the Domain, Great Christmas Caper and the famous 

and celebrated New Year’s Eve concert at the Sydney Opera House. 

The performance of a brass fanfare composed by a member of the 

Orchestra has now become a well-established feature of the New Year’s 

Eve concert. 

Notable performances for Opera Australia in 2010 included the world 

première season of Brett Dean's Bliss, performing on-stage as a key 

feature in Baz Luhrmann's spectacular production of Benjamin Britten's 

A Midsummer Night's Dream, and performances of Der Rosenkavalier in 

October. Highlights with The Australian Ballet included a season of The 

Silver Rose to a score by Carl Vine, and The Nutcracker in December. 

The Orchestra also features on recordings of live performances in 

the Sydney Opera House of The Marriage of Figaro, Rigoletto and Der 

Rosenkavalier, for cinema and DVD release. 

The Orchestra performed for the memorial service for Dame Joan 

Sutherland in the Concert Hall of the Sydney Opera House on 9 

November. 

In addition, in October the Orchestra performed for the finals of the 

Australian Singing Competition at the Sydney Opera House. 


41

AUSTRALIAN OPERA AN D BALLET ORCHESTRA 

Concertmaster 

Associate Concertmaster 

Acting Deputy Concertmaster 

Aubrey Murphy 

Huy-Nguyen Bui 

Catalin Ungureanu 

VIOLIN 

Mark Fitzpatrick (Principal 2nd) 

Adrian Keating + 

Tony Gault + 

Yu-Qing Rebecca Irwin* 

Virginia Blunt 

Rachel Easton 

Marek Kruszynski 

Airena Nakamura 

Samuel Podjarski 

Daniel Rosenbaum 

Robert Sek 

Jaroslaw Talar 

Rachel Westwood 

Patrick Wong 

Thomas Dundas 

Kerry Martin 

Jennifer Taylor 

Stephanie Zarka 

VIOLA 

Virginia Comerford 

Amanda Murphy* 

David Dixon 

Magda Kruszynska 

Marilyn Wilson 

Shelley Sorensen 

CELLO 

Zoltan Szabo 

Eszter Mikes-Liu* 

Henry Urbanavicius 

Pierre Emery 

Andrew Hines 

Margaret Iddison 

Andrew Wilson 

DOUBLE BASS 

Brett Berthold 

Andrew Meisel* 

Edmund Bastian 

Jennifer Penno 

David Cooper 

FLUTE 

Elizabeth Pring 

Amanda Hollins* 

Alistair Howlett 

PICCOLO 

Diane Berger 

OBOE 

Conall McClure 

Matthew Tighe* 

Mark Bruwel 

COR ANG LAIS 

Andrew Malec 

CLARIN ET 

Peter Jenkin 

Richard Rourke 

BASS CLARIN ET 

Euan Huggett 

BASSOON 

Douglas Eyre 

Matthew Ockenden* 

Gillian Hansen 

HORN 

Michelle Perry 

Saul Lewis 

Victoria Chatterley 

Lisa Wynne-Allen 

TRUMPET 

Joshua Clarke 

Craig Ross* 

Bruce Hellmers 

CORN ET 

Brian Evans 

TROMBON E 

Gregory van der Struik 

Brett Favell* 

William Farmer 

BASS TROMBON E 

Brett Page 

TUBA 

Edwin Diefes 

PERCUSSION 

Allan Watson 

Troy Greatz* 

TIMPAN I 

David Clarence 

HARP 

Jane Rosenson 

Elvira Fatykhova as Violetta 

La traviata 

Orchestra Man ag emen t 

G eneral Manager, Orchestra 

Orchestra Manager 

Orchestral Operations Manager 

Assistant Orchestra Manager 

Orchestral Administration Coordinator 

Staging Assistant 

Ed Hossack 

Gérard Patacca 

Matthew Toffolon 

Ella Howard 

Emma In der Maur 

Scott Moon 

Italics Principal 

+ 

Principal 1st Violin 

* Associate Principal 


43

A Tribute to Dame Joan Sutherland 

Whenever Joan sang, there was always an incredible awareness amongst all those present, that we were hearing 

something very special and magical, especially in her dazzling displays of coloratura. 

Clifford Grant OAM, bass 

I remember standing on stage near Joan each night during the Bell Song in Lakmé, thinking that I must never 

become blasé about being so close to such supreme art. My good fortune in being her colleague was sweetened all the 

more by her endearing warmth, wit and friendliness. 

John Pringle AM, baritone 

Dame Joan's stellar talent, and the time she and her husband Richard Bonynge invested in Australia, inspired both 

a great audience for opera and the development of so many fine Australian artists. We would not have a modern 

company of such depth and significance without her example. 

Adrian Collette AM, Chief Executive, Opera Australia 

The magnificence of her voice resonated throughout her whole body and its energy radiated to her fellow artists, 

inspiring our own performances. Joan possessed a wicked sense of humour, was always down to earth and loyal and 

supportive. 

Jennifer Bermingham OAM, mezzo-soprano 

With a superb technique built in a lifetime of dedication to her art, she was an inspiration to work with. To sing with 

Dame Joan Sutherland lifted one’s own performance to another level. 

Lauris Elms AM, OBE, mezzo-soprano 

Simply put, Dame Joan was Australia’s greatest opera singer. She was hailed around the world as La Stupenda, was a 

fine ambassador for Australia and made an extraordinary contribution to opera both here in Australia and internationally. 

Lyndon Terracini, Artistic Director, Opera Australia 

Joan Sutherland not only possessed the greatest voice of the 20th century she was also brilliant, clever, witty and 

the most professional colleague with whom I ever worked. What a privilege it has been for me to sing in eleven 

different operas over the years with our wonderful Dame Joan! 

Robert Allman AM, OBE, baritone 

Prime Minister Julia Gillard addressing 

the audience at Dame Joan Sutherland's 

memorial service, November 2010

It was the thrill of a lifetime to have known her and to have sung with her. Thank you, Joan, for filling my life with such 

a wealth of wonderful memories and pleasures. 

Robert Gard OBE, tenor 

I consider myself fortunate to have known Joan Sutherland as a colleague and friend. All those happy memories of 

wonderful performances. Sharing the thrill and beauty of her extraordinary vocal art. 

Graeme Ewer AM, tenor 

She was so friendly and interested in my own study and experience. This meant all the more to me when eventually I sang 

the title role in Alcina for Opera Australia, conducted by Richard. With the far too early demise of Dame Joan it seems we 

come to the end of a very special operatic era. 

Joan Carden AO, OBE, soprano 

To be on the stage with Joan was to know that you were in the presence of greatness and I count myself fortunate that 

I am able to say that “I worked with Joan Sutherland”. It was an association and connection to be proud of. 

Richard Greager, tenor 

What can I say about Joan Sutherland A megastar, an icon, La Stupenda. She was all those and more. I shall never 

forget her kindness and words of support when I first sang for the Company in 1983. 

Kenneth Collins, tenor 

My memories of her years with the Company will always be associated with the unfailing beauty and sheen of her 

voice; of professionalism and dedication; of her relaxed demeanor; and finally of a warm, generous colleague. 

Anson Austin OAM, tenor 

I was very much in awe of her amazing voice and presence, and then later in my career I was privileged to work with 

her in Lucia di Lammermoor, Il trovatore, Norma, I puritani and Hamlet. 

Donald Shanks AO, OBE, bass 

Joan Sutherland in the title role of Norma 


47

Sponsorship and Development Report 

“Hey listen… I’ve something to tell you! There’s something to celebrate, 

I’ve something important to say!” These opening lines from the opera 

Bliss capture the spirit of the Opera Australia Patrons who supported 

this new production in 2010 and became part of our inaugural Syndicate 

30. By donating directly to Bliss they sent a clear signal celebrating 

the importance of new productions to the life of the national opera 

company and demonstrating the tangible and creative difference this 

support can make. 

Syndicate 30 members were at the centre of a unique creative process, 

visiting the workshops to see the sets and costumes under construction, 

in the rehearsal room with the singers and orchestra, and backstage with 

the director and composer. Some even travelled with us to Edinburgh 

to join the Company as the curtain rose on the opening night in that 

Festival city. 

Every one of Opera Australia’s patrons plays a vital role in our successes 

and the Patron Program has long been at the heart of this company. We 

are profoundly grateful to all those individuals who share our passion and 

commitment for opera and we can not understate their importance or 

our appreciation. 

Opera Australia's 

Dinner on the Dock 

Another way support for our artists and musicians was demonstrated in 

2010 was the participation in our many fundraising special events. We 


49

SPONSORSHIP AND DEVELOPMENT REPORT 

CONTINUED 

enjoyed creating some of the most memorable occasions for our guests 

in locations breathtakingly transformed. In Melbourne, at the steps of 

the Dukes’ Palace we dined on the stage at the Arts Centre. In Sydney the 

scenery bay beneath the Opera House stage was bedecked with lights 

and hummed with music as hundreds dined in a backstage location that 

had never before seen such glamour. There were other memorable nights 

like our annual Wine and Gourmet Dinner on the Dock and two informal 

and delightful Celebrity Lunches. The support we receive at these events 

contributes directly to the next generation of Australia’s most talented 

singers, orchestra players and technical artisans. 

The Company’s need for support from corporate Australia remains acute 

and our sponsor partners, from all sectors of business and industry, 

generously invest with the expectation that they will see a measurable 

return. We are indebted to our two Hero Partners, Australia Post and 

Mazda. Their landmark partnerships brought thousands of new people 

to opera last year, whether in primary schools and regional communities 

around the country with Oz Opera, or our large-scale, free performances 

like Mazda Opera in the Domain. Unlocking the door to the work of the 

national opera company is key to our sustainability and the enlightened 

support of all our sponsors guarantees our continuing success. 

In 2010 we worked closer than ever with sponsors to share the work 

of Opera Australia with wider community and charitable organisations. 

With Goldman Sachs we presented a concert for those workers 

who selflessly volunteer their time and expertise to charities. With 

Commonwealth Bank we gave a private preview performance of The 

Pirates of Penzance where ticket proceeds went directly to breast and 

prostate cancer charities. With Australia Post we took our primary school 

show Sid the Serpent who wanted to Sing to the children affected by the 

bushfires in the Kinglake region and with ExxonMobil we performed for 

the local communities in the Gippsland region around Sale. We helped 

raise funds for the Mazda Foundation, and our partnership with the 

Asthma Foundation continued to promote their important research and 

awareness-raising campaigns. 

Opposite above: Sid the Serpent who 

wanted to sing ensemble 

And in 2010 we celebrated a remarkable milestone – the 30th 

anniversary of our partnership with ExxonMobil. Their far-sighted 

generosity has granted this company the security to plan, strive and 

deliver since 1980. It is unarguably a landmark in corporate sponsorship 

in this country and one we were thrilled to celebrate last year. 

ExxonMobil’s loyalty and trust has underpinned our endeavours for three 

decades and we salute and thank them for their extraordinary vision. 

Opposite: The cast of Oz Opera's 

La traviata 


51

SPONSORSHIP AND DEVELOPMENT REPORT 

CONTINUED 

One of our sponsors articulated the essence of partnership perfectly last 

year when he wrote, “We share a fundamental value – the commitment 

to excellence both in the arts and in business.” It is this commitment 

we work hard to honour and preserve. Without it our work would not 

reach as far as it now does, nor would our artists and artisans enjoy the 

professional opportunities and development they do. 

We believe that as important as any singer on the stage, each supporter 

of Opera Australia plays their own essential role in our success. With such 

a large proportion of our income derived from the private sector, our 

dependence on our supporters is both high and urgent. It is recognised, 

acknowledged and celebrated by every member of Opera Australia and 

contributes to an important cultural legacy. For this we thank you. 

Teddy Tahu Rhodes and Meow Meow 

Great Christmas Caper 


53

2010 Annual Report Part 1 - Opera Australia

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