2010 Annual Report Part 1 - Opera Australia

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.
OPERA AUSTRALIA ANNUAL REPORT 2010
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