Sydney Opera House Annual Report 2008/09

Where imagination takes you.Sydney Opera House2008/09 Annual Report

‘59Danish architect Jørn Utzonis announced as the winner of theinternational design competitionby the Hon. JJ (Joe) Cahill.‘57Work begins.

“whaT any humanbeing would like is Tobe compleTely free Touse whaT’s in yourself,To use every force youhave in yourself, everyskill… give me a job so ican devoTe myself wiThlove and skill 100%, TheniT is noT a job anymore,Then iT becomes an arT,an expression of love.This is how iT was.”Jørn utzon‘60The first ‘unofficial’ concert wasfor construction workers in 1960,when Paul Robeson sang songsof solidarity and protest to aspellbound crowd.Based on the geometry of a sphere,the ribbed shell system wasdeveloped – allowing each rib to bebuilt up of a number of standardsegments cast at the site.“I like to be on the edge of thepossible” Jørn UtzonUtzon spent three years developing theceramic tiles – there are over one milliontiles of 17 different varieties in gloss matt,white and cream finishes. Utzon wantedthe shells to contrast with the dark waterunder the deep blue Australian sky– like clouds or sails on the water.

“uTzon made a building well ahead of iTsTime, far ahead of available Technology,and he persevered Through exTraordinarymalicious publiciTy and negaTive criTicismTo build a building ThaT changed Theimage of an enTire counTry.”FranK Gehry – architect and PritzKer Prize Jury member 2003‘73‘99The Monumental Steps are nearly100 metres wide and inspired bythe Mayan temples of Mexico.Utzon liked the idea of processions.“A journey from the ordinary tothe extraordinary” Jørn UtzonSydney Opera House wasopened on 20 October 1973by HRH Queen Elizabeth II.In 1999, over three decades afterhis departure, Utzon accepted acommission to begin work on newdevelopment plans and documenthis design principles to guide thefuture development of the building.“The sun did noT knowhow beauTiful iTs lighTwas, unTil iT was reflecTedoff This building.”Louis Kahn – architect

1918–2008

The Hon. Nathan Rees, MPPremier and Minister for the ArtsSir, we have the pleasure of presenting the Annual Report of the Sydney Opera House for the year ended30 June 2009, for presentation to Parliament. This report has been prepared in accordance with the provisionsof the Annual Reports (Statutory Bodies) Act 1984 and the Public Finance and Audit Act 1983.Kim Williams AMChairmanRichard EvansChief ExecutiveLetter to MinisteraboveChairman’s Message 4CEO’s Message 6Vision & Goals 8Key Dates 8Who We Are 9Our Focus 9Key Outcomes 2008/09& Objectives 2009/10 11Financials 36Financial Statements 38Government Reporting 54Performance List 66Performing Arts 12Music 14Theatre 16Opera 18Dance 20Young Audiences 22Annual Giving 70Contact Information 73Index 74Sponsorsinside back coverCover photography by David Min & Mel KoutchavlisBroadening the Experience 24Building & Environment 26Corporate Governance 28The Trust 30The Executive Team 32People & Culture 34

Lighting the Sails: LuminousWhere imaginationtakes you…

Artistic ExcellenceWe strive for artistic excellenceby consistently seeking tocreate, produce and presentimaginative and engagingperforming arts eventsfrom Australia and aroundthe world that stimulate,challenge and entertain.Operating 363 days,1,241,763 people attendedperformances over the year.Innovation inCommunityEngagementWe are focussed on buildingcommunity participationand engagement withartists, organisations,educators, governments,donors and investors andreaching communities offsitevia digital platforms toenhance access, educationand understanding.The lighting of the sails at theopening night of Luminouswas streamed live to aworldwide audience. 62%of those who bought ticketsfor Luminous had neverbeen to a performance atSydney Opera House.Audience AccessibilityWe want to ensurethat all communitieshave access to a SydneyOpera House ‘experience’,whoever and whereverthey are. We want to be atthe forefront of deliveringartistic content using arange of delivery platformsthat improve access,reach and participation.Our Young Audience programgrew by 32% this year with71,129 people attending 300performances. 2,135 childrencame to performances underour Arts Assist program.A Contemporary& SustainableBennelong PointMaintaining the higheststandards in safety,conservation, planningand coordination ofbuilding developmentand maintenance is apriority. We aim to embedenvironmental sustainabilityin all that we do.The Accessibility andWestern Foyers Project wascompleted and the new roleof Manager, Sustainabilityand Energy was established.Knowing Our BusinessEnsuring that our businessmodel is efficient,sustainable, modern andfit for purpose is a keypriority and we will embeda spirit of entrepreneurship,innovation and teamworkin all that we do.Active prioritisation,deferral in discretionaryinvestment and cost controlresulted in an operatingcash flow result of $0.8m.3SYDNEYOPERA HOUSEANNUAL REPORT 2008/09

Chairman’sMessageIt was a challenging year for SydneyOpera House with the economicenvironment putting pressure on the Trust’scommercial activities and those of ourresident companies equally. Throughactive prioritisation, deferral indiscretionary investment and costcontrol across all areas of thebusiness, the general operatingcash flow result was $0.8m.Operating revenues grew by $4.1m(an increase of 5%).Kim Williams AMChairman

Financial &Operating PerformanceSydney Opera House still remains oneof the busiest performing arts centresin the world. 1,677 performances werestaged here in 2008/09 attracting1,241,763 people. Our residentcompanies, Sydney Symphony, OperaAustralia, The Australian Ballet andSydney Theatre Company wereresponsible for 51% of the totalaudience this year and Sydney OperaHouse presentations accounted for27%. A number of major eventswere delivered, including World YouthDay, the inaugural Luminous festivaland the National Service of Mourningwhich was relayed live to the SydneyOpera House Forecourt. Refer page36 for the full financial overview.Jørn UtzonOn 29 November 2008, our visionarymaster architect passed away peacefullyin Copenhagen. He was 90. To honourhis memory and celebrate his creativegenius, a State Memorial was held atSydney Opera House on 25 March2009. It featured performances,readings and recollections frommany people including the Premier,representatives of the SydneySymphony, Opera Australia, TheAustralian Ballet and Sydney TheatreCompany. Jørn Utzon’s children Janand Lin and other family membersattended this moving event.In 1999, there was a genuine andwarm reconciliation between JørnUtzon and the State of NSW whichresulted in a formal agreementthat united him with the SydneyOpera House once again. Jørnthen completed a comprehensiveset of Design Principles so that asthe building evolves in responseto inevitable changing needs andtechnologies, it will do so with asensitivity and rigour consistentwith its creator’s original vision.It was heartening that Jørn Utzonlived to know his first interior design– the Utzon Room – was completedand opened in 2004. He also sawQueen Elizabeth II open his designfor the exterior, the Colonnade, onthe western facade in 2006. Morerecently Jørn worked with his sonJan on the Accessibility and WesternFoyers Project which was completedthis year. The Project has transformedthe area into an elegant and functionalgathering space aligned with hisvision and design principles and hasvastly improved accessibility andconnected the Western Theatreswith the Box Office Foyer andprincipal venues for the first time.He also experienced the signal honourin seeing the Sydney Opera Houseinscribed on the World HeritageRegister in 2007. This was a landmarkachievement and fitting tribute to theunique status of his grandest creation.Jørn Utzon left us with a preciousgift in the form of designs for thecomplete revision and renewal ofthe ageing Opera Theatre. TheTrust is committed to finding away to fund this essential project.Jørn’s legacy will live with us forgenerations to come, remindingus what is possible with vision,conviction and commitment.Future OutlookThe focus for next year and beyondwill be on continuing to provide awelcoming home for our residentcompanies and a wide diversity ofother companies and presenters. TheTrust will also continue to programa rich array of performing artsexperiences across all art forms, atvarious price points, using new deliveryplatforms that improve access andparticipation. We will be expandingour education programs and deliveringmore festival style programming toreach new audiences. A comprehensivestrategy will be developed to engagewith more of the 7.4 million peoplewho visit the site annually.Growth in commercial areas such astourism, retail and food and beverageis essential to the House’s ongoingsustainability. These revenue streamsenable the delivery of performingarts programs and community eventsat a reduced cost. Notwithstandingthe challenges, the Trustees andmanagement are committed to findinginitiatives that deliver increasedrevenues to sustain activities.Accessibility to the building andits services continues as a highpriority. The Trust is committed tocontinuing the momentum of theprevious three years which has seensignificant improvements in theatreand foyer access for people withdisabilities and the elderly. A newthree year Access Strategic Plan wasendorsed by the Trust in June 2009.Board ChangesTwo Trustees left in thisreporting year. Ms Jacqueline Kottcompleted her third term on31 December 2008 and Ms BarbaraWard resigned from the Trust on 13 May2009 after extended periods of service.Both were strong contributors to theTrust and enhanced the quality ofthe debate and analysis at Trust andCommittee meetings. Ms Ward remainson the Trust Risk Management/AuditCommittee as an external advisoruntil 31 December 2009.Existing Trustees Ms Sue Nattrass AOand Mr Evan Williams AM werereappointed from 1 January 2009for further three-year terms. Twonew Trustees, Reverend ArthurBridge and Ms Catherine Brennerwere appointed from 1 January 2009and 13 May 2009 respectively.Thank YouOn behalf of the Trust I would liketo acknowledge the many peopleand organisations that supportthe Sydney Opera House throughpatronage and funding – in particular,the New South Wales Government,sponsors and donors. This supportenables the Trust to provide a vastrange of performing arts experienceswhile maintaining and developingthe building and its facilities.I congratulate our residentcompanies, CEO Richard Evansand his fine management team andour splendid staff for a successfulyear under challenging economicand operational circumstances.To my fellow Trustees, thank you foryour commitment and contributionto current initiatives, strategic reviewand development and for the ongoingsupport and counsel providedthroughout the year in the serviceof this magnificent enterprise. Aninstitution which is central to theartistic health and well being of theperforming arts in Australia and standsas an incomparable internationalicon of our nation and its creativeaspirations and achievements.5SYDNEYOPERA HOUSEANNUAL REPORT 2008/09

CEO’s MessageSydney Opera House has madegreat strides forward in our aim toprovide extraordinary experiencesfor visitors and guests onsite, offsiteand online. The dedication andenthusiasm of individuals,teams and organisationssaw milestones achieved andfoundations set for excitingnew experiences for everyone.Richard EvansChief Executive

Performing Arts (Refer page 12)Sydney Opera House staged1,677 performances this year toa total audience of 1,241,763.Our resident companies entertainedaudiences with an impressive programof music, theatre, opera and dance.We welcomed Maestro VladimirAshkenazy as Sydney SymphonyPrincipal Conductor and ArtisticAdvisor, and Opera Australia’s lateMusical Director Richard Hickoxwas honoured with a movingtribute concert. Sydney TheatreCompany’s 2009 Main Stage Seasonwas a resounding success undernew Co-Artistic Directors AndrewUpton and Cate Blanchett, whileThe Australian Ballet invigoratedaudiences with Graeme Murphy’snew interpretation of the Firebird.Sydney Opera House programmingattendances increased by 11% to336,541 this year. Reaching audiencesonsite, offsite and online, the inauguralLuminous festival celebrated music,light and ideas under the curatorshipof the legendary Brian Eno aspart of the Vivid Sydney festival.42,847 people attended Luminousperformances and exhibitions onour site, of which 62% were firsttime attendees at Sydney OperaHouse. Meanwhile 14,000 peoplein Australia and beyond watchedthe lighting of the sails live online.In partnership with Sydney TheatreCompany we presented renownedLondon theatre company Complicitein A Disappearing Number at SydneyTheatre, Walsh Bay. The FamousSpiegeltent on the Forecourt featuredan array of music, comedy andcabaret stars, and we hosted the worldpremiere of the Star Trek movie, atestament to the appeal of SydneyOpera House as an international icon.Sydney Opera House programmingwill be reaching the global communitywith the launch of an internationalonline dance competition next year aspart of our Spring Dance celebration.Now in its second year, our PublicProgram stream expanded to presenta variety of events both inside andoutside the building targeted at allages. Next year we are opening ourdoors for the Sydney Opera HouseOpen Day, with free events, tours andentertainment for all the community.Our Young Audience programgrew by 32% this year with 71,129people attending 300 performanceswithin the House:Ed and Kidsat the House programs.Tourism &Visitor Experience(Refer page 24)While difficult economic timesand a global downturn in tourismpresented challenges this year,enhancing the visitor experienceremained a priority for Sydney OperaHouse. Our tours remained popularwith a 12% increase in Mandarinlanguage tours, 28% increase inJapanese language tours and a25% growth in our domestic market.Next year we will introduce a Frenchlanguage tour and we will have newcampaigns to improve informationand opportunities for visitors onsite.Major improvements to physical accessand performance experiences forpatrons were achieved and we becameaffiliated with the NSW CompanionCard, improving opportunities forall people to participate in SydneyOpera House experiences.Building &Environment(Refer page 26)Significant progress on the Accessibilityand Western Foyers Project wasmade this year with installation ofour first public lift and new ConcertHall and Opera Theatre escalators.Utzon’s vision to unify the WesternFoyers was realised as the Foyers weretransformed into a stylish new spacewith streamlined facilities. Completionof the Accessibility and Western FoyersProject will be celebrated next yearwith an official opening in late 2009.Our commitment to environmentalsustainability gathered strengththis year with the appointment ofa new Manager, Sustainability andEnergy to lead the campaign toreduce our environmental impact.Development of a new SustainabilityPolicy and Plan next year willcontinue to guide us toward moreenvironmentally aware operations.With a new Information SystemsStrategic Plan in place, a number ofprojects improved information andservices to customers online. A ‘selectyour own seat’ function was launchedand a new digital platform displayinglive events on our website brings theonline community closer to SydneyOpera House than ever before.People & Culture (Refer page 34)The inaugural year of the MarkerBusiness Excellence Project provideda new opportunity to connectwith staff as well as other worldclass performing arts centres. As aresult, a number of initiatives havealready been implemented, withwork continuing to incorporateresults into forward planning.A workforce enrichment programprovided training and coaching tomanagers and staff. Our ongoingcommitment to the highestcustomer service standards saw anew program of customer servicetraining commence, with furthertraining to be delivered next year.Our safety record continued to improvethis year and a range of new programsand systems were developed. SydneyOpera House’s ongoing commitmentto safety will ensure improvementinitiatives continue next year.Thank YouI would like to thank our residentcompanies for their inspirationalprogramming and support in whathas been a challenging year for all.I would like to acknowledge our majorpartners NAB and Sony and all ourpartners, corporate sponsors anddonors who, through their generosity,allow us to bring more events to thecommunity. I would also like toexpress my appreciation to HP for21 years of support until 2009. Finally,thank you to staff and managementfor their energy and hard work inmaking this yet another memorableyear for Sydney Opera House.7SYDNEYOPERA HOUSEANNUAL REPORT 2008/09

Vision & GoalsKey Dates1957Jørn Utzon wins Sydney Opera Housedesign competition (January)1959Work begins on Stage 1 – building thefoundations despite Utzon’s protest thatplans were not finalised (March)1966Jørn Utzon resigns (February)1973First guided tours of SydneyOpera House (July)First performance in Sydney OperaHouse – Australian Opera performedProkofiev’s War and Peace in theOpera Theatre (September)Opening Ceremony and RoyalConcert with HRH QueenElizabeth II and the Duke ofEdinburgh (October 20)1979Concert Hall Grand Organcompleted (May)1999Opening of The Studio –new venue for contemporaryperforming arts (March)Jørn Utzon is re-engagedand appointed designconsultant to the SydneyOpera House (August)2000Sydney Opera House ProducersUnit established (October)2002Sydney Opera House Utzon DesignPrinciples published (May)2003Sydney Opera House ConservationPlan published (June)State Heritage Listing achieved (December)2004Backstage Tour launched (April)Utzon Room opened – first venueat Sydney Opera House designedby Jørn Utzon (September)Recording Studio opened (October)2005National Heritage Listing achieved (July)2006Asian Language Tour launched inJapanese, Korean, Mandarin (January)Colonnade opened by HRH Queen Elizabeth II– designed by Jørn Utzon, it is the firstchange to the exterior of the buildingsince its completion in 1973 (March)2007World Heritage Listing achieved (June)The Essential Tour launched (October)2008Visionary Sydney Opera Housearchitect, Jørn Utzon dies peacefullyin his sleep (November)2009Western Foyers fully refurbished (July)

Sydney Opera House is aglobal landmark, part of ournation’s DNA and provides acentral element of the emotionalheart of the city of Sydney.The focal point of ourmagnificent harbour, it isa place of excitement andof warmth, of welcomeand wonder, where artand architecture uniquelycombine to enchant andenliven artists, audiencesand visitors.Who We Are As one of the busiest performingarts centres in the world, SydneyOpera House provides over 1,500performances each year. Withseven primary venues: the ConcertHall, Opera Theatre, DramaTheatre, Playhouse, The Studio,Forecourt and Utzon Room,‘the House’ offers audiences anopportunity to experience the bestfrom every performing art form.The experience is broadened witha ‘must-visit’ harbour-side precinctthat offers dining, shopping andentertainment opportunities.One of the most popular visitorattractions in Australia sees morethan 7 million people visiting thesite each year. Some 1.2 millionpeople attend performances and over318,000 people take a guided tourto explore the magic inside one ofthe most recognised buildings in theworld. Sydney Opera House is State,National and World Heritage listed.As a performing arts centre, SydneyOpera House promotes and supportsmany performing arts companies,including the four key residentcompanies Sydney Symphony,Opera Australia, Sydney TheatreCompany and The Australian Balletas well as other many other importantAustralian companies and artists.Sydney Opera House also hasincreased the profile and reachof its own programs, with morethan 700 performances a yearthat offer an eclectic mix ofartistic and cultural activities forall ages from the educationalthrough to the experimental.Our FocusVisionTo be the most distinguishedand prominent performingarts centre in the world.MissionTo be a home for internationalcalibre performing artists,whose works resonate withaudiences around the world.To be the best host, welcoming,engaging and inspiring everyvisitor through compellingexperiences, each and every day.BrandOur Brand Essence is ‘Where imagination takes you’.GoalsSydney Opera House has five key goals:1. Artistic Excellence.2. Innovation in CommunityEngagement.3. Audience Accessibility.4. A Contemporary andSustainable Bennelong Point.5. Knowing Our Business.9SYDNEYOPERA HOUSEANNUAL REPORT 2008/09

Outcomes &ObjectivesThis year saw thirty two out of thethirty nine key outcomes successfullyachieved which delivered growth inprograms, improved facilities and bettercommunication with staff. Next yearthirty eight objectives have beenidentified covering all aspects ofthe business enterprise.

Key Outcomes 2008/09 Objectives 2009/10PERFORMING ARTS(page 12)3 New commissions of performing arts programs3 Increased audiences to performing arts programs3 Grow Public Program stream3 Increase international live performance productions3 Program delivery of The Famous Spiegeltent3 Successful Adventures 08 performance program3 Successful Utzon Music Series3 Successful World Youth Day events delivery• SOH Presents attendance increased by 15%• New commissions of performing arts programs• Successful Sydney Opera House Open Day• New Spring Dance festival• Inaugural Festival of Dangerous Ideas• Successful Adventures 09 performance program• New venue hire contracts in place for allresident companiesBROADENINGTHE EXPERIENCE (page 24)* Achieve 85% overall satisfaction – online customersurvey (81% achieved)* Maintain tour visitors at 329,000 (318,889 achieved)3 Conduct feasibility study – expansion of tours to moreAsian and European cultures3 Develop new three-year Access Strategic Plan3 Disability Access Plan projects implemented3 1,000 x $5 tickets through The Balnaves FoundationOpen House Program3 New online initiatives – ‘select your own seat’3 Research into an enhanced digital strategy• Achieve 85% overall satisfaction– online customer survey• Maintain tour visitors at 302,000• New French language tour• New Western Theatre cafe• New retail operator for SOH Shops• Information Kiosk piloted• Disability Access Plan projects implementationBUILDING & ENVIRONMENT(page 26)3 Complete the Accessibility and Western Foyers Project(July 2009)3 Construct two sets of escalators – Concert Hall andOpera Theatre (to open August 2009)* Access Masterplan development – presenter andstaff areas (process underway)3 Develop Forecourt Masterplan3 Appoint Manager, Sustainability and Energy3 Develop energy management and sustainabilityinitiatives3 Voice infrastructure planned replacement3 Achieve 80% for Building Condition Indices(83% achieved)• Formal opening of Western Foyers• New public lift and escalators operational• New telephony system implemented• Complete Parapet Wall and Handrail Project• Emergency lighting and exit lighting upgrade• Achieve 80% for Building Condition Indices• New Conservation Plan• New Environmental Sustainability Plan• Energy saving projects implemented• OH&S webpage for hirers and publicGOVERNANCE(page 28)3 Strategic Plan review and endorsement* Corporate Social responsibility – decide approach(environmental focus achieved)3 Trustee Code of Conduct review and endorsement3 Australasian Reporting Gold Award3 Appointment of two new independent Trustees• Strategic Plan review and endorsement• Trustee Code of Conduct review and endorsement• Appointment of one new independent Trustee• Australasian Reporting Gold AwardPEOPLE & CULTURE(page 34)3 Implement Marker business excellence project3 Extend leadership training to all staff3 OH&S initiatives – Safety Week3 Review of corporate policies framework and streamlineof policies* Negotiate new Enterprise Agreement (process underway)3 E-Learning Strategy development• Marker staff survey and forums conducted• New Enterprise Agreement• OH&S initiatives – Safety Week & Online OH&Sinduction package• Staff mentoring program planning• Online performance review system implemented• Customer service training deliveredFINANCIALS(page 36)* Annual Giving Fund net contribution $225,000($106,626 achieved)3 Operating cash reverse maintained above $4.5m3 Tourism contribution held5 Food and beverage contribution growth of 8%(-2.2% achieved)• Annual Giving Fund net contribution $128,007• Operating cash reverse maintained above $5m• Tourism contribution growth of 4%• Food and beverage contribution held3*5Fully achievedPartially achievedNot achievedSYDNEY OPERA HOUSE11 ANNUAL REPORT 2008/09

Sydney Opera HouseProgrammingSydney Opera House performancesincreased this year from 734 to746 and represented 44% of allperformances. Audiences alsoincreased by 11% to 336,541.luminous – a festival ofMusic, ideas and lightThe major highlight of the year was Luminous, a mid-year event from 28 May to 14 June 2009 which formed part of Vivid Sydney, a new public festival of music, light, debate, performance and ideas curated by the legendary Brian Eno.In a brilliant display of colour, Eno launched Luminous with the Lighting of the Sails, transforming Utzon’s masterpiece into an artist’s canvas which evolved nightly over the Festival. Eno’s image/sound installation 77 Million Paintings also ran as a free event in The Studio.Music highlights included the New York supergroup Battles, UK synth-popsters Ladytron, Irish singer/songwriter Damien Dempsey, trumpeter Jon Hassell, Reggie Watts, Laraaji, Karl Hyde, Jon Hopkins, reggae and dub artist Lee ‘Scratch’ Perry and one of Australia’s greatest cultural exports, Back to Back Theatre with their latest production Food Court. icon Meets iconThe 88 year old The FamousSpiegeltent was staged in probably itsmost beautiful location, the SydneyOpera House Forecourt. Some 14,640people attended Gorgeous! a festival ofmusic, comedy, cabaret and kids showswhich featured over 40 artists in 63performances. Australian icons such asVanessa Amorosi and Jimmy Barnesand new wave singer songwritersincluding The Audreys, GeoffreyGurrumul Yunupingu and KateMiller-Heidke performed. CamilleO’Sullivan and Lea Delaria werecabaret highlights and some ofAustralia’s best comedians includingRon Quantock, Sam Simmonsand Tripod also starred.shows that shape the WorldThe Adventures program againfeatured the world’s most acclaimed and engaging new theatrical works. Highlights included Gatz (nominated fora 2009 Helpmann Award for Best Play),iconic writer and performer Patti Smith,In-I featuring Juliette Binoche and Akram Khan and The Book of Longing, a new concert work by Philip Glass andLeonard Cohen. family Programs, Talks and TreesHighlights of the Public Program in itssecond year included the interactiveevents We Built This City presentedin association with Polygot PuppetTheatre, The Megaphone Project asound trail of big red megaphonesand Pierre Huyghe’s A Forest of Lines,a partnership with Sydney Biennale.The Program also included a talkseries featuring international guestsAlain de Botton, Edward de Bono,Dr Jane Goodall, Ian McEwan,Zubin Mehta and David Sedaris. TwoMessage Sticks Indigenous Arts Festivalswere also held this year featuringfilms made by Indigenous artists.Major events2008/09 showed again that SydneyOpera House is at the heart of eventsof national significance. It was acentral part of the city-wide celebrationof World Youth Day in July 2008.Australian Idol returned for its 6th yearand included a live performance byThe Presets. February 2009 saw thestaging of a bushfire benefit concertfeaturing SOH’s resident companiesand other arts providers. A livetelevision relay on the Forecourt wasalso conducted for the National Serviceof Mourning. In April 2009 Sydney OperaHouse hosted the global premiere ofthe new Star Trek feature film, turningthe Concert Hall into a cinema andgenerating international media coverage.Resident CompaniesThe programs of our four residentcompanies were responsible for51% of the total audience and33% of all performances.Sydney Symphony presented91 performances to an audience of207,593. In 2009 Maestro VladimirAshkenazy began his three-year tenureas Principle Conductor and ArtisticAdvisor Rory Jeffes commenced asthe new Managing Director in May2009. Refer page 14 for SydneySymphony performance highlights.Opera Australia presented163 performances to an audienceof 201,435. In November 2008 thecompany mourned the passing ofMusic Director Richard Hickox CBE.Lyndon Terracini was announced as thenew Artistic Director to commence inOctober 2009. A number of HelpmannAwards were received for Billy Buddincluding Best Opera and Best MusicDirection. Refer page 18 for OperaAustralia performance highlights.The Australian Ballet presented92 performances to an audience of121,342. Graeme Murphy’s Firebirdwon a 2009 Helpmann Awardfor Best Female Dancer and wasfollowed by the Sydney premiere ofthree new ballets as part of Interplay.Refer page 20 for The AustralianBallet performance highlights.Sydney Theatre Company presented205 performances to an audienceof 98,947. The 2009 Main StageSeason was Andrew Upton andCate Blanchett’s first as Co-ArtisticDirectors and both Travesties andWhen The Rain Stops Falling provedto be popular hits for the company.Refer page 16 for Sydney TheatreCompany performance highlights.The Year ahead• Sydney Opera House OpenDay, 25 October 2009.• Presentation of the LondonPhilharmonic Orchestra.• Spring Dance celebration.• Festival of Dangerous Ideas with talks,forums, discussions and debates.• An open-air photographicexhibition capturing life behind-the-scenes.• 2009 Helpmann Awardsstaged for the first time at Sydney Opera House.SYDNEY OPERA HOUSE13 ANNUAL REPORT 2008/09

MusicSydney Symphony35 presentations, 91 performances,207,593 audiencesCoinciding with World Youth Day,the Sydney Symphony conductedby Gianluigi Gelmetti presentedBeethoven’s choral masterpiece,Missa Solemnis. Two performancesattracted 4,133 people.The Sydney Symphony bidarrivederci to Chief Conductorand Artistic Director GianluigiGelmetti with a concert of someof the Maestro’s most-loved worksincluding Ravel’s Bolero andBeethoven’s Symphony No.7. Two galaconcerts attracted 5,004 people.Ashkenazy’s Elgar Festival showcasedElgar’s finest works. Critics andpatrons alike singled out the thirdprogram, featuring an outstandingperformance by guest violinist JamesEhnes, as the clear highlight ofthe program. Nine performancesattracted an audience of 21,114.The thunderous sounds of Japanesetaiko drumming sensation, TaikOz,combined with the SydneySymphony made for a heart-stoppingperformance. The concerts alsofeatured Australian percussionistClaire Edwardes, performingTakemitsu’s Gitimalya. Three concertsattracted an audience of 7,134.With a career spanning overthree decades, Roberta Flack isunquestionably one of the great soulsingers of all time. She wowed audiencesof three generations with a selectionof her greatest hits. Three concertsattracted an audience of 8,109.A Midsummer Night’s Dreammarked the beginning of VladimirAshkenazy’s tenure as PrincipalConductor and Artistic Advisor.The performance featured anabridged version of Shakespeare’splay as an accompaniment toMendelssohn’s work. Five concertsattracted an audience of 12,231.Despite having existed since 1212,the St Thomas Boys Choir of Leipzig,Germany had never visited Australiauntil March this year when theyperformed Bach’s Voices under thedirection of current Thomaskantor(Music Director) Georg ChristophBiller. Three performancesattracted an audience of 7,010.Vladimir Ashkenazy led the SydneySymphony, joined by the SydneyPhilharmonia Choirs, in a performanceof Walton’s Biblical choral-symphony,Belshazzar’s Feast. The concerts alsofeatured a performance of Australiancomposer Peter Sculthorpe’s workKakadu. Two concerts attracted anaudience of 5,186.Australian jazz legend James Morrisonpaid tribute to the ultimate jazz legendLouis Armstrong. Featuring special guestvocalist Emma Pask, the concerts tookaudiences back to the golden age ofjazz with performances of Armstrong’smost-loved songs. Two performancesattracted an audience of 5,230.Sydney Opera House96 presentations, 269 performances,143,748 audiencesAs part of our ongoing commitmentto present international orchestrasand legendary conductors, theIsrael Philharmonic Orchestra waspresented in July 2008 conducted byone of the world’s great conductorsZubin Mehta. Three performancesattracted an audience of 7,598.American rock legend Patti Smithshowcased her critically acclaimednew album Twelve and the best of herback catalogue. In a unique twist shechose her song list minutes before shetook the stage. “I left two hours latercertain that I had seen one of thegreatest figures of contemporary art”,reported the Sydney Morning Herald.One performance, which received ravereviews, attracted an audience of 2,681.Hemispheres was a collection ofextraordinary music from all partsof the world. The program includedartists from Cuba, China, Tunisia, NewZealand, Germany, Malaysia, Israel,Benin and Mali. Highlights includedDhafer Youssef a remarkable Oudplayer from Tunisia and Sa Dingding’sblend of traditional Chinese folkmusic and western electronica. TheHemispheres music program attracted9,133 people.Music lovers once again embracedthe Utzon Room Music Series with12 intimate concerts featuring a stellarline-up of international guests andthe finest local talent. The programincluded Simone Young, Paul Grabowsky,7 Windstrokes, Teddy Tahu Rhodes,Coco’s Lunch, Clocked Out – ‘The WideAlley’, Ethel, Ludovico’s Band & e21– ‘Love and The Arts of War’, FlindersQuartet & Genevieve Lacey, SashaRozhdestvensky and Sydney SymphonyChamber Players. The programattracted an audience of 2,326.For music highlights that formedpart of the Luminous mid-yearfestival and The Famous Spiegeltentprogram refer page 13.

–The core of Sydney Opera House’s musicoffering is the work of our resident company theSydney Symphony, supplemented by the workof the Australian Opera and Ballet Orchestraand Sydney Philharmonia Choirs. Sittingalongside this repertoire is a spectrumof alternative musical forms showcasingthe diversity of musical genres fromexperimental rock to pop and jazz.The next twelve months will see a furtherdiversification of the music program onoffer and a focus on developing new andyounger audiences for our venues.SYDNEY OPERA HOUSE15 ANNUAL REPORT 2008/09Vladimir AshkenazySydney Symphony

TheatreSydney TheatreCompany4 presentations, 205 performances,98,947 audiencesIn August 2008, Sydney TheatreCompany presented La Boite TheatreCompany’s production of The Narcissist,a popular comedy from Brisbanewritten by Stephen Carleton. Directedby Ian Lawson, The Narcissistresonated with audiences, attracting22,221 people across 50 performancesin the Drama Theatre.The final STC presentation for 2008was the premiere of another newAustralian play, John Doyle’s ThePig Iron People. Directed by CraigIlott, this box office hit was driven bywonderful performances from a fineensemble that included Jacki Weaverand Glenn Hazeldine. 54 performancesattracted an audience of 26,000.The Company’s 2009 Main StageSeason was the first to be programmedby incoming Co-Artistic DirectorsAndrew Upton and Cate Blanchett.The first production in the DramaTheatre was a revival of TomStoppard’s classic comedy, Travesties.Directed by Richard Cottrell, thecast included Jonathan Biggins,Peter Houghton, Toby Schmitz andWilliam Zappa. 52 performancesattracted an audience of 26,539.STC’s presentation of BrinkProductions’ When The Rain StopsFalling was also embraced byaudiences. Written by Andrew Bovell,the production was first presentedas part of the 2008 Adelaide Festivalto widespread acclaim and the playhas since been presented in Londonby the Almeida Theatre. 24,187people in Sydney attended the 49performances in the Drama Theatre.Sydney Opera House60 presentations, 432 performances,157,115 audiencesA literary masterpiece was transformedby New York theatre group ElevatorRepair Service into an intoxicatingsix-hour theatrical experience. Gatzwas a verbatim reading of F. ScottFitzgerald’s classic The Great Gatsby.21 performances attracted an audienceof 5,615 and later earned SydneyOpera House a 2009 HelpmannNomination for Best Play.In January 2009 the Concert Hallwas transformed to house Le GrandCirque’s Aerial Dreams, a spectacularevent which included aerialperformances above the audience.An international cast of 40 championacrobats thrilled the 45,394 peoplewho attended the 26 performances.As part of Sydney Opera House’scommitment to offering contemporarySydney audiences the most renownedand influential contemporaryinternational theatre, in November2008 it co-presented with SydneyTheatre Company and the BritishCouncil, Complicite’s A DisappearingNumber – a story of maths, mysticismand mortality that had been acclaimedby audiences and critics across theglobe. 8,168 people attended 14performances at the Sydney Theatre,the first occasion in which a SydneyOpera House production haspremiered beyond Bennelong Point.Sydney Opera House AdventuresProgram presented UK theatrecompany Hoipolloi in the brilliantlycomic Floating, a production that wascarefully scripted but involved theaudience at every opportunity. 3,154people attended 11 performances.The Australian premiere of In SpittingDistance was based on a farcical andtrue-life experience of writer, TaherNajib. Palestinian actor KhalifaNatour delivered a virtuoso soloperformance through the story of anArab traveller attempting to catch aflight on the anniversary of September11. The production, performed inArabic with English surtitles, attracted1,481 people to 10 performances.Funny lady Judith Lucy’s sharp, braveand hilarious show in February 2009marked her twentieth anniversaryin stand-up comedy. Judith Lucy’sNot Getting Any Younger attracted10,281 people to 26 performances.Wil Anderson’s Wilosophy was a brandnew stand-up comedy that prettymuch solved all the world’s majorproblems and changed the way thatwe looked at life. This sold out show,funnier and edgier than ever, attracted5,471 people to 14 performances.Other SpecialPerformancesBell Shakespeare Company’sseason at Sydney Opera Housecomprised four productions. Hamlet,with Brendan Cowell in the titlerole; Anatomy Titus Fall of Rome, areworking of Shakespeare’s bloodiestplay; The Alchemist, Ben Jonson’sgreat comedy about the vices andvagaries of human nature; and Periclesstarring Marcus Graham, whichopened on 26 June 2009. 26,383people attended 86 performances.

It has been a year of wonderfulexperiences for Sydney Opera House’stheatre audiences with productions ofdaring and invention that have delightedand challenged audiences. Along withSydney Theatre Company andBell Shakespeare Company,Sydney Opera House continuesto present work by internationalartists creating imaginative,original and new forms oftheatre and providing audienceswith a rich year round offeringto accommodate a diverse rangeof tastes and interests.SYDNEY OPERA HOUSE17 ANNUAL REPORT 2008/09Gatz

OperaThis year Opera Australia tookaudiences on a magical journeyranging from exuberant spectaclesand romantic classics to the intimatedrama of baroque masterpieces.Highlighted by a gala concerthonouring the late RichardHickox, this year’s programfeatured the extraordinaryvirtuosity of Australian andinternational stars. Takingopera to a new level, SydneyOpera House presentedJerry Springer: The Opera,an all-singing, all-dancingcombination of opera andpop-culture unlike anythingseen before.The Magic Flute

Opera Australia16 presentations, 163 performances,201,435 audiencesOpera Australia’s Winter 2008 seasonopened with a new production ofLerner and Loewe’s classic favourite,My Fair Lady. Enchanting audienceswith spirited and celebratedperformances were Reg Livermore,Nancye Hayes, Robert Grubb and theendearing Taryn Fiebig in the title roleof Eliza Doolittle. 10 performancesattracted an audience of 14,605.The fearless Elke Neidhardt, directorof State Opera South Australia’sproduction of Wagner’s Ring Cycle,provided a dramatic and thoughtprovoking theatrical experience withher reading of Mozart’s Don Giovanni.With powerful performances fromGabor Bretz, Rachelle Durkin andAndrew Schroeder, 18 performancesattracted an audience of 22,003.The creative team that dazzledaudiences with Alcina in 2007 broughta magical new production of Handel’sOrlando to the stage this year. Withscenery and costume design byKimm Kovac and Andrew Hays,Justin Way directed the brilliantItalian contralto Sonia Prina inthe title role. Eight performancesattracted an audience of 7,468.Starring Dennis O’Neill andJonathon Summers, Harry Kupfer’sacclaimed production of Otello wasrevived this year. The collectivepower of the Opera Australia Chorusenthralled audiences with theirenergy and strength, showcasing thedrama and excitement of Verdi’smasterpiece. Nine performancesattracted an audience of 11,307.Under the baton of Richard Bonynge,Donizetti’s Lucia di Lammermoorfeatured Emma Matthews in herdebut as Lucia. Matthew’s freshand energetic interpretation wascomplemented by the fiery JoseCarbo and vocal strength of UStenor Eric Cutler. 10 performanceswere presented to 12,909 people.In November 2008 Opera Australiamourned the loss of RichardHickox, Music Director since 2005.Radiance – A Tribute to Richard Hickox,presented on 20 March 2009, wasa celebration of this distinguishedconductor and director. Withproceeds used to establish the RichardHickox Scholarship Trust to enablegifted young conductors to workwith the Company and overseas,this special one-off performancewas presented to 1,759 people.In 2008 Hickox conducted twoNeil Armfield directed productions.Britten’s Billy Budd, starring PhilipLangride, Teddy Tahu Rhodes andJohn Wegner, attracted an audienceof 8,158 over eight performances.Janáček’s The Makropoulos Secretfeatured Cheryl Barker and JohnPringle in his final role for OperaAustralia after a career of 40 years.Seven performances were presentedto 7,194 people.Concluding the 2008 and launchingthe 2009 season was MoffattOxenbould’s celebrated and highlyevocative production of MadameButterfly. With Cheryl Barker andAntoinette Halloran in the titlerole of Cio-Cio-San, the enduringpassion and romance of Puccini’smuch-loved score captured thehearts of audiences. 24 performanceswere presented to 33,922 people.David Freeman’s daring productionof Mozart’s The Magic Flute featuredthe physical theatre company Legson the Wall, bringing the aerialmastery of acrobatics and circusspectacle to the opera stage. Thislavish production highlighted thetalents of Daniel Sumegi, AndrewGoodwin, Henry Choo and EmmaMatthews, with 18 performancesattracting an audience of 23,932.aMassenet’s moving melodiestransported audiences to the South ofFrance in March 2009’s presentationof Werther. Not seen since 1997and starring Michelle Losier andAldo Di Toro as the romantic hero,this poignant tale attracted 6,897people over seven performances.Francesca Zambello’s grippingproduction of Shostakovich’sLady Macbeth of Mtsensk providedan exciting close to 2009 underconductor Sir Richard Armstrong.With leading UK dramatic sopranoSusan Bullock, Simon O’Neill andJohn Wegner, this dark and dramaticmasterpiece presented a thrillingnight of theatre to an audience of7,008 over eight performances.Sydney Opera HouseThe smash hit, multi award winningproduction of Jerry Springer: The Operawas a fascinating mix of the highestform of art and the lowest form ofpop culture – opera and day timetelevision. Gale Edwards directed alarge ensemble cast of 20 lead by actorDavid Wenham taking on the role ofJerry Springer. 12,646 people attendedseven performances in a joyous,ambitious and polarising musicalevent, which went on to be nominatedfor two 2009 Helpmann Awards.SYDNEY OPERA HOUSE19 ANNUAL REPORT 2008/09

DanceIt has been a great year fordance. Audiences have rarely hadsuch an array of opportunitiesto witness the development anddynamism of one of our oldest artforms. Productions rangedthrough the classicism andremaking of traditions fromThe Australian Ballet, theinternational artists andcompanies across all formsof contemporary dance thatmake up Sydney OperaHouse’s programmingselections and the ancientspirit and power ofBangarra Dance Theatre,Australia’s nationalIndigenous dance company.Juliette Binoche & Akram Khan – In-I

The Australian Ballet9 presentations, 92 performances,121,342 audiencesThe innovative triple bill of Interplaysaw the Sydney premiere of threenew ballets. Choreographers StephenBaynes, Matjash Mrozewski andNicolo Fonte collaborated withAustralian music luminaries RichardMills, Gerard Brophy and RossEdwards respectively. Their boldnew works demonstrated the greatdiversity and possibilities of ballettoday. 21 performances in the OperaTheatre attracted 25,518 people.Finishing The Australian Ballet’s2008 performance year in Sydney wasthe return of Kenneth Macmillan’sextravagant production Manon.Guests for the season includedSteven Heathcote as the dashing yetcruel Monsieur GM, Olga Tamaraas the glamorous Madam X, andRobert Tewsley giving his renownedinterpretation of des Grieux. LeanneBenjamin, an Australian ballerinanow with England’s Royal Ballet, is arenowned exponent of the MacMillanworks. She gave her first everperformances at the Sydney OperaHouse in the title role of Manon.22 performances attracted 31,516 people.The 2009 season got off to a fierystart with the Sydney premiere ofGraeme Murphy’s Firebird, part ofthe Firebird and Other Legends triplebill. Using Stravinsky’s originalFirebird Suite, Murphy collaboratedwith emerging West Australiandesigner Leon Krasenstein on anastonishing new interpretation of thisclassic. 21 performances attracted30,383 people. It was followed bythe triumphant return of Murphy’sNutcracker –The Story of Clara. 23performances attracted 32,745 people.Sydney Opera House7 presentations, 38 performances,23,032 audiencesTwo international stars showcasedtheir own craft while exploringnew creative territory. ActressJuliette Binoche and dancer AkramKhan collaborated to create In-I, acontemporary dance work which wasa sell-out success. Commissioned bySydney Opera House in partnershipwith The National Theatre in London,Theatre de la Ville in Paris, le GrandTheatre du Luxemburg, RomaeuropaFestival and La Monnaie in Brussels.10 performances in the DramaTheatre attracted 5,311 people.The multi-award winning Push,produced by the UK’s Sadler’sWells Theatre in collaborationwith incomparable ballerinaSylvie Guillem and acclaimedchoreographer Russell Maliphantdazzled critics and audiences. Madeup of three solos and one duet, fourperformances attracted 6,525 people.One of the leading lights ofcontemporary Spanish flamenco, SaraBaras performed her latest programSabores with guest artists José Serranoand Luis Ortega and a corp de ballet ofeight dancers. Displaying the technicalbrilliance of traditional flamencowith a vibrant, contemporary edge.Four performances were held in theConcert Hall attracting 6,878 people.Bubble, a dark, comical piecedirected by Rowan Marchingowas a return to the high impactspectacle and wry humour for whichAustralian company Legs on theWall is renowned. Audiences wereentertained by a fusion of acrobatics,contemporary dance, full-body contactand everyday movement. Performedwith a live three-piece band, nineperformances attracted 1,723 people.Rasa Unmasked, part of theHemispheres 09 program, wasa bold, vibrant and sensuousnew contemporary dance workby Anandavalli and Australia’sLingalayam Dance Company incollaboration with Ramli Ibrahim,Malaysia’s Sutra Dance Theatreand composer/musician AlexDea. Three performances in TheStudio attracted 643 people.Other SpecialPerformancesArtistic Director Stephen Pagecreated a new full-length work forBangarra Dance Theatre whichwon three 2009 Helpmann Awards.Mathinna was a contemporary workand engaging production inspired bya young Tasmanian Aboriginal girl’sjourney between two cultures. 30performances attracted 10,889 people.SYDNEY OPERA HOUSE21 ANNUAL REPORT 2008/09

Young AudiencesSydney Opera HouseHouse:edThrough its House:Ed program,Sydney Opera House continuesto engage with teachers andstudents by offering performingarts experiences that link directlyto areas of curriculum study.The Australian premiere of Shape ofa Girl was a dynamic one-womanproduction that examined thefrightening realities of teenagerelationships, aggression and bullying.Written by Canadian playwrightJoan MacLeod and directed byNoel Jordan, this production wenton to successfully tour to The ArtsCentre, Melbourne and will tour in2010 to other Australian venues. 2,574people attended 17 performances.The fast-paced Visible Fictionsproduction of Jason and the Argonautsretold the classic hero’s journey in awildly imaginative way. Two actors,supported by riotous sound effects,a cast of action figures and a boxof tricks made the ancient Greekmyth accessible to a new generation.Designed for 10 to 14 year olds, 2,840people attended 10 performances.Three storytellers and a musicianblended energetic and humorousadaptations of traditional favourites inPatch Theatre Company’s Pigs, Bearsand Billy Goats Gruff. After playingto sell-out audiences in 2005, thisengaging production was offered toNSW schools as part of the House:Edprogram (eight performances). 7,609people attended 23 performances.Girl Who Cried Wolf was inspiredby media reports involving a girlwho faked her own abduction. Thisbold new production, commissionedby Sydney Opera House, featuredArena Theatre Company’s trademarkfusion of theatre and film with livemusic and was staged after successfulplay building workshops held in2007. 1,395 people attended 10performances in The Studio.The Arts Assist program funded bythe Clara Varga Foundation subsidisedbus travel and House:Ed performancetickets for 2,135 students from priorityfunded NSW schools. This providedaccess to many students who had notvisited the Sydney Opera House before.kids at the HouseThe Babies Proms series was onceagain successful this year withsix interactive productions. LittleBoy Amadeus explored the musicalchildhood of Mozart; Jazz Hot Baby!introduced jazz to tots; I Wanna Bea Mermaid took its audience on ana cappella journey into an underwaterworld; Sweet Dreams celebratedlullabies from around the worldand Music for Tutus brought to lifethe magic of ballet. 28,717 peopleattended 126 performances.Big, red shiny megaphones in allshapes and sizes were installed on theForecourt for nine days in January2009. The Megaphone Project was anexciting free family event that recreatedthe childhood miracle of talking ontin-can phones. Children ran fromhorn to horn, climbing, speaking,singing and shouting. Some 8,000people attended the installation.Little Big Shots, Australia’s internationalchildren’s film festival, returned toSydney Opera House for its thirdyear. The 23 films screened thisyear were the best in local andinternational children’s shorts,animations, documentaries andincluded films produced by children.The festival facilitated discussion ofworld cultures, different languagesand universal human values atthe same time inspiring laughter,listening and creativity. 2,745 peopleattended 19 film screenings.Monkeyshines: Kabaret 4 Kids performedby Loose Canon Arts in The Studiowas a hilarious show filled withmadcap vaudevillian antics, acts ofillusion and general tomfoolery. 4,346people attended 17 performances.Play School star and much-lovedAustralian actress Deborah Mailmanjoined Israel’s extraordinary Silver-Garburg Piano Duo and a chamberorchestra to narrate a superb concertproduction of Hans ChristianAnderson’s The Little Mermaid, an eventfor kids and families in the ConcertHall. Anderson’s compelling talewas vividly brought to life througha spectacular orchestral score byLior Navok. Seven performancesattracted an audience of 7,511.The Greatorex Foundation hascommitted to contributing $15,000 ayear for the period 2008 to 2010 tosupport the delivery of key projectswithin the Kids at the House Program.This year the Foundation supportedthe production of Monkeyshines: Kabaret4 Kids and in December 2009, will besupporting Darlingwood Tales, a SydneyOpera House commission. To date, over7,000 children and family membershave enjoyed a number of inspiringchildren’s performances, thanks to thesupport of The Greatorex Foundation.

Sydney Opera House’s programsfor young audiences are now intheir sixth year with more andmore children attending every year.Audiences for House:Ed andKids at the House programsincreased by 32% this yearattracting 71,129 people to300 performances (53,728and 285 in 2007/08).The program continues topresent the very best in theatreand performance for youngaudiences with work sourcedfrom international andAustralian companies whichspecialise in producing workin this market.SYDNEY OPERA HOUSE23 ANNUAL REPORT 2008/09Monkeyshines: Kabaret 4 Kids

Broadening theExperienceEnhancingCustomer ServiceImproving the customer experiencecontinued to be a priority this year.Customer research was undertaken,as well as a brand refresh, reviewof customer service processes anda range of access projects. AnOnsite Conversion Study providedinformation on how visitors useour site, while the online surveymeasured overall customer satisfactionat 81% (78% in 2007/08). Referpage 56 for further information.A number of Access Strategic Planinitiatives were achieved. In March2009, Sydney Opera House Presentsperformances and The EssentialTour became affiliated with theNSW Companion Card, providingcomplimentary tickets for carersassisting patrons with severe disabilities.Awareness of access services wasincreased through new brochuresand online information. Referpage 57 for further information.Bringing Sydney Opera House eventsto a global audience, a digital contentportal was developed for the website.With a beta version launched for theLuminous festival in May and June2009, some 14,000 people in Australiaand around the world watched alive stream of the Sails being lit onopening night. Providing remote accessto events, the channel will continue todevelop as part of a broader strategyto reach the online community.New Engagementin a ChallengingEnvironmentWith the number of internationalvisitors to Australia continuing todecline, tour numbers at SydneyOpera House decreased by 3.25%to 318,889. A firm pricing policyand careful control of operationalcosts have driven an 8% increase inrevenue to $7.83 million and 30%growth in margin to $3.26 million.Growth in customers from China,Taiwan, Japan, Europe and Australiahas largely offset a significant reductionin numbers from the USA and UK.Uptake of Mandarin language toursgrew by 12% to 58,322 people,and Japanese participation grewby 28% to 23,150. The domesticmarket also grew in importance,generating over $1m in revenue forthe first time (growth of 25%) tobecome our second largest market.The first language tour in Frenchwas successfully trialled this year andwill be introduced on a permanentbasis from July 2009. A collectionof tourism products including theSydney 5-in-1 card, a new PhotoSouvenir product, and Show Pluspackages combining a show ticket, tour,dinner and interval drinks, have alsoadded to growing revenue streams.Commercial Services& PartnershipsImprovements in commercial operationsthis year included a more proactiveapproach to licensing and promotionalopportunities. This focus has alreadyseen a growth in commercial licensingcontribution of 122%, includinglicensing for the Star Trek movieworld premiere in April 2009 and thecross-promotional retail and tourismlaunch of the Sydney Opera HouseIdea to Icon book in Mandarin.Faced with a challenging economicclimate, food and beverage contributionreduced by 2.2% this year and retailsales decreased by 10.5%. The retailstrategy is now focused on transitioningto a new partner with specialist tourismrelated retail and brand managementexperience in order to maximisemerchandising opportunities on andoff the Sydney Opera House site.Community AccessSince 2007, The Balnaves FoundationOpen House Program has enabled5,769 individuals, from over 60disadvantaged community groups, toattend a performance at Sydney OperaHouse – many for the very first time.This year 1,864 subsidised tickets at $5each were provided to performances,including Holy Cow!, Christmas at theHouse and Le Grand Cirque Aerial Dreams.Fostering innovation and excellencein the arts for more diverse audiences,The Keir Foundation invested inBrian Eno’s 77 Million Paintings inThe Studio, as part of the Luminousfestival. Free daily access was providedto over 19,000 visitors who viewedthis audio-visual installation.The Year Ahead• Weekly Customer Journey Mapimplemented, providing customerswith information about onsiteactivities and special offers.• French language tourto commence.• Continuing work with commercialpartners to leverage marketingand other opportunities forgrowth across the SydneyOpera House precinct.• More educational and communityaccess initiatives onsite, offsiteand online to expand the SydneyOpera House experience.• Appointment of externalaccess ambassador.

New opportunities to engage with people onsite,offsite and online were created this year and researchhelped us to understand more about our customers.The challenges of current economic timeswere successfully managed and withsupport from partners we increased accessfor community groups.5 Year Guided Tour TrendYearPeoPle08/09 318,88907/08 329,61906/07 328,22405/06 270,04004/05 246,914SYDNEY OPERA HOUSE25 ANNUAL REPORT 2008/09

Building &EnvironmentSignificant work on the building and itsfacilities signalled major improvements tocustomer access this year, improving thejourney to, and experience within, SydneyOpera House. The commitment to agreener and cleaner environmentunderpinned initiatives targetingenergy use, waste managementand environmental awareness.Utzon Room

Work continued inside the theatres toImproving the BuildingMaintaining aimprove the performance experience& Facilities for patrons. Wheelchair seating Safe EnvironmentThe Western Foyers were transformedthis year into an elegant and functionalgathering space aligned with Utzon’svision and design principles, featuringa new cloakroom and box office,multiple bars and accessible amenities.Facilities for artists, guests andstaff were improved as part of theGreen Room refurbishment. Theconcrete beams were returned totheir original condition, more energyefficient lighting was installed,existing furniture revamped andwireless network access provided.Outside, construction commenced toreplace the 214 metre long ParapetWall and Handrail. This project willcorrect a number of maintenanceissues and ensure compliance withmodern standards. A new ForecourtMasterplan, designed to guide futuredevelopment of the Forecourt andimprovements to pedestrian accessand safety, was completed this year.The Masterplan will be deliveredprogressively, subject to funding.The new Information SystemsStrategic Plan 2008/11 is designedto improve customer and eventdelivery services, core infrastructureand communications, back officeapplications, and strategy andgovernance. Initiatives completed thisyear include ‘select your own seat’capability on the website, a refresh ofoffice based print services and an orderplaced for a new telephony system.Refer page 58 for further information.Enhancing CustomerAccess(refer page 57)Significant progress was made thisyear on the Access Masterplan, whichguides the design of future physicalaccess upgrades at Sydney OperaHouse. Work included customer accessto facilities and back of house auditswhich will inform the Masterplanand concept design solutions.The Accessibility and Western FoyersProject achieved a milestone withinstallation of the Opera Theatreand Concert Hall escalators andpublic lift. Opening to the public byAugust 2009, these initiatives willallow patrons to by-pass 72 stepson their journey from the vehicleconcourse to the main theatres.capacity was increased in all WesternTheatres, while two new PlatformStairlift climbers enable patronswho use wheelchairs to enter thePlayhouse from the Western Foyersfor the first time. A new permanentcaptioning system in the DramaTheatre and induction loop in theBox Office have enhanced services forpatrons with hearing impairments.PromotingEnvironmentalSustainability(refer pages 58 and 65)Environmental sustainability wasstrengthened this year through avariety of initiatives. From February2009 the Sail Lights were turned off foran extra four hours per night, savingclose to 12 megawatt hours per year.In a first for Sydney Opera House,biodiesel generators were used tolight the sails for Luminous and SmartLight Sydney with carbon emissionsoffset through independently verifiedGreenhouse Friendly TM carbon credits.With the new role of Manager,Sustainability and Energy appointed inNovember 2008, a ‘Green Team’ wascreated to encourage environmentalawareness throughout the organisationusing specially designed programs andinformation for staff and stakeholders.Other initiatives included wasteaudits, installation of water efficientspray guns in restaurant areas, a‘Greening the House’ exhibition tocelebrate World Environment Day anddevelopment of a Recycling and WasteManagement Strategy. Consultationwith stakeholders was undertakento inform a new EnvironmentalSustainability Policy and Plan.Enhancing the safety of the building,the Fire Damper Replacement project(involving replacement of 964 firedampers) was completed and Stage 1of the Fire Hydrant Upgrade projectcommenced. Refer page 64 forPOPE compliance works projects.Promoting safer and cleaner workpractices, ‘Site Clean Up Week’ wasconducted from 6–8 April 2009 toassist staff, contractors and businesspartners in disposing of dangerousgoods and hazardous substances.This initiative aimed to improveawareness of OH&S requirements andenvironmental compliance standards.Ensuring the safety of visitors, staffand business partners, a new safetymanagement system, including anOH&S Risk Register was developed.The register improves identification,monitoring and management ofpotential safety hazards acrosshigh risk areas of the site and willbe operational in July 2009. Referpage 63 for more information.The Year Ahead• Official opening of therefurbished Western Foyers,Opera Theatre and Concert Hallescalators and new public lift.• Completion of the AccessMasterplan and progressiveimplementation of physicalaccess upgrades.• New Conservation Plan.• Implementation of anEnvironmental SustainabilityPolicy and Plan.• Organic waste recycling system trial.• Air conditioning upgrades toreduce energy consumption.• A centralised Material Safety DataSheet Repository and IncidentReporting Register for moreeffective OH&S management.• Commencement of Stage 2 ofthe Fire Hydrant Upgrade toimprove overall fire safety.SYDNEY OPERA HOUSE27 ANNUAL REPORT 2008/09

CorporateGovernanceThe Trust’s Objectives and ConductSydney Opera House is operated and maintained for the Government of New South Wales by theSydney Opera House Trust, which is constituted as a body corporate under the Sydney Opera HouseTrust Act, 1961.The Trust’s objectives are: to administer, care for, control, manage and maintain the Sydney Opera Housebuilding and site; to manage and administer the site as an arts centre and meeting place; to promoteartistic taste and achievement in all branches of the performing arts; to foster scientific research into andto encourage the development of new forms of entertainment and presentation (excerpt from Sydney OperaHouse Trust Act, 1961).Organisation ChartcoMMuniTies nsW(MinisTer for THe arTs)arTs nsWsYdneY oPeraHouse TrusTcHief eXecuTiVesYdneY oPera Houserichard evansBuildinG deVeloPMenT& MainTenancecoMMercial &oPeraTionsMarkeTinG &deVeloPMenTPerforMinGarTsfinance &innoVaTionDirectorGreg McTaggartDirectorMaria sykesDirectorVictoria doidgeDirectorrachel HealyDirectordavid antaw

Trust Committees,Memberships,AttendancesThe TrustThe Sydney Opera House Trust consists of 10 members appointed by theGovernor on the nomination of theMinister. A Trustee holds office for threeyears and is eligible for reappointmentfor no more than three consecutiveterms. The Trust must include at leasttwo persons who have knowledge of, orexperience in, the performing arts. Trustees reappointed to the Trust for a further three year term from 1 January 2009 to 31 December 2011 were Mr Evan Williams AM and Ms Sue Nattrass AO.Two new Trustees, Ms Catherine Brenner and Rev Dr Arthur Bridge AMwere appointed from 13 May 2009 and 1 January 2009 respectively, replacing Ms Barbara Ward and Ms Jacqueline Kott. On the request of the Trust, Ms Barbara Ward continues on as an external specialist to the Risk Management Committee. Meeting attendance figures for the period1 July 2008 to 30 June 2009 are set out below. The figure directly following the Trustee’s name is the number of meetings attended during the year and the figure in brackets indicates thenumber of possible attendances.With key strategic and business items on the agenda the Trust met six times. Agenda items encompassed: Overall Business Performance Monitoring; Annual Budget and Three Year Business Plan; Strategic Asset Management Program; Three Year Access Strategic Plan; Opera Theatre Renewal Project; Enterprise Agreement and Performing Arts and Commercial projects. Attendance at Trust: Kim Williams AM 5 (6), John Ballard 6 (6), Catherine Brenner 1 (1), Arthur Bridge AM 1 (1), Wesley Enoch 3 (6), Renata Kaldor AO 6 (6), Jacqueline Kott 3 (3), Robert Leece AM 5 (6), Sue Nattrass AO 3 (4), Leo Schofield AM 4 (6), Barbara Ward 4 (5), Evan Williams AM 4 (4).In addition, a Trust Planning Session was held in February 2009. The focus was on Trust and senior management evaluation and objectives; review of Trust committee charters and membership; economic environment impacts and budget assumptions; precinct and venue renewal project and relationships central to organisational success. In February 2009, the Trustreviewed and individually signed aCode of Conduct for Trustees.risk Management (audit) committeeThe Risk Management Committeemonitors financial performance,internal controls and risk management.It ensures compliance with all relevantlaws, regulations and ethics. TheRisk Committee Charter was revisedin February 2009 to strengthenmonitoring of the Sydney OperaHouse Philanthropy Program.Six meetings were held this year withkey agenda items including: Review ofBusiness Performance; internal auditreports – Entertainment ExpensesReview; Systems Security Review;Philanthropy Health Check and OperaPoint Events Contract Compliance.Agenda items also included: AnnualBudget and Three Year BusinessPlan; Enterprise Agreement; TreasuryRisk Management Policy; a varietyof performing arts and commercialbusiness cases approval and evaluation;approval of the Annual Accounts2007/08; and a variety of businessmonitoring reports. Attendanceat Risk Management Committeemeetings: Trustees:Barbara Ward 5 (6),Catherine Brenner 1 (1),Sue Nattrass AO 4 (4) andKim Williams AM 6 (6).Building committeeThe Building Committee provides guidance to the Trust on the implementation of building development and maintenance projects. It ensures that proper controls are in place during all stages of project development and execution, and that construction is in synergy with the Utzon Design Principles and Conservation Management Plan.Six meetings were held this year, with key agenda items including: Accessibility and Western Foyers Project; Opera Theatre Renewal Project; Lighting Masterplan; POPE Program; Risk Management Plans; updates on the progress with building works; Strategic Asset Management Program; Concert Hall Acoustics and Forecourt Masterplan. Attendance at Building Committee meetings: Trustees: Robert Leece 6 (6),Kim Williams 4 (6), Evan Williams AM 4 (4). Management: Richard Evans 4 (6), David Antaw 6 (6),Greg McTaggart 6 (6).conservation councilThe Conservation Council provides advice to the Trust on conservation and heritage matters and includes monitoring and reporting on National and World Heritage values. Three meetings were held this year, with key agenda items including Conservation Management; Accessibility and Western Foyers Project; Gold Book Overview; Lighting Masterplan; Concert Hall Sound System Upgrade and Parapet Wall, Handrail, Membrane and Roadway Project. Attendance at Conservation Council Meetings: Trustees: Evan Williams AM 3 (3), Jacqueline Kott 2 (2). Management: Richard Evans 3 (3), Greg McTaggart 3 (3), Maria Sykes 3 (3). External Specialists: Sheridan Burke 3 (3), Hugo Leschen 1 (3), Rajeev Maini 3 (3),Peter Mould 2 (3), John Nutt 3 (3),Jason Perica 2 (3).Philanthropy committeeThe charter of the Committee was revised in February 2009 to separate the financial approval and monitoring functions, which now fall under the role of the Risk Management Committee. The focus for the Philanthropy Committee is on leading the fundraising campaign as well as the development of a fundraising culture within Sydney Opera House. The Committee was expanded to include an external fundraising specialist.Three meetings have been held with key agenda items including the Annual Giving Program; Naming Rights and fundraising events. Attendance at Philanthropy Committee Meetings: Trustees: John Ballard 3 (3), Kim Williams AM 2 (2), Renata Kaldor 3 (3), Leo Schofield AM 2 (2). Management: Richard Evans 2 (3), David Antaw 2 (3),Victoria Doidge 2 (2), Louise O’Donnell as Acting Director, Marketing and Development 1 (1). External specialists: Danita Lowes 1 (1).All meeting absences were formally noted and Trustees were excused from attending the specific meetings.SYDNEY OPERA HOUSE29 ANNUAL REPORT 2008/09

Heading The Trust TabkiM WilliaMs aMB.Mus, CHAIRMANAppointed 2005, is ChiefExecutive of FOXTELand a member of theBusiness Council ofAustralia. His previousroles have includedpositions such asSenior Executive at theAustralian BroadcastingCorporation, ChiefExecutive of SouthernStar Entertainment,Chief Executive ofthe Australian FilmCommission, Chairmanof Musica Viva Australiaand Chief Executive ofFox Studios Australia.Kim founded theAustralian Film FinanceCorporation in 1988as well as being itsinaugural Chairmanand was also a Directoron the ZoologicalParks Board of NSW.Kim brings to SydneyOpera House diversemanagement, board andcommittee experiencein the commercial andpublic sectors. Kim isChair of the SydneyOpera House Trust anda member of the RiskManagement Committeeand Building Committee.JoHn BallardMBA, FAICDAppointed 2000, is aDirector at FonterraCooperative Group Ltdand Magellan FlagshipFund Limited. John isalso the Chairman ofthe Advisory Boards ofPacific Equity PartnersFunds. Prior to this, hewas Chief ExecutiveOfficer and ManagingDirector of Southcorp, aDirector of WoolworthsLimited, CSR Limited,Rinker Limited, EmailLimited and Chairmanof Wattyl Limited.John has an MBA fromColumbia Universityin New York with amajor in Marketingand InternationalBusiness, and hasworked in Europe,Asia and Australia.John is Chair of thePhilanthropy Committee.caTHerine BrennerBEc LLB, MBAppointed 2009,is a ProfessionalNon-Executive Director.Catherine is a formerManaging Directorin the investmentbanking division ofABN AMRO where shehas held various seniorroles in the mergersand acquisitions andequity capital marketsdivisions. Prior tobecoming an investmentbanker Catherine wasa corporate lawyer.She is a non-executivedirector of Coca ColaAmatil Limited andAMP Life Limited. Sheis also a member of theTakeovers Panel and hercommunity involvementincludes currentdirectorship of theAustralian BrandenburgOrchestra. Catherine isa member of the RiskManagement Committee.reV dr arTHurBridGe, aMM.LITT, D.MUSAppointed 2009, hasspent over 20 yearsworking in the fields ofhealth and communityservice, educationand the arts. He is thePatron of numerousorganisations includingthe Sydney OmegaEnsemble, Sydney YouthOrchestra, SydneyYouth Ballet and theAustralian InternationalConservatorium ofMusic and High School.Rev Bridge is also aformer Director of TheRiverside Theatres inParramatta, the JoanSutherland PerformingArts Centre in Penrith,and a member of theMusic Board of theAustralia Council. Heis the Founder andChairman of ArtsMusica Australis which,since 1996, has beendedicated to providingsupport to young andemerging creative talent.Since 2008 he has beenthe Parish Priest of St.Oliver Plunkett Parish,Harris Park. Arthuris a member of theConservation Council.WesleY enocHAppointed 2007,is a member of theNunnuccal Nuugi peopleof Southern Queensland.Wesley is AssociateArtistic Director atBelvoir Street Theatre.Previously, he hasbeen Artistic Directorof Kooemba JdarraIndigenous PerformingArts, an Associate Artistwith the QueenslandTheatre Company anda Resident Director withthe Sydney TheatreCompany and ArtisticDirector of IlbijerriTheatre. In 2002 Wesleywas the recipient ofa Cité Internationaldes Arts residency inParis. He also won the2005 Patrick WhitePlaywright’s Award forthe play The Story of theMiracles at Cookie’s Table.

enaTa kaldor aoBA Dip EdAppointed 2005, isinvolved in Business,Education andCommunity Affairs andis a Director of ASI.Renata was appointedto the board of PublicInterest Clearing Housein 2008 and the AreaAdvisory Council ofthe Children’s Hospital,Westmead in 2006. Shewas Deputy Chancellorof The University ofSydney, a Fellow ofthe University Senateand was awarded anHonorary Fellowshipfrom University ofSydney in 2004.Renata has served asChairperson of NSWWomen’s AdvisoryCouncil, a member ofthe Sydney OlympicBid Committee, adirector of NSW StateRail Authority and ofThe Garvan MedicalResearch Foundation.She was appointed tothe Board of the SydneySymphony Orchestrafrom 1996 to 2004.Renata is a memberof the PhilanthropyCommittee.roBerT leece aMRFD, BE, M.Eng.Sc,MBA, F.I.E.Aust, CPEngAppointed 2002, is theNSW InfrastructureCoordinator General,Chairman of the NSWNation Building andJobs Plan Taskforce andChairman of the HealthInfrastructure Board.Robert was previouslyChief Operating Officerof Tenix Pty Ltd, DeputyDirector-General of theOlympic CoordinationAuthority and heldboard positions ofvarious public andprivate organisations.Throughout hiscareer he has beenresponsible for thesuccessful developmentand construction ofover $40 billion ofinfrastructure andbuildings in Australia.Robert is Chair of theBuilding Committee.sue naTTrass aoAppointed 2006, isChair of the CulturalDevelopment AdvisoryBoard of the MelbourneCity Council and theAdvisory Board of theArts and EntertainmentManagement Programat Deakin University.She is a Director ofThe Harold MitchellFoundation, the BrianStacey Memorial Trustand the John TruscottDesign Foundation.Sue is a member ofthe Melbourne andOlympic Parks Trust.Previously, Sue was theArtistic Director of theMelbourne InternationalFestival of the Artsand General Managerof the Victorian ArtsCentre and has beenan Arts consultantsince 2000. She wasPresident and a LifeMember of the AEIA/LPA. She was Chair ofthe Confederation ofAustralian InternationalArts Festivals andthe Melbourne 2006Commonwealth GamesCultural Working Group.Sue is a member ofthe Risk ManagementCommittee.leo scHofield aMAppointed 2005, bringsartistic, entrepreneurialand commercial expertiseto the Trust. Leo isa board member ofthe National PortraitGallery in Canberra.He is a former Directorof Sydney Festival,Artistic Director of theSydney 2000 Olympicand Paralympic culturalfestivals, Artistic Directorof the MelbourneInternational Festivalof Arts (1994–1996),and Artistic Directorof Sydney’s New Year’sEve Celebrations (2002–2004). He has beeninvolved in Australiandebut presentationsof a number of majorinternational events andcompanies includingthe Edinburgh MilitaryTattoo and the ParisOpera Ballet. He isalso a well-known andrespected journalist and atelevision broadcaster. Hehas worked closely withmany arts organisationsin a fundraisingcapacity and servednine years as a Trusteeof the PowerhouseMuseum in Sydney.eVan WilliaMs aMAppointed 2006, is aWalkley Award-winningjournalist and formernewspaper editor, andhas been a film criticfor The Australian since1981. From 1986 to2001 he was head ofthe NSW Government’scultural sector, beforebeing appointed a senioradviser in the NSWCabinet Office. He hasfilled previous temporaryvacancies on the SydneyOpera House Trust andhas served as a memberof the Archives Authorityof NSW and theAustralian InternationalCultural Council, andon the boards of theSydney Biennale, theSydney Festival and theAustralian ChamberOrchestra. He was aspeechwriter and artsadviser to the Hon. E.G.Whitlam from 1973 to1977. Evan is Chair ofthe Conservation Counciland a member of theBuilding Committee.SYDNEY OPERA HOUSE31 ANNUAL REPORT 2008/09

TheExecutive TeamricHard eVansAppointed Chief Executive in January 2008, began work as a freelance promoter, publicist, stage andproduction manager, eventually taking on the role of Executive Producer with the New Zealand PuppetTheatre. In 1993, he moved to Australia, working with Spare Parts Puppet Theatre in Fremantle andlater became General Manager of DeckChair Theatre Company. In 1995, he joined the State TheatreCompany of South Australia as Associate Producer. Richard was General Manager of Bell ShakespeareCompany from 1997 until 2002 when he became General Manager of The Australian Ballet and ExecutiveDirector in 2004. Richard was Secretary of the Australian Major Performing Arts Group in 2000–2001,served on the Executive Council of the Australian Entertainment Industry Association from 2002 to2005, and was Chairman of the board of Lucy Guerin Inc from 2006 to 2007. Richard has chaired thePerforming Arts and Arts Management Advisory Committee of the AsiaLink Arts Program since 2007and he is a member of the Building Committee, Conservation Council and Philanthropy Committee.

daVid anTaW VicToria doidGe racHel HealY GreG McTaGGarT Maria sYkesB.Bus, M.Com, FCPA B. Bus, Mktg BA BE (Hons 1), MEngSc, Grad BA (Hons)Appointed in October Appointed as Director Appointed as Director Dip Mgt, MIEAust, CPEng Appointed to Sydney2006 is Director, Finance Marketing and Performing Arts in Appointed to Sydney Opera House in 2002,and Innovation and is Development in February August 2006, Rachel Opera House in 2003 and and to the role of Directorresponsible for finance, 2008. Victoria’s portfolio is responsible for to the role of Director of of Commercial andinformation systems, includes public relations, Sydney Opera House’s Building Development Operations in April 2008,risk management, marketing, ticketing programming, presenter and Maintenance in April Maria is accountablebusiness services, services, philanthropy and theatre services, 2008. Greg is responsible for the overall visitorstrategic planning, and corporate including sound, audio for maintenance and experience on site,legal, governance partnerships. Prior to visual, lighting and conservation of the the development of aand trust secretariat joining Sydney Opera staging. Former General building, as well as new Precinct Plan, allfunctions, human House, Victoria most Manager of Company B major building projects. commercial revenuesresources, learning and recently held the position at Belvoir Street Theatre, Greg was previously the and frontline operations.development and injury of Chief Marketing Rachel has been working Project Director of the Specifically she overseesmanagement. David Officer for leading global in the performing arts for Building Development all Sydney Opera House’shas substantial depth digital marketing services 18 years as a manager Group responsible for the commercial operationsof public and private provider, BlueFreeway. and producer. Prior planning and delivery of and business partnerships,sector experience at a Prior to her role at to her appointment at all major building projects including tourism, retailsenior level. His previous BlueFreeway, she held Belvoir St Theatre in at Sydney Opera House. and food and beveragerole was General the position of Director 1997 Rachel worked Greg has been involved operations; Sydney OperaManager Finance and Market Development for with The Australian in the delivery of public House brand licensing;Corporate Services at the Sydney Symphony, Ballet, Handspan infrastructure and building customer relations, frontEnergy Australia. David a resident company Theatre in Melbourne projects for over 30 years of house, and emergencyhas also held various of Sydney Opera and Magpie Theatre, working on a diverse planning and response.senior financial and House. Victoria was a the youth wing of the range of projects including Maria was the Sydneybusiness development co-founder and director State Theatre Company schools and hospitals, Opera House Trust’sroles with Pioneer of Australia’s first online of South Australia. water supply and sewerage representative for theInternational and music destination, Rachel has served on a infrastructure, grain State, National andTubemakers of Australia. ChaosMusic, launched number of arts boards, handling facilities and World Heritage projectsHe is a member of the in 1998 and listed on including Legs on the major sporting venues. including the developmentBuilding Committee and the Australian Securities Wall, the Arts Industry Greg was also involved in of the management andPhilanthropy Committee. Exchange in 1999. Council (Victoria), the planning, construction legislative frameworks toVictoria has also held Kage Physical Theatre, and operational activities support the listings. Priormarketing and sales roles Live Performance associated with the to joining Sydney Operafor OzEmail, Radio Australia and she was Sydney 2000 Olympic House, Maria held various2SM and News Limited. Deputy Chair of the and Paralympic Games policy advisor positionsVictoria is a senior Theatre Board of the and received the ‘Olympic in international affairsmember of the Australian Australia Council. In Golden Rings’ award from and central governmentMarketing Institute 1998 she was awarded the International Olympic agencies in the UK andand is a member of the the inaugural Nugget Committee for his Australia before managingPhilanthropy Committee. Coombs Award for Arts contribution to the Games. the NSW Government’sAdministration in the Greg is a member of the legislative program asYoung Manager category. Building Committee and head of the Cabinetthe Conservation Council. Secretariat. Maria wasa French Announcerfor the 2000 and 2004Olympic Games. Mariais a member of theConservation Council.SYDNEY OPERA HOUSE33 ANNUAL REPORT 2008/09

People & CultureCollaboration with staff and the performing arts industry formed the basis ofprograms aimed at strengthening a culture of innovation, communication andleadership. Workforce enrichment programs to develop staff skills andmaintain workplace safety were implemented, while our communitycontribution continues to grow with more opportunities to connectstaff with charity partners and the wider community.Backstage crew

Collaboration, Safety & Wellbeing The Year AheadInnovation &(refer page 63)ExcellenceIn its inaugural year, the MarkerBusiness Excellence Project engagedwith staff and other world classperforming arts centres to measureorganisational performance whilegenerating improvement ideas andindustry collaboration. A crosssectionof staff participated in anonline survey and discussion forums,with outcomes shared with The ArtsCentre, Melbourne and The Edge,New Zealand in March 2009. Referpage 58 for further information.Simplifying processes and reducingred tape for staff, customers andpartners, 15 corporate policieswere reworked this year. Publicpolicy access was enhanced withthe policies of Customer Feedback,Child Protection, OH&S, and Codeof Conduct added to the website.Developing Capability& Talent(refer page 58)A workforce enrichment program sawleadership training and managementand career coaching extended to 131staff. Ensuring consistent and highquality service for all customers, a newcustomer service training program wasdelivered to 45 Emergency Planningand Response Team members thisyear, with more training planned forcustomer service areas in 2009/10.As a Registered Training Organisation,Sydney Opera House added a Diplomaof Management to its scope. Throughgovernment funded programs torecognise and develop workforcecapability, the internal Trainerand Assessor network commenceddeveloping a new set of tools to assessstaff for vocational qualifications.Ongoing refinement of performancereview processes saw an onlineperformance planning and reviewsystem developed and tested withstaff. Launching next year, the newsystem provides a simpler mechanismto identify skill development needsand recognise staff achievements.Improvements to recruitmentservices were designed to increaseservice efficiency and quality, buildour employment brand and attractquality candidates. Initiativesincluded a new e-recruitment system,an enhanced careers webpage,merit-based feedback for interviewcandidates, and improved recruitmentresources for hiring managers.Ensuring the safety of visitorsand staff, a new OH&S Policyand Consultation Statement werelaunched and the review of Safe WorkProcedures continued. A focus onhigh risk activities and enhancementof OH&S and injury managementresources saw reductions in thenumber of staff injuries and worker’scompensation cases this year. Fullstatistics are provided on page 63.Safety Week was held in October2008, aimed at enhancing the safetyand wellbeing of staff and residentcompany partners. Session topicsincluded managing workplace bullyingand harassment, work/lifebalance, self defence, OH&S awarenessand First Aid. An online safetylearning package and new OH&Swebpage including informationfor hirers, school students and thegeneral public have been developedfor implementation next year.Contributing to a healthier andhappier workplace, some 70individuals, including staff andbusiness partners, participated inthis year’s free weekly Yoga andPilates classes, which aim to reducestress and improve physical fitness.Connecting withthe CommunityThe Workplace Giving Programdonated $23,049 to charity partnersthis year with a further $4,000 ingoods from Christmas and MothersDay gift appeals. Coordinated by agroup of over 40 staff volunteers, aregular program of fundraising eventshas expanded to include teams forthe City2Surf and Sydney RunningFestival next year. Staff, residentcompanies, business partners andsuppliers donated time and servicesfor the Arts Unite concert in February2009, which raised $159,373 forthe Red Cross Bushfire Appeal.Providing opportunities for youngpeople in the arts, two graduatetrainees completed a new GraduateWork Experience Placement throughthe Indigenous Traineeship Program.Three trainees from the SydneyConvention and Exhibition Centrewere also supported to commencea vocational qualification in LiveProduction, Theatre and Events(Technical Operations). Next year wewill continue to support trainees whileexploring opportunities to extendqualifications to resident companies.• Year 2 of the Marker BusinessExcellence Project, includinghosting an international forumwith consortium partners.• Planning for a staff mentoringprogram and delivery ofcustomer service trainingacross the organisation.• A new CEO’s Award forOutstanding Service to rewardand recognise staff achievements.• Implementation of an onlineperformance review system.• Introduction of an onlineOH&S induction package forstaff, contractors and hirers,including online safety andsecurity training modules.• Development of new accreditedtraining programs through theRegistered Training Organisation.• Negotiation of a newEnterprise Agreement.SYDNEY OPERA HOUSE35 ANNUAL REPORT 2008/09

FinancialsFinancials General Operations Building Development& MaintenanceThe overall group contribution isa loss for the year of $8.7m. Thiscomprises a contribution fromgeneral operations of $1.5m and anet profit of $7.7m from buildingmaintenance and development offsetby a depreciation expense of $17.9m.Sydney Opera House activelyprioritises general operations activitiesto ensure that it has adequate cashreserves to maintain and sustainoperations. Over 2008/09 the generaloperating cash flow was $0.8m. Thekey elements of this were the 2008/09general operations $1.5m contributionoffset by investment in capital assets of$0.7m. The strong general operatingcontribution benefited from cost controlacross all areas of the business and adeliberate deferral in discretionaryinvestment, in order to mitigate theeconomic downturn. Expenditure onbuilding maintenance and developmentwas funded by government grants withany profit or loss due to timing issues.Preservation of adequate cash reserveshas allowed general operating activitiesto cope, thus far, with fluctuations incommercial and fundraising activitiesas a result of the economic downturn,as well as manage risks associated witharound the clock building operations.General operating cash reserves at$8.5m are not considered large, theyrepresent 10% of operating revenueand are immaterial in terms of $1.8billion in Sydney Opera Housenet assets and the uncertainty inglobal markets in the near future.Operating revenues were able togrow by 5% or $4.1m on the prioryear: Key reasons for this include:• Programming revenue increasedby 26% or $3.7m due to growthin Sydney Opera House Presentsactivities both in terms ofperformances and attendees. Theresults were assisted by $1.4mreceived from Events NSW onbehalf of the NSW Governmentfor Luminous, part of Vivid Sydney,a Sydney wide mid-year festival;• Tourism revenues grew by 8%primarily due to an increase inthe average price of tours; and• Fundraising revenues grew by31% or $1.2m due to growth innon cash contra sponsorship.Sydney Opera House continuedto play a key role in the supportand development of new artistsand diverse arts forms:• Overall 1,677 performanceswere presented to an audienceof 1,241,763, a decrease of2% over the prior year;• Our four Resident Companiespresented 551 performancescovering opera, music, ballet andtheatre to audiences of 629,317,a decrease of 7.6%; and• Sydney Opera House itselfpresented 746 performances,covering a wide range of genre toaudiences of 336,541, an increaseof 11% over the prior year.Expenditure on Sydney Opera Houseprogramming activities increased to$22.2m with a net cost, after relatedproduction income of $4.2m.The Other Activities profit of $7.7mincludes recognition of $30.4m ofBuilding Maintenance Governmentgrants. In 2008/09 maintenanceexpenditure totalled $32.7m – ofwhich $11.9m was capitalised.Significant progress was made inundertaking a number of high prioritymaintenance projects in 2008/09including an upgrade of the ConcertHall Grand Organ’s electroniccontrol system, bronze cleaning andrestorations works and lift upgrades.This year building developmentcontinued, the Venue ImprovementProgramme capital funding (part ofa $69m package of funding approvedby NSW Government in 2001/02)achieved substantial completionof the Accessibility and WesternFoyers Project. Refer page 26.

2009$0002008$000Operating ActivitiesRevenuesOperating revenues 66,930 62,841Government endowment 14,406 14,42481,336 77,265ExpensesOperating expenses (79,823) (73,226)Operating Profit beforeDepreciation and other activities 1,513 4,039Depreciation expense (17,884) (17,801)Other ActivitiesRevenuesMaintenance grants 30,428 6,939Asset related adjustment revenue 1,671 3,299Increase in prepaid superannuation 750 184Restricted donations revenues 209 16433,058 10,586ExpensesBuilding refurbishment & maintenance expenses (24,696) (16,109)Asset related adjustment expense (420) (10,899)Restricted donations expense (271) (138)(25,387) (27,146)Other Activities Profit/(Loss) 7,671 (16,560)Surplus/(Deficit) for year, as perAudited Financial Report Income Statement (8,700) (30,323)Sources of funding foroperating activities 2008/09Commercial revenue sources2008/09Operating expenses 2008/092009$0002008$0002009$0002008$000Self-generated –Programming 18,001 14,329commercial & recoveries 59,169 55,977 Venue rental & recoveries 17,409 17,465Endowment 14,406 14,424 Tourism Services 7,830 7,259Self-generated fundraising 5,179 3,940 Food & Beverage 4,511 4,629Interest 2,582 2,924 Ticketing Services 4,342 3,935Front of House 2,806 2,755Business Development& Retail 2,643 2,669Other revenue & recoveries 1,627 2,93637SYDNEY2009$000OPERA HOUSEANNUAL REPORT 2008/092008$000Personnel expenses (38,443) (38,372)Presentations (18,065) (13,022)Marketing (6,316) (5,186)Facility expenses (5,636) (5,544)Administration (3,970) (4,381)Fees for Services (3,089) (2,217)Merchandising(incl. joint ventures) (1,680) (1,726)Repairs & Maintenance (566) (614)Tourism (1,037) (1,041)Other (1,022) (1,123)

Financial StatementsIndexSTATEMENT IN ACCORDANCEWITH SECTION 41C ..............................................................38INDEPENDENT AuDITOR’S REPORT ..............................39INCOME STATEMENT ..........................................................40STATEMENT OF RECOGNISEDINCOME AND EXPENSE.......................................................40BALANCE SHEET AS AT 30 JuNE 2009..............................40CASH FLOW STATEMENT ...................................................41NOTES TO AND FORMING PART OF THE FINANCIAL REPORT....................................................411. Summary of Significant Accounting Policies ......................412. Financial Risk Management ................................................453. Income ...................................................................................464. Expenses.................................................................................465. Trustees’ Remuneration ........................................................476. Cash and Cash Equivalents .................................................477. Trade and Other Receivables ..............................................478. Derivatives used for Hedging...............................................479. Inventory – Held for Distribution.........................................4710. Property, Plant and Equipment.............................................4711. Intangible Assets ....................................................................4812. Trade and Other Payables ....................................................4813. Deferred Revenue..................................................................4814. Payables – Personnel Services Providers...............................4815. Provisions ...............................................................................4916. Financial Instruments............................................................4917. Trust Funds ...........................................................................5118. Interest in Joint Ventures.......................................................5219. Movements in Equity ............................................................5220. Commitments ........................................................................5221. Contingent Liabilities ............................................................5222. Payments to Consultants .......................................................5323. After Balance Date Events ....................................................5324. Notes to the Statement of Cash Flows.................................5325. Disclosure of Prior Period Errors .........................................53BuDGET ....................................................................................53Sydney Opera House TrustSTATEMENT IN ACCORDANCE WITH SECTION 41COF THE PUBLIC FINANCE AND AUDIT ACT, 1983Pursuant to Section 41C of the Public Finance and Audit Act, 1983, andin accordance with a resolution of the Sydney Opera House Trust, webeing members of the Trust, state that:1. In our opinion, the accompanying financial report exhibit a true andfair view of the financial position of the Sydney Opera House Trust asat 30 June 2009, and financial performance for the year then ended.2. The financial statements have been prepared in accordance with theprovisions of the Public Finance and Audit Act, 1983, the Public Financeand Audit Regulation 2005 and the Treasurer’s Directions.Further, we are not aware of any circumstances which would render anyparticulars included in the financial report to be misleading or inaccurate.Kim Williams AMChairmanSue Nattrass AOMember, Risk Management CommitteeSYDNEY1 OCTOBER 2009

Independent Auditor’s ReportSydney Opera House TrustGPO BOX 12SYDNEY NSW 2001To Members of the New South Wales ParliamentI have audited the accompanying financial report of the Sydney Opera House Trust (the Trust), which comprises the balance sheet as at 30 June 2009, theincome statement, statement of recognised income and expense and cash flow statement for the year then ended, a summary of significant accounting policiesand other explanatory notes.Auditor’s OpinionIn my opinion, the financial report:• presents fairly, in all material respects, the financial position of the Trust as at 30 June 2009, and its financial performance for the year then ended inaccordance with Australian Accounting Standards (including the Australian Accounting Interpretations)• is in accordance with section 41B of the Public Finance and Audit Act 1983 (the PF&A Act) and the Public Finance and Audit Regulation 2005.My opinion should be read in conjunction with the rest of this report.The Trustees’ Responsibility for the Financial ReportThe members of the Trust are responsible for the preparation and fair presentation of the financial report in accordance with Australian AccountingStandards (including the Australian Accounting Interpretations) and the PF&A Act. This responsibility includes establishing and maintaining internal controlsrelevant to the preparation and fair presentation of the financial report that is free from material misstatement, whether due to fraud or error; selecting andapplying appropriate accounting policies; and making accounting estimates that are reasonable in the circumstances.Auditor’s ResponsibilityMy responsibility is to express an opinion on the financial report based on my audit. I conducted my audit in accordance with Australian Auditing Standards.These Auditing Standards require that I comply with relevant ethical requirements relating to audit engagements and plan and perform the audit to obtainreasonable assurance whether the financial report is free from material misstatement.An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the financial report. The procedures selected dependon the auditor’s judgement, including the assessment of the risks of material misstatement of the financial report, whether due to fraud or error. In makingthose risk assessments, the auditor considers internal controls relevant to the Trust’s preparation and fair presentation of the financial report in order todesign audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the Trust’s internalcontrols. An audit also includes evaluating the appropriateness of accounting policies used and the reasonableness of accounting estimates made by theTrustees, as well as evaluating the overall presentation of the financial report.I believe that the audit evidence I have obtained is sufficient and appropriate to provide a basis for my audit opinion.My opinion does not provide assurance:• about the future viability of the Trust,• that it has carried out its activities effectively, efficiently and economically, or• about the effectiveness of its internal controls.IndependenceIn conducting this audit, the Audit Office of New South Wales has complied with the independence requirements of the Australian Auditing Standards andother relevant ethical requirements. The PF&A Act further promotes independence by:• providing that only Parliament, and not the executive government, can remove an Auditor‐General, and• mandating the Auditor‐General as auditor of public sector agencies but precluding the provision of non‐audit services, thus ensuring the Auditor‐Generaland the Audit Office of New South Wales are not compromised in their role by the possibility of losing clients or income.Steven MartinDirector, Financial Audit Services13 October 2009SYDNEYSYDNEY OPERA HOUSE39 ANNUAL REPORT 2008/09

Financial Statements continuedBEGINNING OF AUDITED FINANCIAL REPORTBALANCE SHEETAS AT 30 JUNE 2009INCOME STATEMENTFOR THE YEAR ENDED 30 JUNE 2009NOTE2009$’0002008$’000IncomeSale of goods and services income 3(a) 50,030 49,527Share of net profits forjoint ventures accounted forusing the equity method 18 410 607Investment income 3(b) 4,299 6,231Grants and contributions 3(c) 7,043 4,088Government contributions income 3(d) 44,834 21,363Total Income 106,616 81,816ExpensesPersonnel services expense 4(a) 38,016 39,054Other expenses 4(b) 34,475 39,316Maintenance expense 4(c) 24,941 15,968Depreciation andamortisation expense 4(d) 17,884 17,801Total expenses 115,316 112,139Deficit for the year 19 (8,700) (30,323)The accompanying notes form part of this financial reportNOTE2009$’000STATEMENT OF RECOGNISED INCOME AND EXPENSEFOR THE YEAR ENDED 30 JUNE 2009NOTE2008$’000Loss on revaluation of property,fabric and internal fit-out 19 (63,291) -Losses on cash flow hedges recognised directly in Equity 8,19 (143) (7)Net (loss)/income recogniseddirectly in equity (63,434) (7)Deficit for the period 19 (8,700) (30,323)Total recognised incomeand expense for the year (72,134) (30,330)Effect of Correction of Prior Period Errors2009$’0002008$’0002008$’000Deficit for the period asreported in 2008 (19,643)Correction of Prior Period Error 25 (10,680)Restated deficit for the period (30,323)ASSETSCurrent AssetsCash and cash equivalents 6 60,310 75,303Trade and other receivables 7 4,805 4,437Prepayments 1,587 2,852GST Receivable 1,652 1,452Derivatives used for hedging 8 1,096 373Inventory 9 82 93Total Current Assets 69,532 84,510Non-Current AssetsProperty, plant and equipment 10 1,760,897 1,809,403Intangible assets 11 688 1,029Investment accounted forusing equity method 18 221 221Total Non-Current Assets 1,761,806 1,810,653Total Assets 1,831,338 1,895,163LIABILITIESCurrent LiabilitiesTrade and other payables 12 11,433 8,227Deferred Revenue 13 9,005 6,767Payables - PersonnelService providers 14 9,866 8,120Provisions 15 152 -Derivative financial instruments 8 1,239 380Total Current Liabilities 31,695 23,494Non-Current LiabilitiesPayables – PersonnelService providers 14 957 704Provisions 15 251 403Total Non-Current Liabilities 1,208 1,107Total Liabilities 32,903 24,601Net Assets 1,798,435 1,870,562EQUITYAccumulated funds 19 212,500 220,412Reserves 19 1,585,935 1,650,150Total Equity 1,798,435 1,870,562The accompanying notes form part of this financial reportThe accompanying notes form part of this financial report

CASH FLOW STATEMENTFOR THE YEAR ENDED 30 JUNE 2009NOTE2009$’0002008$’000Cash flows fromoperating activitiesReceiptsReceipts from operations 59,003 67,374Interest received 3,879 6,235Cash flows from Government 44,834 21,363Total Receipts 107,716 94,972PaymentsPayments to suppliers andpersonnel service providers (90,498) (97,494)Total payments (90,498) (97,494)Net Cash inflows/(outflows)from operating activities 24 17,218 (2,522)Cash flows frominvesting activitiesPayments for property, plantand equipment (32,211) (27,120)Net Cash outflows frominvesting activities (32,211) (27,120)Net decrease in cashand cash equivalents (14,993) (29,642)Cash and cash equivalents at thebeginning of the financial year 75,303 104,945Cash and cash equivalents atthe end of the financial year 6 60,310 75,303The accompanying notes form part of this financial reportSYDNEY OPERA HOUSE TRUST NOTES TOAND FORMING PART OF THE FINANCIAL REPORTFOR THE YEAR ENDED 30 JUNE 20091.Summary of SignificantAccounting Policies(a) Reporting EntityThe Sydney Opera House Trust is constituted as a body corporate by theSydney Opera House Trust Act, 1961. It is designated as a transitionalentity by the NSW Treasury and required to use the not for profitaccounting standards.This financial report for the year ended 30 June 2009 has been authorisedfor issue by the Sydney Opera House Trust on 22 September 2009.(b) Basis of PreparationThe financial report is a general purpose financial report which hasbeen prepared on an accruals basis and in accordance with applicableAustralian Accounting Standards (which include Australian AccountingInterpretations), the requirements of the Public Finance and Audit Act,1983, and the Public Finance and Audit (General) Regulation, 2005, andTreasurer’s Directions.Property, plant and equipment, collection assets and financial assets at ‘fairvalue through profit or loss’ are measured at fair value. Other financialreport items are prepared on an accrual basis and based on historical costs.The methods used for measuring fair value are discussed further below.The Trust has kept proper accounts and records in relation to all of itsoperations in accordance with Section 41(1) of the Public Finance andAudit Act.Judgements, key assumptions and estimations management has made aredisclosed in the relevant notes to the financial statements.Figures shown in the financial report have been rounded to the nearest$1,000 and expressed in Australian currency.(c) Statement of ComplianceThe financial statements and notes comply with Australian AccountingStandards which include Australian Accounting Interpretations.(d) InsuranceThe Trust’s insurance activities are conducted through the NSW TreasuryManaged Fund Scheme of self insurance for Government agencies. Theexpense (premium) is determined by the Fund Manager based on pastclaim experience.(e) Accounting for Goods & Services Tax (GST)Revenues, expenses and assets are recognised net of the amount of GST,except:• the amount of GST incurred by the Trust as a purchaser that is notrecoverable from the Australian Taxation Office is recognised as partof the cost of acquisition of an asset or as part of an item of expense;and• receivables and payables are stated with the amount of GST included.Cash flows are included in the cash flow statement on a gross basis.However, the GST components of cash flows arising from investing andfinancing activities which is recoverable from, or payable to, the AustralianTaxation Office are classified as operating cash flows.(f) Income RecognitionIncome is measured at the fair value of the consideration or contributionreceived or receivable. Additional comments regarding the accountingpolicies for the recognition of income are discussed below.(i) Government ContributionsGovernment contributions (including grants and donations) are recognisedas revenue when the Trust obtains control over the assets. Control overGovernment contributions is obtained upon the receipt of cash.(ii) Sale of GoodsRevenue from the sale of goods is recognised as income when the Trusttransfers the significant risks and rewards of ownership of the assets.SYDNEY OPERA HOUSE41 ANNUAL REPORT 2008/09

Financial Statements continued(iii) Rendering of ServicesRevenue is recognised when the service is provided or by reference to thestage of completion (based on labour hours incurred to date).(iv) Investment IncomeInterest revenue is recognised using the effective interest method as setout in AASB 139 Financial Instruments: Recognition and Measurement.Rental revenue is recognised in accordance with AASB 117 Leases ona straight-line basis over the lease term. Royalty income is recognised inaccordance with AASB 118 Revenue on an accrual basis in accordancewith the substance of the relevant agreement.(v) Grants and ContributionsGrants and contributions (including donations) are generally recognisedas income, when the Trust obtains control over the assets comprising thegrants and contributions. Control over grants and contributions is normallyobtained when the obligations relating to the receipt have been met and inthe case of donations on receipt of cash.(g) Assets(i) Acquisition of AssetsThe cost method of accounting is used for the initial recording of allacquisitions of assets controlled by the Trust. Cost is the amount of cashor cash equivalents paid or the fair value of the other consideration givento acquire the asset at the time of its acquisition or construction or, whereapplicable, the amount attributed to that asset when initially recognised inaccordance with the specific requirements of other Australian AccountingStandards.Assets acquired at no cost, or for nominal consideration, are initiallyrecognised at their fair value at the date of acquisition.Fair value is the amount for which an asset could be exchanged betweenknowledgeable, willing parties in an arm’s length transaction.Where payment for an item is deferred beyond normal credit terms, its costis the cash price equivalent, i.e. the deferred payment amount is effectivelydiscounted at an asset-specific rate.(ii) Capitalisation ThresholdThe minimum value of an asset, or group of parts or components of anasset to be capitalised is $5,000.(iii) Revaluation of Property, Plant and EquipmentPhysical non-current assets are valued in accordance with the “Valuationof Physical Non-Current Assets at Fair Value” Policy and Guidelines Paper(TPP 07-01). This policy adopts fair value in accordance with AASB 116Property, Plant and Equipment and AASB 140 Investment Property.Property, plant and equipment is measured on an existing use basis, wherethere are no feasible alternative uses in the existing natural, legal, financialand socio-political environment. However, in the limited circumstanceswhere there are feasible alternative uses, assets are valued at their highestand best use.Fair value of property, plant and equipment is determined based on thebest available market evidence, including current market selling prices forthe same or similar assets. Where there is no available market evidence, theasset’s fair value is measured at its market buying price, the best indicatorof which is depreciated replacement cost.The Trust revalues each class of property, plant and equipment at leastevery five years or with sufficient regularity to ensure that the carrying amount of each asset in the class does not differ materially from its fair value at reporting date. The last revaluation was completed on 30 June 2009 and was based on an independent assessment.Non-specialised assets with short useful lives are measured at depreciatedhistorical cost, as a surrogate for fair value.When revaluing non-current assets by reference to current prices for assetsnewer than those being revalued (adjusted to reflect the present conditionof the assets), the gross amount and the related accumulated depreciationare separately restated.For other assets, any balances of accumulated depreciation at therevaluation date in respect of those assets are credited to the asset accountsto which they relate. The net asset accounts are then increased or decreasedby the revaluation increments or decrements.Revaluation increments are credited directly to the asset revaluationreserve, except that, to the extent that an increment reverses a revaluationdecrement in respect of that class of asset previously recognised as anexpense in the surplus/deficit, the increment is recognised immediately asIncome in the surplus/deficit.Revaluation decrements are recognised immediately as expenses in thesurplus, except that, to the extent that a credit balance exists in the assetrevaluation reserve in respect of the same class of assets, they are debiteddirectly to the asset revaluation reserve.As a not-for-profit entity, revaluation increments and decrements are offsetagainst one another within a class of non-current assets, but not otherwise.Where an asset that has previously been revalued is disposed of, anybalance remaining in the asset revaluation reserve in respect of that asset istransferred to accumulated funds.(iv) Impairment of Property, Plant & EquipmentAs a transitional entity, reporting under the not-for-profit guidelines, theimpairment testing requirements are modified under AASB 136. AASB136 modifies the recoverable amount test to the higher of fair value lesscosts to sell and depreciated replacement cost. This means that, for an assetalready measured at fair value, impairment can only arise if selling costsare material. Selling costs are deemed immaterial.(v) Intangible AssetsThe intangible assets held by Sydney Opera House Trust comprisesoftware for internal use and is recognised at cost.Intangible assets are subsequently measured at fair value only if there isan active market. As there is no active market for the agency’s intangibleassets, the assets are carried at cost less any accumulated amortisation.The useful lives of intangible assets are assessed to be finite. The Trust’ssoftware is amortised on a straight line basis over 3-5 years.All intangible assets were assessed for impairment as at 30 June 2009. Nointangible assets were found to be impaired.(vi) Depreciation and AmortisationDepreciation is provided on property, plant and equipment. Depreciationis calculated on a straight line basis so as to write off the depreciableamount of each asset over its expected useful life to its estimated residualvalue. Leasehold improvements are depreciated over the period of thelease or estimated useful life, whichever is the shorter, using the straightline method. The estimated useful lives, residual values and depreciationmethod are reviewed at the end of each annual reporting period.All material separately identifiable components of assets are depreciatedover their shorter useful lives.Land is not a depreciable asset. The Sydney Opera House building and theartwork collection are considered to be heritage assets with an extremelylong useful life. Depreciation for these items cannot be reliably measuredbecause the useful life and the net amount to be recovered at the end ofthe useful life cannot be reliably measured. In these cases depreciation isnot recognised. The decision not to recognise depreciation for these assetsis reviewed annually.Depreciation rates are shown hereunder:Category of Assets Rate of Depreciation %Building services 10.0, 20.0 & 33.3Computer hardware 10.0, 20.0 & 33.3Computer software 20.0 & 33.3Plant and equipment 10.0, 20.0 & 33.3Forklifts and Vehicle 10Grand Organ 1Amortisation of leasehold improvements 20.0 & 33.3(vii) MaintenanceThe costs of day-to-day servicing or maintenance are charged as expensesas incurred, except where they relate to the replacement of a part orcomponent of an asset, in which case the costs are capitalised anddepreciated.(viii) Leased AssetsA distinction is made between finance leases which effectively transfer fromthe lessor to the lessee substantially all the risks and benefits incidental toownership of the leased assets, and operating leases under which the lessoreffectively retains all such risks and benefits.The Trust has no finance leases.

Operating lease payments are charged to the Income Statement in theperiods in which they are incurred.The cost of improvement to or on leasehold property is capitalised anddisclosed as leasehold improvements and amortised over the unexpiredperiod of the lease term.Leasehold decommissioning costs have been capitalised and expensedwhere the Sydney Opera House Trust are contractually bound to restorethe leased premises upon lease expiry. The asset and provision fordecommissioning costs represents the present value of the trustees’ bestestimate of the future sacrifice of economic benefits that will be requiredto restore the leased premises to their original condition. The estimate hasbeen made on the basis of market value on commercially leased property.The unexpired terms of the premises lease range from 2 to 3.5 years.(ix) Loans and ReceivablesLoans and receivables are non-derivative financial assets with fixed ordeterminable payments that are not quoted in an active market. Thesefinancial assets are recognised initially at fair value, usually based on thetransaction cost or face value. Subsequent measurement is at amortised costusing the effective interest method, less an allowance for any impairmentof receivables. Any changes are accounted for in the operating statementwhen impaired, derecognised or through the amortisation process.Short-term receivables with no stated interest rate are measured at theoriginal invoice amount where the effect of discounting is immaterial.(x) InventoriesInventories held for distribution are stated at cost, adjusted when applicablefor any loss of service potential. A loss of service potential is identifiedand measured based on the existence of a current replacement cost thatis lower than the carrying amount. Cost is assigned to individual items ofinventory using the weighted average cost method.(xi) InvestmentsInvestments are initially recognised at fair value plus, in the case ofinvestments not at fair value and the carrying expenses are recorded on theprofit or loss through transaction costs.The Trust determines the classification of its financial assets after initialrecognition and, when allowed and appropriate, re-evaluates this at eachfinancial year end.Fair value through profit or loss. The Trust subsequently measuresinvestments classified as “held for trading” or designated upon initialrecognition “at fair value through profit or loss” at fair value. Financialassets are classified as “held for trading” if they are acquired for thepurpose of selling in the near term.The Hour-Glass Investment Facilities (other than the Hour Glass Cashfacility) are designated at fair value through profit or loss using the secondleg of the fair value option – i.e. these financial assets are managed andtheir performance is evaluated on a fair value basis, in accordance witha documented risk management strategy, and information about theseassets is provided internally on that basis to the Trust’s key managementpersonnel.Any Hour Glass Investment facilities held by the Trust are short term unittrust investment funds managed by the NSW Treasury Corporation. Theagency has been issued with a number of units in TCorp’s Hour GlassCash Facility Trust, based on the amount of the deposit and the unit valuefor the day.Held to maturity investments – Non-derivative financial assets with fixed ordeterminable payments and fixed maturity that the agency has the positiveintention and ability to hold to maturity are classified as “held to maturity”.These investments are measured at amortised cost using the effectiveinterest method. Changes are recognised in the operating statement whenimpaired, derecognised or through the amortisation process.Available for sale investments - Any residual investments that do not fallinto any other category are accounted for as available for sale investmentsand measured at fair value directly in equity until disposed or impaired, atwhich time the cumulative gain or loss previously recognised in equity isrecognised in the operating statement. However, interest calculated usingthe effective interest method and dividends are recognised in the operatingstatement.Purchases or sales of investments under contract that require delivery ofthe asset within the timeframe established by convention or regulation arerecognised on the trade date; i.e. the date the entity commits to purchase orsell the asset. The fair value of investments that are traded at fair value inan active market is determined by reference to quoted current bid prices atthe close of business on the balance sheet date.(xii) Impairment of financial assetsAll financial assets, except those measured at fair value through profit andloss, are subject to an annual review for impairment. An allowance forimpairment is established when there is objective evidence that the entitywill not be able to collect all amounts due.For financial assets carried at amortised cost, the amount of the allowanceis the difference between the asset’s carrying amount and the present valueof estimated future cash flows, discounted at the effective interest rate. Theamount of the impairment loss is recognised in the operating statement.When an available for sale financial asset is impaired, the amount of thecumulative loss is removed from equity and recognised in the operatingstatement, based on the difference between the acquisition cost (net ofany principal repayment and amortisation) and current fair value, less anyimpairment loss previously recognised in the operating statement.Any reversals of impairment losses are reversed through the operatingstatement, where there is objective evidence, except reversals ofimpairment losses on an investment in an equity instrument classifiedas “available for sale” must be made through the reserve. Reversals ofimpairment losses of financial assets carried at amortised cost cannot resultin a carrying amount that exceeds what the carrying amount would havebeen had there not been an impairment loss.(xiii) Derecognition of financial assets and financial liabilitiesA financial asset is derecognised when the contractual rights to the cashflows from the financial assets expire; or if the agency transfers the financialasset:• where substantially all the risks and rewards have been transferred; or• where the agency has not transferred substantially all the risks andrewards, if the entity has not retained control.Where the agency has neither transferred nor retained substantially all therisks and rewards or transferred control, the asset is recognised to the extentof the agency’s continuing involvement in the asset.A financial liability is derecognised when the obligation specified in thecontract is discharged or cancelled or expires.(xiv) Derivative Financial InstrumentsThe Trust holds derivative financial instruments to hedge its foreigncurrency risk exposures. Derivatives are initially recognised at fair value;attributable transaction costs are recognised in the profit or loss whenincurred. Subsequent to initial recognition, derivatives are measured at fairvalue and changes therein are accounted for as below.Changes in the fair value of the derivative hedging instrument designatedas a cash flow hedge are recognised directly in equity to the extent that thehedge is effective. To the extent that the hedge is ineffective, changes in fairvalue are recognised in profit or loss.If the hedge instrument no longer meets the criteria for hedge accounting,expires, or is sold, terminated or exercised, then hedge accountingis discontinued prospectively. The cumulative gain or loss previouslyrecognised in equity remains there until the forecast transaction occurs.(xv) Other AssetsOther assets are recognised on a cost basis.(h) Personnel Services and Other Provisions(i) Personnel Services ArrangementsThe Trust and the Department of Arts, Sport and Recreation (DASR),entered into a Memorandum of understanding effective from 1 July 2006which sets out the arrangements for employment and payment of staffworking at the Sydney Opera House which are considered employees ofDASR. All payments to personnel and related obligations are done inDASR name and ABN and are classified as “Personnel Services” costs inthese financial statements.SYDNEY OPERA HOUSE43 ANNUAL REPORT 2008/09

Financial Statements continued(ii) Personnel Services, Annual Leave, Sick Leave and On-costsBased on the memorandum and employment agreement with theDepartment of the Arts, Sport and Recreation, provisions are calculatedas part of the personnel services and stated as a liability to the serviceprovider, the Department of the Arts, Sport and Recreation. Provision ismade for benefits accrued for personnel services (including non-monetarybenefits), and annual leave that fall due wholly within 12 months of thereporting date are recognised and measured on a nominal basis.unused non-vesting sick leave does not give rise to a liability as it is notconsidered probable that sick leave taken in the future will be greater thanthe benefits accrued in the future.The outstanding amounts of payroll tax, workers’ compensation insurancepremiums and fringe benefits tax, which are consequential to the provisionof personnel services by the Department of the Arts, Sport and Recreation,are recognised as liabilities and expenses where the personnel services towhich they relate have been recognised.(iii) Long Service Leave and SuperannuationIn the financial statements of the Department of the Arts, Sport andRecreation, long service leave is calculated in accordance with AASB 119Employee Benefits for employees with 5 or more years of service, usingcurrent rates of pay. It is measured using an actuarial assessment withreference to the government bond rate of 5.4% to arrive at the reportedvalue and a current liability. The Sydney Opera House Trust reports theequivalent expense and liability in its financial statements to reflect thisprovision of personnel services.The superannuation expense for the financial year is determined by usingthe formulae specified in NSW Treasury guidelines. The expense forcertain superannuation schemes (i.e. Basic Benefit and First State Super)is calculated as a percentage of the equivalent of employees’ salary. Forother superannuation schemes (i.e. State Superannuation Scheme andState Authorities Superannuation Scheme), the expense is calculated as amultiple of the equivalent of employees’ superannuation contributions.Prepaid superannuation contributions are recognised as non-current assetsin the Balance Sheet of the Department of the Arts, Sport and Recreationas required by AASB 119. Sydney Opera House Trust offsets the samevalue against the Personnel Services payable to the Department of the Arts,Sport and Recreation provided for under current liabilities.(i) Other Liabilities(i) PayablesThese amounts represent liabilities for goods and services provided to theTrust and other amounts, including interest, advance ticket sales and otherincome in advance. Payables are recognised initially at fair value, usuallybased on the transaction cost or face value. Subsequent measurement isat amortised cost using the effective interest method. Short-term payableswith no stated interest rate are measured at the original invoice amountwhere the effect of discounting is immaterial.(ii) Other ProvisionsOther provisions are recognised when: the Trust has a present legal or constructive obligation as a result of past events; it is probable that an outflow of resources will be required to settle the obligation; and theamount can be reliably estimated. Provisions are measured at the present value of management’s bestestimate of the expenditure required to settle the present obligation atbalance sheet date. The discount rate used to determine the present valuereflects current market assessments of the time value of money and the riskspecific to the liability.(l) Comparative InformationExcept where an Australian Accounting Standard permits or requiresotherwise, comparative information is disclosed in respect of the previousperiod for all amounts reported in the financial statements.(m) New Accounting Standards and InterpretationsCertain new accounting standards and interpretations have been publishedthat are not mandatory for 30 June 2009 reporting periods. The followingnew Accounting Standards and Interpretations have not yet been adoptedand are not yet effective.• AASB 8 Operating Segments (1 January 2009) and AASB 2008‐3 Amendments to Australian Accounting Standards from AASB8 (1 January 2009) - introduces the “management approach” tosegment reporting. AASB 8, which becomes mandatory for theTrust’s 30 June 2010 reporting period will require the disclosure ofsegment information based on internal reports reviewed by the TrustChief Operating Decision Maker in order to assess each segment’sperformance and allocate resources to them. As the Trust is currentlycompleting an organisational restructure, and updating managementreporting accordingly, it has not yet determined the final segmentinformation that will be reported under the management approach.• AASB 101 Presentation of Financial Statements (1 January 2009) andAASB 2008-8 Amendments to Australian Accounting Standard arisingfrom AASB 101 (1 January 2009) - introduces as a financial statementthe “statement of comprehensive income” The revised standard doesnot change the recognition, measurement or disclosure of transactionsand events that are required by other AASBs. The revised AASB 101becomes mandatory for the Trust’s 30 June 2010 reporting period.The Trust has not yet determined the potential effect of the revisedstandard on the Trust’s disclosures.• AASB 123 Borrowing Costs (1 January 2009) and AASB 2008‐6Amendments to Australian Accounting Standards arising from AASB123 (1 January 2009) - removes the option to expense borrowingcosts and requires that an entity capitalise borrowing costs directlyattributable to the acquisition, construction or production of aqualifying asset as part of the cost of that asset. The revised AASB123 becomes mandatory for the Trust’s 30 June 2010 reporting period.As the Trust does not have any borrowings the revised standard is notcurrently expected to have an effect on the Trust’s financial report.• AASB 1049 Financial Reporting of General Government Sectors byGovernment (1 July 2009) requires that the whole-of-government andgeneral government sector (GGS) financial report must be preparedon a harmonised Government Finance Statistics (GFS)/AccountingStandard (GAAP) basis. The revised AASB 101 becomes mandatoryfor reporting periods commencing on or after 1 July 2009. However,the revised standard only impacts on the whole of government andGGS, and does not currently impact individual public sector entities,such as the Trust.• AASB 2007‐9 Amendments to Australian Accounting Standard arisingfrom the review of AASs27, 29 & 31 (1 July 2009) relocates certainrequirements from AAS 27, AAS 29 and AAS 31 into existing topicbasedStandards and also makes consequential amendments. TheStandard clarifies that for-profit government departments are outsidethe scope of both AASB 8 Operating Segments and AASB 114Segment Reporting and may not always be able to comply with IFRSs.The Trust is a not-for-profit government department, and does notexpect to be impacted by these revisions.(j) Joint VenturesThe Trust’s interests in joint ventures are determined as joint ventureentities and accounted for using the equity method. The Trust’s share ofincome, expenses, liabilities and assets of the joint venture is disclosed inthe notes. A joint venture entity is where entities separate from the venturesare established to undertake a joint activity.(k) Fundraising and BequestsThe Trust receives donations and manages bequests. The incomes providefor expenditure in the current year and in future years. The transactionsare reported within the Trust’s financial report. Amounts unspent in anyyear are carried forward for appropriate expenditure in future years. Detailsare provided in the notes to these financial statements.

2. Financial Risk ManagementThe Trust has exposure to the following risks from the use of financialinstruments:• credit risk• liquidity risk• market riskThese financial instruments arise directly from Sydney Opera HouseTrust’s operations or are required to finance the Trust’s operations.The Trust does not enter into or trade financial instruments, includingderivative financial instruments, for speculative purposes.This note presents information about the Trust’s exposure to each ofthe above risks, their objectives, policies and processes for measuring andmanaging risk. Further quantitative and qualitative disclosures are includedas appropriate, throughout the financial report.The Risk Management Committee of the Trust has overall responsibilityfor the establishment and oversight of the risk management framework andagrees policies for managing risks. Compliance with policies is reviewedby the internal auditors and the Risk Management Committee on acontinuous basis. The chair of the Risk Management Committee is anindependent member of the Trust, and the committee regularly reports tothe Trust on its activities.A regular business risk assessment is undertaken to identify and analyse therisks faced by the Trust, to determine appropriate controls and monitoringmechanisms, and formulate the internal audit program. Internal Auditundertakes both regular and ad hoc reviews of management controls andprocedures, the results of which are reported to the Risk ManagementCommittee. In addition the Risk Management Committee seeks reports ofmanagement on a range of risk management activities.(a) Credit RiskCredit risk is the risk of financial loss to the Trust if a customer orcounterparty to a financial instrument fails to meet its contractualobligations, and arises principally from the financial assets of the Trust,including cash, receivables and authority deposits held through thenormal course of business. The Trust’s maximum exposure to credit riskis represented by the carrying amount of the financial assets (net of anyallowance for impairment).(i) Trade and Other ReceivablesAll trade debtors are recognised as amounts receivable at balance date.Collectibility of trade debtors is reviewed on an ongoing basis. Proceduresas established in the Treasurer’s Directions are followed to recoveroutstanding amounts, including letters of demand. Debts which are knownto be uncollectible are written off. The Trust has raised an allowance forimpairment that represents their estimate of incurred losses in respect oftrade and other receivables, based on objective evidence that all amountsdue will not be able to be collected. This evidence includes past experience,and current and expected changes in economic conditions and debtorcredit ratings. No interest is earned on trade debtors. Sales are made on 30day terms.(ii) Other Financial AssetsCredit risk associated with the Trust’s financial assets, other thanreceivables, is managed through setting investment limits and limitinginvestments to counterparties that have investment grade credit ratingsfrom major credit rating agencies. Authority deposits held with NSWTCorp are guaranteed by the State. TCorp deposits are similar to moneymarket or bank deposits and can be placed “at call” or for a fixed term.The Trust has also placed funds on deposit with major banks, havingregard to the rating provided by Standard & Poors. Bank deposits are forfixed terms, and the interest rate payable is negotiated initially and is fixedfor the term of the deposit. The interest rate payable on at call depositsvary. None of these assets are past due or impaired.The Trust has short term investments in (New South Wales TreasuryCorporation’s) TCorp’s Hour-Glass investment facilities. The Trust’sinvestments are represented by a number of units in a cash facility. Thedeposits have varying maturity dates. TCorp appoints and monitors fundmanagers and establishes and monitors the application of appropriateinvestment guidelines.(b) Liquidity RiskLiquidity risk is the risk that the Trust will be unable to meet its paymentobligations when they fall due. The Trust continuously manages riskthrough monitoring future cash flows and maturities planning to ensureadequate holding of high quality liquid assets.The Trust holds no loan facilities and during the current and prioryears, there were no instances of bank overdrafts. The Trust’s exposureto liquidity risk is deemed insignificant based on prior periods’ data andcurrent assessment of risk.The liabilities are recognised for amounts due to be paid in the future forgoods or services received, whether or not invoiced. Amounts owing tosuppliers (which are unsecured) are settled in accordance with the policyset out in Treasurer’s Direction 219.01. If trade terms are not specified,payment is made no later than the end of the month following the monthin which an invoice or a statement is received. Treasurer’s Direction 219.01allows the Minister to award interest for late payment.(c) Market RiskMarket risk is the risk that the fair value or future cash flows of a financialinstrument will fluctuate because of changes in market prices, such asforeign exchange rates, interest rates and equity prices. The objective ofmarket risk management is to manage and control market risk exposureswithin acceptable parameters, while optimising the returns. The Trust’sexposures to market risk is primarily through currency risk on purchasesthat are denominated in a currency other than Australian Dollars andother price risks associated with the movement in the unit price of theHour Glass Investment facilities. The interest rate risk is not expected tosignificantly impact the operating results and financial position. The Trustdoes not enter into commodity contracts.(d) Currency RiskThe Trust is exposed to currency risk on purchases made in currenciesother than Australian Dollars. The currencies in which these transactionsare primarily denominated are Euro, GBP, DKK, CAD and uSD. TheTrust fully hedges any substantial future foreign currency purchaseswhen contracted. The Trust uses forward exchange contracts to hedgeits currency risk, with maturity dates on the same dates as the contractedpayments.(e) Other Price Risk – TCorp Hour Glass facilitiesExposure to ‘other price risk’ primarily arises through the investment in theTCorp Hour Glass Investment facilities, which are held for strategic ratherthan trading purposes. The Trust has no direct equity investments. TheTrust holds units in the TCorp Hour-Glass Cash Facility comprising ofCash and money market instruments of up to 2 years.The unit price of each facility is equal to the total fair value of net assetsheld by the facility divided by the total number of units on issue for thatfacility. unit prices are calculated and published daily. NSW TCorp astrustee for the facilities is required to act in the best interest of the unitholders and to administer the trusts in accordance with the trust deeds.As trustee, TCorp has appointed external managers to manage theperformance and risks of each facility in accordance with a mandateagreed by the parties. However, TCorp acts as manager for part of theCash Facility. A significant portion of the administration of the facilities isoutsourced to an external custodian.NSW TCorp provides sensitivity analysis information for each of theinvestment facilities, using historically based volatility information collectedover a ten year period, quoted at two standard deviations (i.e. 95%probability). The TCorp Hour-Glass Investment facilities (other than theHour Glass cash facility, which is included as cash) are designated at fairvalue through profit or loss and therefore any change in unit price impactsdirectly on profit (rather than equity). A reasonably possible change is basedon the percentage change in unit price (as advised by TCorp) multiplied bythe redemption value as at 30 June each year for each facility (balance fromHour-Glass statement).SYDNEY OPERA HOUSE45 ANNUAL REPORT 2008/09

Financial Statements continued3.Income4. Expenses2009$’0002008$’0002009$’0002008$’000(a) Sale of goods and servicesProductionTheatre servicesVenue rentalsTourismOutsourced food and beverageBooking fees and chargesMiscellaneousOutsourced merchandising, licensing & retail(b) Investment incomeInterest from financial assets not at fair valuethrough profit or loss(c) Grants and contributionsIn-kind sponsorshipCash sponsorshipCash donationsIn-kind donationsGrants other(d) Government contributions incomeRecurrentAnnual endowmentCapital and MaintenanceStrategic asset maintenance16,14510,7176,7367,8374,1143,15382750150,0304,2994,2992,6181,5136017611,5507,04314,40614,40630,42830,42844,834(a) Personnel services expenses14,081 All of the Sydney Opera House’s personnel10,404services are provided by the Departmentof Arts, Sport and Recreation except for7,097 temporary assistance which is included below:7,214 Salary, wages and allowances4,132(including recreation leave)3,652Penalties & Overtime2,654Superannuation – defined contribution plans293Superannuation – defined benefit plans*49,527Superannuation – increase in prepaid positionPayroll tax and fringe benefits taxWorkers compensation insurance6,231Redundancies6,231Other expenses1,8961,386Less: charged to maintenance411* These are provided free of charge by DASR and a corresponding amount is also shown in income536 as grants and contributions250204,088(b) Other expensesArtist fees and presentation expenses 11,150 7,861Publicity and advertising 6,291 5,17514,424 utilities and cleaning 3,965 3,73314,424 Administration expenses 3,363 3,367Consumables and minor equipment 2,344 2,5116,939 Fees for services rendered 3,236 2,1976,939 Tourism packages and events 1,009 1,04121,363 Building and general insurance 1,080 879Bank and credit card charges 850 651Rent payments on operating leases 698 960Assets written off 53 10,744Loss on disposal of fixed assets 367 127Bad and doubtful debt expense - (6)Audit fee – audit of financial report 6934,4757639,316(c) Maintenance34,9604,1882,652435(750)2,4401392676744,3986,38238,0162009$’00032,4834,2822,453(184)2,3239237089843,4974,44339,0542008$’000Computer hardware maintenance 224 131Software and network maintenance 486 417Building and equipment repairs and maintenance 17,84918,55910,97711,525Plus: Personnel services maintenance charge 6,38224,9414,44315,968

2009$’0002008$’000The following table details the forward foreign currency hedge contractsoutstanding as at reporting date:(d) Depreciation, amortisationand make goodDepreciationBuilding and building services 8,978 9,019Plant and equipment 8,194 8,17417,172 17,193AmortisationIntangible assets 441 443Amortisation of leasehold improvements 218 88659 531ProvisionLease Make Good expense 53 7817,884 17,8015.Trustees’ RemunerationNo emoluments were paid to the Trustees during the year (2008: Nil).6.Cash and Cash EquivalentsCash at bank and on hand 5,491 4,127Hour-Glass cash facility 203 31,486Short term deposits 54,500 39,574NSW Treasury Corporationshort term investments 116 11660,310 75,303Cash and cash equivalent assets recognised inthe Balance Sheet are reconciled at the end ofthe year to the Cash Flow Statement as follows:Cash and cash equivalents 60,310 75,303Refer note 16 for details regarding interest rate risk and a sensitivity analysis for financial assets andliabilities.7. Trade and Other Receivables2009$’0002009$’000Trade receivables 1,170 1,506Allowance for impairment of receivables (85) (85)Accrued Income 772 815Prepaid Superannuation 2,322 2,075Other receivables 626 1264,805Refer note 16 for details regarding exposure to credit and currency risk and impairment lossesrelated to trade and other receivables.8.Derivatives Used for Hedging2008$’0002008$’0004,437Foreign Currency Risk ManagementThe Trust undertakes certain transactions denominated in foreigncurrencies, hence exposures to exchange rate fluctuations arise. Exchangerate exposures are managed within approved policy parametersutilising forward foreign exchange contracts to manage risk.Basis adjustments are made to the carrying amounts of non-financialhedged items when the anticipated purchase transaction takes place.Foreign CurrencyForward ContractsForward Rate (liability)$’000Fair Value(asset)$’0002009 2008 2009 2008Euro 235 380 209 373GBP 786 - 698 -DKK 36 - 30 -uSD 87 - 77 -CAD 95 - 82 -Total 1,239 380 1,096 373The Sydney Opera House Trust entered into contracts for thepurchase of various currencies which expire within 4 months afteryear end. The Trust enter into forward foreign exchange contractsto cover foreign currency payments due on future performances.As at reporting date the aggregate amount of unrealised loss on forwardforeign exchange contracts relating to anticipated future transactions is$143k (2008: $7k). In the current year, these unrealised losses have beendeferred in the hedging reserve to the extent the hedge is effective.9.Inventory – Held for Distribution2009$’0002008$’000Finished goods – at cost adjustedfor obsolescence 82 93Total inventory 82 9310. Property, Plant and EquipmentLandAt fair value 75,000 75,000Land – at fair value 75,000 75,000Building and building services2009$’0002008$’000Gross carrying amount 1,663,516 1,727,133Less: accumulated depreciation and impairment 68,289 59,387Buildings and building services – at fair value 1,595,227 1,667,746Land and buildings – at fair value 1,670,227 1,742,746Plant and equipmentGross carrying amount 77,159 77,410Less: accumulated depreciation and impairment 53,821 46,818Plant and equipment – at fair value 23,338 30,592Collections – works of art – at fair value 5,124 4,757Work in progress – at fair value 62,208 31,308Property, plant and equipment– at fair value 1,760,897 1,809,403SYDNEY OPERA HOUSE47 ANNUAL REPORT 2008/09

Financial Statements continuedReconciliationReconciliation of the fair value of property, plant and equipment are setout below:2009Land andbuilding$’000Plant andequipment$’000Work inprogress$’000Collection$’000Fair value atstart of year 1,742,746 30,592 31,308 4,757Additions - 229 32,519Disposals &write offs (249) (161) (10)Reclassification 633 872 (1,609) 4Revaluation (63,654) - - 363Make good (53) - -Depreciation (9,196) (8,194) -Fair valueat year end 1,670,227 23,338 62,208 5,124Total$’0001,809,40332,748(420)(100)(63,291)(53)(17,390)1,760,897Building fabric, structure and internal fit out were revalued by independentvaluers as was the Art collection.Building fabric, structure and internal fit out were revalued by Rider LevettBucknall NSW Pty Ltd in 2009. The Art Collection was revalued by SueHewitt in 2009. Both of these reviews support the revalued amounts.Land, plant & equipment and building services were not revalued in2009. Carrying values are supported by a Land revaluation in 2005 byValuer General from Department of Lands on the existing use basis. Plantand equipment and building services were revalued by Hugh ParlaneConsulting Pty Ltd in 2006.The value of work in progress represents capital works not completedat 30 June 2009.The comparative reconciliation for the year ended 30 June 2008 is setout below:2008Land andbuilding$’000Plant andequipment$’000Work inprogress$’000Fair value at start of year 1,750,281 38,675 16,351Additions 1,020 160 26,381Disposals & write offs (50) (69) (10,744)Reclassification 680 - (680)Make good (78) -Depreciation (9,107) (8,174)Fair valueat year end 1,742,746 30,592 31,30811. Intangible AssetsSoftwareCollection$’0004,7651(8)---4,7572009$’000Total$’0001,810,07227,561(10,871)-(78)(17,281)1,809,4032008$’000At cost (gross carrying amount) 3,190 3,090Less: accumulated amortisation and impairment 2,502 2,061Net carrying amount 688 1,029ReconciliationReconciliation of the fair value of Intangibles is set out below:Intangibles - Fair value at start of yearReclassificationAmortisationIntangibles - Fair value at end of year12. Trade and Other Payables2009$’0001,029100(441)6882009$’0002008$’0002008$’000Trade creditorsAccrued expensesOther payables5,9405,31917411,4333,5384,608818,227Refer note 16 for details regarding exposure to currency and liquidity risk related to trade and otherpayables.13. Deferred RevenueAdvance ticket salesHirers’ depositsIncome in advance14. Payables – PersonnelServices ProvidersCURRENTAnnual leave and leave loadingLong service leave - currentRedundancyAccrued salaries and wagesFringe benefit tax payablePAYG Withholding PayablePayroll tax payableNON-CURRENTLong service leave – non-current2009$’0006,4556331,9179,0052009$’0003,2124,6284961,074139317-9,8669579571,472-(443)1,0292008$’0004,8601,0218866,7672008$’0002,7483,89062864865(2)1438,120704704

Prepaid SuperannuationThe funding position at 30 June 2009 in respect of the three definedbenefits schemes related to personnel services received, namely the StateAuthorities Superannuation Scheme (SASS), the State SuperannuationScheme (SSS) and the State Authorities Non Contributory SuperannuationScheme (SANCS) has been advised by Pillar Administration:FundEstimated ReserveAccount Funds Accrued Liability Prepaid Contributions2009$’0002008$’0002009$’0002008$’0002009$’0002008$’000SASS 6,091 6,799 6,024 6,683 67 116SSS 43,513 50,356 41,292 48,440 2,221 1,916SANCS 1,396 1,710 1,362 1,667 34 4351,000 58,865 48,678 56,790 2,322 2,07515. ProvisionsCURRENTLease make good provision 152 -Total Non-Current Provisions 152 -NON-CURRENTLease make good provision 251 403Total Non-Current Provisions 251 403Total Provisions 403 403ReconciliationsReconciliations of the fair value of Non-Current Provisions is set out below:Carrying amount at the start of the year 403 338Additional provision recognised - 65Carrying amount at the end of the year 403 403under the lease agreements the Trust is required to reinstate the leasedpremises to the condition they were in at the commencement date.16. Financial InstrumentsFinancial InstrumentCategories2009$’000CarryingAmount20092008$’000CarryingAmount2008Note Category $’000 $’000FinancialAssets 1Cash & cashequivalents 6 N/A 60,310 75,303Trade & otherreceivables 7Derivativesused forhedging 8FinancialLiabilities 2Trade & otherpayables 12Derivativefinancialinstruments 8Loans & receivables(at amortised cost) 2,687 2,363Designated and effectivehedging instrument 1,096 373Financial liabilities(at amortised cost) 11,637 8,227Designated and effectivehedging instrument 1,239 380(a) Credit RiskExposure to credit riskThe carrying amount of the Trust’s financial assets represents themaximum credit exposure. The Trust’s maximum exposure to credit riskat reporting date was:Note2009$’0002008$’000Cash & cash equivalents 6 60,310 75,303Trade & other receivables 7 2,687 2,363Forward exchange contractsused for hedging 8 1,096 37364,093 78,039Cash & cash equivalentsCash comprises cash on hand and bank balances with CommonwealthBank. Cash is recorded at nominal values for cash on hand and cashheld in bank accounts. Interest is earned on daily bank balances. Theinterest rate at year-end was 2.00% per annum (6.25% in 2008). TheTCorp Hour Glass cash facility is discussed in note 16 (c) below.The Trust has placed funds on deposit with TCorp, Bankwest,NAB, Westpac and St. George. The deposits at balance date wereearning an average interest rate of 4.03% (7.29% in 2008), whileover the year the average interest rate was 5.99% (7.00% in 2008).Trade & Other ReceivablesTrade and other receivables include trade receivables, other receivables andaccrued income, yet to be invoiced.The Trust’s maximum exposure to credit risk for trade receivables at thereporting date by business segment was:Carrying Amount2009$’0002008$’000Tourism activities 247 213Sponsorship 44 42Venue Hire & related services 274 316Commercial partners 296 179Other 240 671Impairment LossesThe aging of the Trust’s trade receivables at reporting date was:2009Total$,0001,101 1,421NotImpaired$’000ConsideredImpaired$’000Not past due 1,075 1,075 -< 3 months past due 56 25 313 - 6 months past due 5 - 5> 6 months past due 50 1 4920081,186 1,101 85Total$,000NotImpaired$’000ConsideredImpaired$’000Not past due 1,335 1,335 -< 3 months past due 104 84 203 - 6 months past due 8 2 6> 6 months past due 59 - 591,506 1,421 85Notes1. Excludes statutory receivables and prepayments (i.e. not within scope of AASB 7).2. Excludes statutory payables and unearned revenue (i.e. not within scope of AASB 7).SYDNEY OPERA HOUSE49 ANNUAL REPORT 2008/09

Financial Statements continuedThe movement in the allowance for impairment in respectof trade receivables during the year was as follows:2009$’000Balance at 1 July (85) (91)Allowance for year - 6(85)2008$’000(85)Less: debts written off - -Balance at 30 June (85) (85)Based on historic default rates, the Trust believes that no impairmentallowance is necessary in respect of trade receivables not past due.The allowance account in respect of trade receivables is used to recordimpairment losses unless the Trust is satisfied that no recovery ofthe amount owing is possible; at that point the amount is consideredirrecoverable and is written off against the financial asset directly.(b) Liquidity RiskThe following are contractual maturities of financial liabilities:2009Non-derivative financialliabilitiesCarryingAmount$’000ContractualCash Flows$’0006 monthsor less$’000Trade and other payables 11,637 (11,637) (11,637)Derivative financial liabilitiesForward exchange contractsused for hedging:Outflow (1,239) (1,239) (1,239)Inflow 1,239 1,239 1,2392008Non-derivative financialliabilities11,637 (11,637) (11,637)CarryingAmount$’000ContractualCash Flows$’0006 monthsor less$’000Trade and other payables 8,227 (8,227) (8,227)Derivative financial liabilitiesForward exchange contractsused for hedging:Outflow (380) (380) (380)Inflow 380 380 3808,227 (8,227) (8,227)The following table indicates the periods in which the cash flows associatedwith derivatives that are cash flow hedges are expected to occur, and theeffect on profit or loss.2009Foreign Exchange contracts:CarryingAmountContractualCash Flows6 monthsor lessAssets 1,096 1,239 1,239Liabilities (1,239) (1,239) (1,239)2008Foreign Exchange contracts:(143) - -CarryingAmountContractualCash Flows6 monthsor lessAssets 373 380 380Liabilities (380) (380) (380)(7) - -(c) Market RiskThe Trust’s exposure to market risk is primarily through currencyrisk on purchases that are denominated in a currency other thanAustralian Dollars and other price risks associated with the movementin the unit price of the Hour Glass Investment facilities.The Trust’s exposure to interest rate risk (other than that impacting theTCorp Hour Glass Cash facility price, as set out below) is limited to cashat bank. The impact of a 1% change in interest rate for cash at bank is setout below:Changein InterestRateImpact on Profit/Loss2009$’0002008$’000Cash at Bank +/- 1% 56 42Other price risk – TCorp Hour Glass facilities.Exposure to ‘other price risk’ primarily arises through the investment inthe TCorp Hour Glass Investment Facilities, which are held for strategicrather than trading purposes. The Trust has no direct equity investments.The Trust holds units in the following Hour Glass investment trusts:FacilityInvestment Sector& HorizonChange inUnit PriceImpact on Profit/Loss2009$’000Cash, moneymarketinstruments upHour Glass to 1.5 yrs (pre 30Cash facility June up to 2 yrs) +/- 1% 22008$’000There is no impact on equity in relation to the cash facility. The returnon the Hour Glass cash facility for the year was 5.36% (6.82% in 2008).(d) Currency RiskExposure to currency riskThe Trust’s exposure to foreign currency risk at balance date was asfollows, based on notional amounts:2009Euro$’000GBP$’000USD$’000DKK$’000CAD$’000Trade & otherpayables - - - - -Forward exchangecontracts* 235 786 87 36 95Net exposure 235 786 87 36 95* The forward exchange contracts relate to future forecast payments.2008 Euro $’000 GBP $’000 USD $’000Trade & other payables 280 22 13Forward exchange contracts 380 - -Net exposure 660 22 13Sensitivity AnalysisA 10 percent strengthening of the Australian dollar against the followingcurrencies at 30 June would have increased (decreased) equity and profitor loss by the amounts shown below. This analysis assumes that all othervariables remain constant. The analysis is performed on the same basisfor 2008.Equity$’0002009 2008Profit or Loss$’000Equity$’000Profit or Loss$’000Euro 21 - (6) 25GBP 72 - - 2uSD 8 - - 1DKK 3 - - -CAD 9 - - -113 - (6) 28315

A 10 percent weakening of the Australian dollar against the followingcurrencies at 30 June would have increased (decreased) equity and profitor loss by the amounts shown below. This analysis assumes that all othervariables remain constant. The analysis is performed on the same basisfor 2008.Equity$’0002009 2008Profit orLoss$’000Equity$’000Profit orLoss$’000Euro (26) - 7 (31)GBP (87) - - (2)uSD (10) - - (1)DKK (4) - - -CAD (11) - - -(138) - 7 (34)(e) Fair ValueFair value versus carrying amountFinancial instruments are generally recognised at cost. The amortised costof financial instruments recognised in the balance sheet approximatesthe fair value, because of the short-term nature of many of the financialinstruments. The fair value of financial assets and liabilities, togetherwith the carrying amounts shown in the balance sheet, are as follows:2009CarryingAmount2009 FairValue2008CarryingAmount2008 FairValue$’000 $’000 $’000 $’000Trade & Otherreceivables 2,687 2,687 2,362 2,362Cash & cashequivalents 60,310 60,310 75,303 75,303Forward exchangecontracts usedfor hedging:- Assets 1,096 1,096 373 373- Liabilities (1,239) (1,239) (380) (380)Trade & otherpayables (11,637) (11,637) ( 8,227) (8,227)51,217 51,217 69,431 69,43117. Trust Funds(a) Annual Giving Program (Fundraising Appeal)The Sydney Opera House Annual Giving Program was established to raisefunds for the following activities:• Outstanding Live Performance – Bringing the word’s best performersto our stages,• Youth and Education Programs – Developing programs for youngpeople and families,• Community and Access Projects – Ensuring accessible programs andprice points for all our events,• Preservation of Utzon’s vision – Supporting the ongoing vitality ofSydney Opera House as the creative and cultural flagship of Australia.Restricted gifts are also accepted in certain circumstances - generally whenthe gift is substantial and is given to fund a new initiative.The Trust launched its Annual Giving Fund in March 2007 and is aperpetual fund.2009$’000Restricted Unrestricted Total2008$’0002009$’0002008$’0002009$’0002008$’000Gross proceedsfrom fundraisingappeals 190 141 436 395 626 536Interest receivedon proceeds 13 5 26 12 39 17Costs offundraising - - (355) (308) (355) (308)Net surplusfrom fundraising 203 146 107 99 310 245Applicationof funds (266) (133) - (244) (266) (377)Balance to/(from)accumulatedfunds (63) 13 107 (145) 44 (132)The following ratios are provided in relation to the cost of fundraising:2009 2008Cost of fundraising as a percentage offunds raised (excluding interest) 53% 57%Net surplus as a percentage of fundsraised (excluding interest) 47% 43%The cost of fundraising as a percentage of funds raised (excludinginterest) over the life to date of the fund is 46.3% (2008: 39.8%).(b) Foster BequestThe Trust Deed relating to this bequest provides that income derivedfrom investment of the funds may be applied to an award for study infields relating to the training for, and performances of, the art of opera.The transactions relating to the Foster Bequest included within the SydneyOpera House Trust’s financial report were:2009$’0002008$’000Interest income 6 8Distribution (5) (5)Surplus 1 3(c) Sydney Opera House Appeal FundSydney Opera House Annual Giving Program has been established andthe Appeal Fund money has been transferred to enable better managementof those funds. In particular the funds have been directed to support the“Preservation and Development” objective of the Annual Giving Programas this objective is consistent with the Appeal Fund charter.The transactions of the Sydney Opera House Appeal Fund included withthe Trust’s financial report were:2009$’0002008$’000Interest income - 11Expenditure - -Surplus - 11SYDNEY OPERA HOUSE51 ANNUAL REPORT 2008/09

Financial Statements continued18. Interest in Joint VenturesThe Trust holds an interest in a joint venture. The joint venture hasthe principal activity of operation of souvenir merchandise shops.Ownership InterestName of Joint Venture 2009 2008Sydney Opera House Retail Joint Venture 75% 75%Share of Income and Expense of Joint Entities2009$’0002008$’000Trust share of income 2,090 2,333Trust share of expense (1,680) (1,726)Trust share of profit 410 607Movement in Investment in Joint VenturesCarrying amount of investment atbeginning of financial yearShare of profitDistribution from joint venture entitiesundistributed profits as at year endCarrying amount of investment221410(353)(57)221607(494)(113)at the end of the financial year 221 221Changes in Asset Revaluation and Hedge ReserveAsset RevaluationReserve Hedge Reserve Total2009$’0002008$’0002009$’0002008$’0002009$’0002008$’000Balance1 July 1,650,157 1,650,157 (7) - 1,650,150 1,650,157Recognised (788) - 7 - (781) -Revaluation (63,291) - - - (63,291) -HedgeReserve - - (143) (7) (143) (7)Balance30 June 1,586,078 1,650,157 (143) (7) 1,585,935 1,650,150The Hedge Reserve represents the unrealised losses on forward foreignexchange contracts. The Asset Revaluation Reserve represents netincrements arising on the revaluation of building fabric, structure andinternal fit out and the art collection.20. Commitments(a) Other expenditure commitmentsGoods and services contracted for at 30 June but not recognised asliabilities are as follows:2009$’0002008$’000Share of Assets and Liabilities of Joint Venture EntitiesCashReceivablesInventoryNon-current AssetsCurrent LiabilitiesEquityCash InvestmentNet Assets2009$’000168152927(122)(360)2212212008$’000108-52412(296)(348)221221Payable:Within one yearLater than one year and not later than five yearsLater than five yearsTotal including GST11,263460-11,72311,0535,801-16,854Goods and services contracted for at year end are of a general businessnature. The commitments include input tax credits of $1,064krecoverable from the Australian Taxation Office ($1,525k for 2008).(b) Capital commitmentsCapital expenditures contracted for at 30 June but not recognised asliabilities are as follows:Inventories are stated at the lower of cost and net realisable value. The costis calculated using the first-in-first-out basis.19. Movements in EquityChanges in accumulated funds2009$’0002008$’000Balance at 1 July 220,412 250,735Revaluation movements on disposal of assets 788 -Deficit (8,700) (30,323)Balance 30 June 212,500 220,412The unspent balance of the Annual Giving Program (refer note 17(a)was $444k of which $238k is restricted to specific objectives. The unspentbalance of the Foster Bequest (refer note 17(b) was $117k ($116k for 2008)and the unspent balance of the Sydney Opera House Appeal Fund (refernote 17(c) was $0k ($168k for 2008).Payable:2009$’0002008$’000Within one yearLater than one year and not later than five yearsLater than five yearsTotal including GST8,808--8,80815,1672,396-17,563Capital commitments contracted for at year end relate to buildingdevelopment projects. The commitments include input tax credits of $797krecoverable from the Australian Taxation Office ($1,567k for 2008).(c) LeasesLeases contracted for at 30 June but not recognised as liabilities are as follows:Payable:2009$’0002008$’000Within one yearLater than one year and not later than five yearsLater than five yearsTotal including GST6641,148-1,8127581,745-2,503The commitments include input tax credits of $165k recoverable from theAustralian Taxation Office ($228k for 2008).

21. Contingent LiabilitiesThere are no contingent liabilities (Nil at 30 June 2008).22. Payments to ConsultantsIn the year ending 30 June 2009, consultants were paid a total of $190k($424k in 2008).23. After Balance Date EventsThere are no after balance date events (Nil at 30 June 2008).24. Notes to the Statement ofCash FlowsReconciliation of surplus of net cash flows from operating activities2009$’0002008$’000Deficit for the year (8,700) (30,323)Depreciation, amortisation and make good 17,884 17,801Capital – sponsorship & in-kind donations (537) (355)Net loss on sale of plant andequipment and assets written off 420 10,871Decrease in allowance forimpairment of receivables - (6)Increase/(decrease) in payables 7,332 (790)Decrease in receivables 808 309Decrease/(increase) in inventories 11 (29)Net cash flow from operating activities 17,218 (2,522)25. Disclosure of Prior Period ErrorsMaterial errors relating to expenditure posted to the Work In ProgressAsset Account were discovered in the current reporting period.Recurrent expenditure incorrectly capitalised of $10,680k should havebeen expensed in 2008 and expenditure of $13,393k should havebeen expensed in periods prior to 2008. Comparative amounts forthe prior periods have been restated in accordance with AASB108.For errors originating in 2008, the comparative amounts have been restated.For errors occurring prior to 2008, opening balances of assets and equityhave been restated. The Financial Statement lines affected are outlined below.Amount of the correction and Financial Statement lines affectedNotePreviouslyStated Correction Restated2008$’000 $’0002008$’000Other expenses 28,636 10,680 39,316Total expenses 101,459 10,680 112,139Deficit for the period (19,643) (10,680) (30,323)Property, plantand equipment 1,833,476 (24,073) 1,809,403Total non-currentassets 1,834,726 (24,073) 1,810,653Total assets 1,917,161 (24,073) 1,893,088Net assets 1,894,635 (24,073) 1,870,562Accumulated fundsat year end 2008 244,485 (24,073) 220,412Total equity 1,894,635 (24,073) 1,870,562END OF AUDITED FINANCIAL REPORTBUDGETFIRST DETAILED BUDGETFOR THE YEAR ENDED 30 JUNE 2009INCOME $000Revenue from OperationsTheatre Services 20,492Production 17,248Tourism 8,600Food and Beverage 4,525Ticketing 3,905Investment 3,692Cash Sponsorship 1,716Contra Sponsorship 1,788Miscellaneous 989Retail 140Total from operations 63,095Government GrantsAnnual Endowment 14,406Strategic Asset Maintenance 30,428Total Government Grants 44,834Total 107,929EXPENDITURE $000Personnel Services 44,346Less charged to Maintenance (5,801)Sub total Personnel Services 38,545Maintenance 20,188Arts and Presentation 15,544Marketing 6,343Administration 4,690utilities 4,200Fees for Services 2,259Consumables and Minor Equipment 2,051Tourism 1,178Insurance 1,121Rent 1,090Bank Related Fees 491Training 378Audit Fee External 65Total 98,143Surplus before depreciation 9,786Depreciation and amortisation 16,859Deficit after depreciation (7,073)Share of net profits from joint venture 822Deficit from ordinary activities (6,251)OUTLINE BUDGET FOR THE YEAR ENDING 30 JUNE 2010INCOME $000Revenue from operationsSale of goods and services 56,736Other 4,899Investment 994Sub total (excl joint venture) 62,629Government GrantsAnnual Endowment 14,462Strategic Asset Maintenance 29,013Total Government Grants 43,475Total 106,104EXPENDITURE $000Personnel Services 43,902Less charged to Maintenance (6,405)Sub total Personnel Services 37,497Other 39,371Maintenance 23,469Total 100,337Surplus before depreciation 5,768Depreciation and amortisation 21,860Deficit after depreciation (16,092)Share of net profits from joint venture 716Deficit from ordinary activities (15,375)SYDNEY OPERA HOUSE53 ANNUAL REPORT 2008/09

Government ReportingIndexAccount Payment Performance Indicators.................................54Code of Conduct ........................................................................54Consultants ..................................................................................55Credit Card use ..........................................................................55Customer Experience..................................................................55Disability Action Plan..................................................................57Electronic Service Delivery .........................................................58Energy Management...................................................................58Equal Employment Opportunity (EEO) ....................................58Ethnic Affairs...............................................................................59Freedom of Information (FOI) ...................................................60Heritage Management ................................................................61Indigenous ...................................................................................62Insurance .....................................................................................62Investment Performance Measure ..............................................62Land Title Holdings....................................................................62Legal ............................................................................................62Occupational Health and Safety (OH&S)..................................63Overseas Travel ...........................................................................63POPE Legislative Compliance....................................................64Privacy Management ..................................................................64Publications..................................................................................64Risk Management .......................................................................64Senior Executive Service.............................................................65Wage and Salary Movements .....................................................65Waste and Recycling Management ............................................65Account Payment PerformanceIndicatorsThe schedule of accounts payable for the four quarters of thefinancial year and the amounts involved are as follows:Aged Analysis at the End of Each QuarterQuarterCurrent(ie withindue date)$000Less than30 daysoverdue$00030 to60 daysoverdue$00060 to90 daysoverdue$000More than90 daysoverdue$000September 5,387 0 0 0 0December 5,863 9 0 0 5March 6,853 102 0 0 3June 15,603 2 0 0 0Accounts Paid on Time within Each QuarterQuarterTotal Accounts Paid on TimeTarget % Actual % $000TotalAmountPaid $000September 92 100 5,387 5,387December 92 100 5,863 5,877March 92 98 6,853 6,958June 92 100 15,603 15,605The number of accounts paid on time averaged over the year was99.5% (99% in 2007/08). Processing efficiency was improved, includingthe introduction of weekly multiple payment runs. Actual performanceimproved to 100% in the quarter ended June 2009. There was nointerest paid on creditor accounts during the 2008/09 financial year.Code of ConductThe Code of Conduct is designed to ensure the actions anddecisions of all staff are consistent with the vision, goals andstandards of Sydney Opera House. The Code assists staff toapply the key principles and ethical values upheld by SydneyOpera House to their everyday work practices and behaviours.Key areas covered are individual performance and accountability;commitment to our customers; ethical standards, including useof resources, conflict of interest, gifts and benefits and corruptconduct; fair and equitable behaviour; a safe and secure workenvironment; records and information, including confidentialinformation; making public comment; outside employment; childprotection; Acts, Regulations and procedure documents.This year the Code of Conduct was updated in response todevelopments in both organisational and NSW Governmentpolicy and practices relating to employment of family and friends,child protection and the NSW Government Lobbyist Code ofConduct. The new Code is available on the Sydney Opera Housewebsite and is provided internally to all staff.Sydney Opera House Trustees also have a Trustee Code ofConduct which outlines the standards of expected behaviour fromTrustees. The Code is reviewed and endorsed at the first Trustmeeting of the calendar year. In addition to the staff Code ofConduct, it encompasses accountability for public expenditure anddecision making; use of public resources; use of official information;official spokesperson for the Trust; gifts and benefits; disclosure ofinterests; recognising and managing conflicts of interest; reportingsuspect corrupt conduct; relevant legislation. There are also separateCodes of Conduct for the Trust Philanthropy Committee andConservation Council, that provide further guidelines for the valuesand behaviours expected of all members.

ConsultantsIn accordance with NSW Government guidelines, projectsfor which consultants received more than $30,000 are listedindividually. Those that involved payments of $30,000 or less aregrouped under a total figure.• Hawker Britton – Sydney Opera House Renewal Projectstrategic advice $97,791.• UMR Research Pty Ltd – Sydney Opera House RenewalProject Community Attitudes Research Study $73,953.Five consultancies of $30,000 or less cost a total of $18,725. Thenature of these projects were – Finance and Accounting/Tax (1),Management Services (1), Training (1) and Other (2).Credit Card UseNo irregularities in the use of corporate credit cards were recordedduring the year. I certify that, to the best of my knowledge andbelief credit card use for Sydney Opera House has been inaccordance with Premier’s Memoranda and Treasurer’s Directions.Richard EvansChief ExecutiveCustomer ExperienceSydney Opera House aspires to be an international benchmark forthe highest standards of customer service in an arts environment.It is proud to be a customer-focused workplace and uses theprinciples set out in the Commitment to Our Customers to informand guide every aspect of our business.Sydney Opera House Commitment to Our Customers1. Our reputationAs Best Host we put service first and foremost. We will be knownfor exceptional service by everyone who visits Sydney OperaHouse and everyone who works here.2. Our customersEveryone who comes into contact with us is a customer andeveryone who works here is a customer. We understand andembrace the idea that our customers are critical to our successand will be at the heart of all of our effort, energy and creativity.We are proud of the diversity of our customers, which is reflectedin our programs, products and services. We will display thesame behaviours in all our interactions, whether to customers,colleagues, contractors or suppliers.3. Our styleTo give our customers the Best Experience we will make themfeel warmly welcomed and we will strive to ensure that visitingthe Sydney Opera House is a positive, memorable experience. Wewill offer a courteous, helpful, informed and personalised responseto our customers. We will seek our customers’ feedback and willsupport each other in responding to it to meet their needs.4. Our spiritBest Building – Sydney Opera House is an exciting place to visit,and it is a workplace to be proud of. We will convey a sense ofpassion for Sydney Opera House in all our interactions with ourcustomers and with one another.5. Our profileWe are more than employees of Sydney Opera House – we are allits ambassadors and are part of its personality. We will acknowledgethis identity by always taking pride in our presentation, our services,our attitudes and our behaviour. We will make sure Sydney OperaHouse is a clean, safe and enjoyable precinct.6. Our teamWe will work together, support each other and take personalresponsibility to ensure that each customer’s experience is seamlessand consistently excellent. We will bring our knowledge andexpertise to each interaction, offering responsive, effective andexceptional service to achieve the best possible outcome. Serviceat Sydney Opera House means everyone, everywhere, every timemaking our customers feel special.The Brand – Where Imagination Takes YouWork continued this year to refine our brand, resulting in ‘Whereimagination takes you’, our new brand tag line which will beprogressively rolled out. Our brand’s vision is to enrich the globalcommunity by being the creative hero for Australia.Our brand promises to take everyone – people within the local,national and global communities – on a journey from the ordinaryto the extraordinary. By working with the exceptional to capturepeople’s imagination, whoever and wherever they are, we willamplify the appeal of the arts and Sydney Opera House globally.Warmly WelcomeAs hosts, we aim to always put the customer and the visitorexperience first. This year we continued to refresh front of houseand customer service operations to further improve standards.A number of major building projects improving access to SydneyOpera House will significantly enhance the visitor and customerservice experience for our patrons in 2009. A new public liftand escalators to the main halls will completely transform thecustomer journey to the main theatres from the Lower Concourse.It will also herald a new era of independence for many patronswith access needs.New rostering allowed our Theatre Management team to takebetter control and ownership of specific venues and create aconsistency of approach and service for our presenters andresident companies. New systems to bring audience paging underthe control of Front of House are under development and will beimplemented in July 2009.The introduction of two-way radio communications for the Frontof House and Stage Management teams will also come intoeffect during July 2009. This will bring Sydney Opera House inline with an industry standard and improve our ability to deliverprofessional customer service in all venues.Sydney Opera House Host TeamThe Host Team continues to set the standard for customer servicedelivery at Sydney Opera House, offering a benchmark five starcustomer service standard to all customers, artists and staff. Thissmall front-line team is dedicated to providing a welcoming andinformative service and continues to operate two crucial customerservice hubs, the Stage Door and the Information Desk in theBox Office Foyer. They are a key personal link to visitors andraise awareness of the wide range of performances, experiences,products and services on offer at Sydney Opera House.Sydney Opera House Courtesy Shuttle BusCustomer feedback continues to be very positive regarding thiscomplimentary service, primarily aimed at our less mobile patrons.Transporting customers between Circular Quay and Sydney OperaHouse, usage continues to increase as the Shuttle Bus becomesbetter known and established. This year it carried in excess of17,000 passengers (15,000 in 2007/08 and 13,000 in 2006/07).Customer Service StandardsIn addition to the high level Commitment to Our Customers’principles, all portfolios within Sydney Opera House havedeveloped and adopted their own customer service standardsand guidelines. The Front of House Handbook provides moredetailed operational guidance on standards of service excellence.Staff will be progressively monitored and managed against thesebenchmarks with the introduction of a streamlined performancemanagement program.Customer Service is now well established as a major componentof recruitment processes and induction for all staff. Targetedcustomer service training with Emergency Planning and Responseteams successfully strengthened customer service standards thisyear, and will be more widely rolled out during 2009.SYDNEY OPERA HOUSE55 ANNUAL REPORT 2008/09

Government Reporting continuedCustomer Service GroupThe Customer Service Group was formed in 2008 as a high levelstrategic decision-making committee developing and implementingcustomer service initiatives. Some early achievements includeCEO Walkrounds – building inspections focussing on presentationand customer service issues with CEO and executive levelparticipation, and Sunday Box Office phone service.Initiatives in development include further improvement of ourcustomer feedback program and upgrading the Online CustomerSurvey, car park signage upgrade in partnership with WilsonParking to address congestion issues when the car park is full, anda CEO’s Award for Outstanding Service to recognise excellenceand commitment by staff.Sydney Opera House Car ParkA number of important initiatives to enhance the car park experience were launched this year, in conjunction with Wilson Parking and City of Sydney Council. Significant improvement to egress from the car park exit wasachieved through implementing an earlier start to the no stoppingand no parking times in Macquarie Street, previously 8pm andnow 6.30pm. Changes to traffic light phasing in MacquarieStreet and a major upgrade of car park infrastructure were alsoachieved. These initiatives have resulted in a 40% improvement inthe average vehicle exit time at peak periods.A Taxi Zone was created in Macquarie Street after 8pm, onsiteticket validators for staff, artists and customers were introduced,and we worked with the management team at Wilson Parking toensure customer service training was improved and better standardsdelivered. Wilson Parking was also welcomed as a sponsor for anumber of events. All projects combined have seen a reduction inthe number of customer complaints about the car park.Customer ResearchAn Onsite Conversion Study was undertaken by Inside Story inNovember and December 2008. This study aimed to gain a deepunderstanding into people’s behaviour patterns onsite, understandany barriers to purchase, navigation issues, product awarenessand their overall experience. The study was both quantitative andqualitative, comprising an online survey completed by 1,001 recentSydney Opera House customers (those who had purchased ticketsto a performance in the past six months), intercept interviews with360 people onsite (mix of local, interstate and overseas residents),focus group discussions with three groups (two with regular visitorsand one with sporadic visitors) and two in-depth phone interviewsamong sporadic visitors.Results showed:• 84% agreed that an “information centre to tell us more aboutwhat there is to see and do at the Sydney Opera House”would greatly enhance their experience and engagement withthe site;• 42% of first time visitors are unsure of where to go and whatto do – therefore, they simply “wander around”, take a photoand believe that they have had the Sydney Opera Houseexperience. Navigation and signage needs to be improved tomeet customer needs;• Local residents are not familiar with the full range of foodand drink on offer. Eating and drinking done is offsite, oftenbecause there is seen to be better variety elsewhere; and• The need to encourage people to move around the outside ofthe site, via clear customer journeys.The study has informed the development of two new marketinginitiatives designed to better inform customers of activities onsite.These initiatives, as well as further campaigns and projectsto improve navigation and engage with visitors onsite will beimplemented next year.people who eat and drink on the precinct, attendees of presenterperformances, presenting organisations and hirers.For the first time this year we recorded and reported customerservice interactions using our box office operating system andcustomer database Tessitura. This has allowed for a muchimproved capture of feedback from all areas of Sydney OperaHouse and has inevitably increased totals from previous years.A special category was established this year to monitor specificfeedback regarding a new Box Office transaction fee introducedthis year, which accounted for 52% of all counted complaints.Online Customer Satisfaction SurveyThis survey is designed to measure the quality of the servicesprovided. In the past 12 months 359 visitors provided us with arating of their experience (361 in 2007/08).Online Customer Satisfaction Survey ResultsOverall satisfactionwith visit 81% 78%Site presentation 84%Performance SupportServices 85%Car Park 62%Dining 74%Tours 77%Ticketing 80%2008/09 2007/08 2006/07 2005/0682%80%65%67%83%82%Overall Unsolicited Feedback 2004 to 200981%84%82%69%73%82%81%82%84%83%68%77%86%83%Type of Feedback 2008/09 2007/08 2006/07 2005/06 2004/05Negative 661 266Positive 835430557362120Unsolicited Feedback by Category for 2008/09This information is broken down even further in the table belowto represent the type of feedback received in each major area.224Category Positive NegativeFront of House 31 19Marketing 3 9Performance Content 19 102Policies and Procedures 1 31Retail and Food 1 9Security 2 2Site and Venues 1 29Ticketing Services 14 67Box Office Counter Fee - 344Tourism 7 3Website - 38Shuttle Bus 3 1Wilson’s Car Park 1 7Total 83 66190Customer Service FeedbackCustomer feedback is one of the ways Sydney Opera Housemeasures the success of its performances, customer service and facilities management. Our customers include ticket buyers,

Presenter Satisfaction Measurement SurveysIn 2008 Sydney Opera House updated the Presenter SatisfactionSurvey System which had been in place for the past three years.While retaining the principles that underpinned this system –pursuit of excellence, respect and understanding and mutualadvantage – the process was simplified and streamlined toencourage greater participation from resident companies.Conducted every 12 months, the new system involves a surveycompleted by the presenter and a review meeting at whichthe responses are discussed. Feedback is sought on eventdelivery processes, technical services, front of house services,building facilities, safety, catering and other services providedby Sydney Opera House. The survey ranks satisfaction from1 (total dissatisfaction, very inconsistent or unreliable service,vast improvement required) to 7 (total satisfaction, no room forimprovement). This year all four resident companies participated.Areas that scored high (6.5 out of 7 or higher) included accountmanagement, invoicing and settlement, recording studio, HostTeam, first aid, Fire and Safety Officers, customer database andTheatre Bars. Areas that showed the greatest improvement since2007/08 (more than 2 point increase) were venue hire contracts(+2.3 points) and maintenance (+2.0 points).Feedback was provided on only one specific area requiringimprovement (average score less than 4 out of 7): backstagesecurity. This was mostly due to the ongoing issues with electronicroom access and staffing changes on the Help Desk (which hassince been resolved).Irregular and one-off hirers were invited to participate inonline versions of the Presenter Satisfaction Survey. During2008/09 ten companies took the opportunity to respond, withoverwhelming positive feedback received. This is in keeping withresults for prior years.Disability Action PlanThe Sydney Opera House Access Strategic Plan 2005/08 was endorsedby the Sydney Opera House Trust in December 2005. The Planwas developed following consultation with key stakeholders anddisability access groups, including Accessible Arts and the HumanRights and Equal Opportunity Commission. Its ultimate focusis ensuring the best customer experience for all people who use,work and perform at Sydney Opera House.The Plan, which is based on the principles outlined in the NSWGovernment Disability Policy framework, contained 62 projectsdesigned to improve access to facilities and services, as well asproviding leadership in accessibility for the performing artsindustry.It provides a strategic framework within which clear goals are setfor improvement of accessibility to Sydney Opera House facilities,services and performance product to people with disabilities andfor the measurement of progress towards those goals. From July2009 this Plan will be replaced by a new Sydney Opera House AccessStrategic Plan 2009/12.Achievements 2008/09• Construction continued on the Accessibility and WesternFoyers Project. Including the first public lift with capacity forfour wheelchairs from Lower Concourse level to the VehicleConcourse and Box Office level, and two new escalatorsinstalled into stairs from Box Office level to the SouthernFoyers of the Concert Hall and Opera Theatre.• New accessible unisex toilet facility constructed in theWestern Foyers.• The Sydney Opera House Access Masterplan commencedconcept designs for improving access to the public,performing arts presenter and business partner and employeeareas of Sydney Opera House.• Increase in wheelchair and companion seating spacesconstructed in the main body of seating in all three WesternTheatre venues.• Two Platform Stairlift climbers were installed on entry to thePlayhouse to provide mainstream disability access into thetheatre.• Hearing loop system installed in the Box Office counterwindows.• Permanent captioning system installed in the Drama Theatre.• Performances under the banner of Sydney Opera HousePresents and tours became affiliated with the NSWCompanion Card, providing complimentary tickets forattendant carers assisting patrons with a significant andpermanent disability.• Regular Access Awareness sessions delivered as part ofmonthly staff induction training.• A series of new information materials were developed forpatrons and customers with disabilities, including a TheatreAccess Guide Brochure, Online Access Diary for assistedperformance information, and a Quarterly Online AccessNewsletter.• In partnership with Accessible Arts, Sydney OperaHouse hosted industry information sessions in the UtzonRoom. Inclusion of People with Disabilities is CoreBusiness for all Arts Organisations was presented by BettySiegel, Director of Accessibility at the Kennedy Centrefor Performing Arts, Washington D.C., and an IndustryCompanion Card Information Session was presented byNational Disability Services.• Discounted Access Tours of Sydney Opera House, includingan Auslan interpreter tour, offered as part of celebrations forInternational Day of People with Disabilities 2008.Sydney Opera House, working in partnership with VisionAustralia and Sydney Theatre Company, provided the followingaudio described performances this year: The Narcissist, SydneyTheatre Company – Drama Theatre, one performance inSeptember 2008; The Pig Iron People, Sydney Theatre Company –Drama Theatre, one performance in November 2008; Travesties,Sydney Theatre Company – Drama Theatre, one performance inApril 2009; When The Rain Stops Falling, Sydney Theatre Company– Drama Theatre, one performance in June 2009.Sydney Opera House Access Strategic Plan 2009/12Going forward, the new three year Sydney Opera House AccessStrategic Plan 2009/12 endorsed by the Trust in June 2009, followsthe format and incorporates the planning outcomes set out in theGuidelines for Disability Action Planning by NSW Government Agencies.The Plan consists of 48 access strategies with the ultimate goalof increasing the participation of people with disabilities (ascustomers, staff and business partners) by providing equal accessto Sydney Opera House premises, services, facilities, performancesand experiences.Year 1 of the new Plan will involve:• Completion of the Sydney Opera House Access Masterplanfor backstage, presenter and public areas;• Completion of the Accessibility and Western FoyersProject upgrades;• Refurbishment and upgrade of the Lower Concourseaccessible toilet facility;• Upgrade to the accessible lift in The Studio venue to improvewheelchair access reliability;• Research into a proposal for an inclusive mentoring/workexperience program for arts workers with disabilities, inpartnership with Accessible Arts; and• A new high profile external ambassador program to assistwith promotion of access facilities.The full Plan is available on the Sydney Opera House websiteand will be lodged with the Department of Aging, Disability andHome Care.SYDNEY OPERA HOUSE57 ANNUAL REPORT 2008/09

Government Reporting continuedElectronic Service DeliveryA number of major initiatives were achieved this year to improvethe electronic service delivery to patrons, visitors, stakeholdersand staff. These initiatives will continue with endorsement of anew Information Systems Strategic Plan 2008/11 by the Sydney OperaHouse Trust Risk Management Committee in February 2009.Sydney Opera House provides a variety of services throughthe website sydneyoperahouse.com, including publications,information on services and access, promotional offers, jobvacancies, tenders and applications for filming. The ability topurchase tickets for Sydney Opera House events and tours andmake a donation to the Sydney Opera House Annual Fund isalso available.Website development continued with a focus on improvingservices and information on events, food and beverageexperiences, tours, retail and site access. Enhancing services foronline ticket purchases and new web functionality allows patronsto select their own seat while maintaining the ability to booktickets with a ‘best available seat’ option. In addition, this yearsaw the development of a platform to display live events over theinternet (for instance broadcasting over the internet the Lighting ofthe Sails for the Luminous festival).A wireless network was deployed in the Green Room, providingguests and performers with internet access. This has been verywell received and used extensively. Plans to expand the wirelessnetwork across the building are being developed and will beimplemented when funding is available.Supporting business continuity, an alternate site has been createdto house backup infrastructure, allowing all critical businesssystems to be run in the event of loss of the main centre locatedat Sydney Opera House. This provides some basic disasterrecovery capability to protect against flood and fire type issues,and allows continued availability of customer service and internalmanagement systems.Energy ManagementSydney Opera House is committed to environmental sustainability,including energy management. A number of energy managementinitiatives were successfully implemented in 2008/09.• Appointment of Manager, Sustainability and Energy todevelop, manage and integrate energy management andother sustainability initiatives across the organisation.• Upgrades to improve the efficiency of the air conditioningsystem, including replacement of older motors with newefficient ones and installation of an additional small, efficientchiller to service the Lower Forecourt, to better match ourdemand requirements.• Expansion of automated lighting controls to turn off lightswhen they are not required. For example, we have reducedthe operating hours of Sail lighting to align with the SydneyHarbour Bridge, turning the lights off for an extra four hoursper night. This saves around 12 megawatt hours per year, oraround 11 tonnes of greenhouse gas.• Purchased 6% GreenPower, supporting Australia’s renewableenergy industry, and continued implementation of ourEnergy Saving Action Plan and Water Saving Action Plans.• Investigation of innovative approaches to air conditioning ofvenue and box office areas to ensure energy efficiency withoutaffecting the functional use of the spaces.In addition, a number of energy management actions have beenundertaken.• Progressive replacement of older lighting with newer energyefficient lights, such as the replacement of old energy hungrytubes with energy efficient tubes in the Green Room.• Launch of an internal ‘Greening the House’ campaign andsection on the staff intranet aimed at educating staff aboutenvironmental sustainability and encouraging energy efficiency.• Replacement of all old printers, faxes and photocopiers withenergy efficient multifunctional machines.• Use of biodiesel generators as an alternative energy sourceto light the Sails as part of the Luminous festival. In addition,carbon emissions from the Lighting of the Sails were offsetthrough Greenhouse Friendly TM carbon credits.• Assistance to Sydney Symphony to monitor the electricityused during their Earth Hour performance, so that they couldpurchase GreenPower for the electricity used.• Consultation with key stakeholder groups, staff andcontractor companies for development of an EnvironmentalSustainability Policy and Plan.• Hosting a ‘Client Earth’ forum – a wide ranging discussionabout sustainability and social change.Electricity, Gas and Water Use StatisticsElectricity Use (MWh) 2008/09 2007/08 2006/07Sydney Opera House 17,707 18,730Offsite Leases (office andstorage) 1 27720919,056164Total 17,984 18,939 19,220Gas (GJ) 2Sydney Opera House 2,416 2,371 2,377Water (ML) 3Sydney Opera House 54 58 661 Data on Sydney Opera House electricity use at Customs House is provided by Cityof Sydney.2 Gas facilities only used in Sydney Opera House kitchens.3 Water use is not metered separately or controlled by Sydney Opera House undertenancy lease arrangements.Next year, energy management initiatives will include:• Developing a Sustainability Plan with clear objectives andtargets for energy reduction;• Upgrading metering and monitoring to allow betterunderstanding and management of electricity, gas andwater use;• Continuing with lighting controls and upgrades; and• Continuation of air conditioning upgrades, including a newapproach to control condenser water temperature controls torun the chillers more efficiently and pre-treatment of outsideair for the Concert Hall to better control humidity.Equal Employment Opportunity(EEO)Maintaining our commitment to equality within our workplace,a number of EEO-related achievements were realised this yearin accordance with objectives to ensure a diverse and skilledworkforce, improve employment access and participation by EEOgroups, and maintain a workplace culture displaying fair practicesand behaviours.• Implementation of the Marker Business Excellence Project,an initiative to engage with staff and involving arts centresinternationally to identify opportunities for improvement andcollaboration. This year the project involved an online surveyand focus groups for staff which provided feedback to be usedfor a wide range of organisational improvement strategies inthe areas of Leadership, Strategy and Planning, Informationand Knowledge, People, Customer and Market Focus, ProcessManagement, Improvement and Innovation, and Successand Sustainability. The composition of the groups includedall areas and levels of the organisation, and fairly representedgender and tenure.

Overall the business excellence self assessment score was415 out of 1000, which is at the lower level of that whichwould be considered for a Bronze Award within the BusinessExcellence Framework. Detailed results and a report onimprovement themes and ideas were published on the staffintranet. A number of initiatives have been implemented,such as wireless access in the Green Room, a number ofenvironmental initiatives and digital communications. Otherinitiatives are incorporated in the new three year StrategicPlan such as establish a mentoring program, developa meaningful suite of organisation wide performancemeasures, create an accessible source of information, improvecommunication and understand more about customers andsimplify internal processes.• Continued delivery of the monthly organisation orientationprogram for new staff and specific role induction programsaddressing EEO principles and practices such as disabilityawareness and diversity.• Customised audio tour training was delivered to ForeignLanguage Tour Guides incorporating English, Mandarin,Japanese, and Korean languages.• Increase in the representation of women on the ExecutiveTeam to 75% (57% in 2007/08) and participation of 45women leaders in a Leadership Development Program.• Enhancement of recruitment services, including a merit‐basedfeedback policy for all interview candidates, new informationresources for managers and an improved application processthrough a new e-recruitment system.• Advancement of the Indigenous Traineeship Program toinclude Indigenous Graduate Work Experience Placements,with funding from the NSW DET Elsa Dixon EmploymentProgram. Two women graduate trainees successfullycompleted a new three month placement working on eventssuch as the Message Sticks Indigenous Arts Festival and theLuminous festival.• A Safety Week Program incorporating briefings on bullying,harassment and violence in the workplace and work relatedconcerns and grievances, plus development of onlineresources to deliver flexible compliance training to staff.• Update and redistribution of our Code of Conduct includingpublication on our website, and expansion of regular CEOForums to include an online version, ensuring all staff haveaccess to important information and achievements.• Review of Sydney Opera House Registered TrainingOrganisation programs and further development ofvocational competencies and qualifications, including:- alignment of existing management developmentresources with the nationally recognised Certificate IV inFrontline Management; and- development and addition of a Diploma of Managementto the scope of delivery.• Continuation of a new Performance Planning and ReviewSystem, with further refinement throughout 2009.Sydney Opera House has also participated and taken aleadership role in other external industry programs supportingEEO outcomes, such as International Day for People withDisabilities. We created and host the Access Awards, recognisingthe contributions of both staff and external supporters to theimprovement of access at Sydney Opera House.EEO initiatives planned for 2009/10 include:• Continuation and development of the Marker BusinessExcellence Project, including further initiatives to engage withstaff and integrate their improvement ideas and feedback intoplanning processes;• Renewed focus on personal employee development andimplementing opportunities for career coaching and mentoring;• Sydney Opera House Registered Training Organisation willfocus on:- development of accredited training programs and anApprenticeship and Internship program for new entrantsand existing workers;- research into funding for a new Indigenous InternPartnership Program for individuals who candemonstrate that their careers in arts and entertainmentwould benefit from a work placement at Sydney OperaHouse; and• Implementation of e‐learning programs and resources, andthe completion of a new online Performance Planning andReview Scheme for all staff to identify key areas for skilldevelopment and career enhancement.Trends in the Representation of EEO GroupsEEO GroupWomenAboriginal people andTorres Strait IslandersPeople whose first languagewas not EnglishPeople with a disability% of Total StaffBenchmarkor Target 2009 2008 2007 200650%People with adisability requiringwork-related adjustment 7% 0.3% 0.6% 0.6% 0.9%2%20%12%45% 48%0.0%12%4%Trends in the Distribution of EEO GroupsEEO GroupWomenAboriginal people andTorres Strait IslandersPeople whose first languagewas not EnglishPeople with a disabilityDistribution Index0.0%14%5%47%0.0%13%4%44%0.0%16%5%Benchmarkor Target 2009 2008 2007 2006People with adisability requiringwork-related adjustment 100 n/a n/a n/a n/a100100100100101 97Note: Staff numbers as at 30 June 2009. Information provided by the Workforce Profileunit, Department of Premier and Cabinet. Excludes casual staff. A Distribution Indexof 100 indicates that the centre of the distribution of the EEO group across salary levelsis equivalent to that of other staff. Values less than 100 mean that the EEO group tendsto be more concentrated at lower salary levels than is the case for other staff. The morepronounced this tendency is, the lower the index will be. In some cases the index maybe more than 100, indicating that the EEO group is less concentrated at lower salarylevels. The Distribution Index is automatically calculated by the software provided byODEOPE. The Distribution Index is not calculated where EEO group or non-EEOgroup numbers are less than 20.Ethnic Affairsn/a79n/an/a78n/a99n/a81n/aIn support of the NSW Principles of Multiculturalism,opportunities were created for artists, audiences, and visitors toengage with Sydney Opera House through a broad range ofactivities.The universal language of music once again provided the largestcomponent of our multicultural programming during the year.Presentations ranged from intimate recitals in The Studio to largescale popular events in the Concert Hall.94n/a8588SYDNEY OPERA HOUSE59 ANNUAL REPORT 2008/09

Government Reporting continuedThe Studio hosted performers from a diverse cross-section ofcultural backgrounds, showcasing traditional music re-imaginedthrough contemporary sensibilities. Highlights included:• Kwartet Punakawan 10 August 2008 – Indonesian pianist JayaSuprana led his quartet through an exploration of timelessSufi music;• Latin Block Party 16–17 August 2008 – a nine-piece ‘All Star’Latin-fusion orchestra showcased the new wave of urbanLatin sounds. The season included an ‘all-ages’ show to createa family fiesta performance;• Tujiko Noriko 22 August 2008 – the undisputed queen ofJapanese avant-pop experimental music made her much awaited return to Australia; and• Clocked Out – ‘The Wide Alley’ 1 March 2009 – contemporaryensemble Clocked Out’s performances of works byErik Griswold, Vanessa Tomlinson and Zou Xiangpingutilised moving and still images to support their fusion ofwestern avant-garde with the musical traditions of China’sSichuan province.The Concert Hall program featured a range of musicalperformances selected to appeal to both specific local communitiesand the wider global music audience. Highlights included:• 50 Years of Bossa Nova 10 September 2008 – three generationsof Brazilian bossa nova stars converged on the Concert Hallto celebrate 50 years of arguably the most seductive popularmusic to emerge from the 20th century;• Goran Bregovic and his Wedding and Funeral Band 14 and 16October 2008 – a 37 piece ensemble (including an all-malechoir, Polish string orchestra and nine piece brass band)brought to life Goran Bregovic’s film scores alongsidetraditional Balkan tunes in a unique form of Gypsy-rock;• Zakir Hussain Presents Masters of Percussion 9 November 2008– the revered tabla virtuoso Zakir Hussain presented acelebration of North Indian music accompanied by thesix‐piece Masters of Percussion along with the dazzlingdancing drummers of Manipur;• Sa Dingding 8 March 2009 – singing in Mandarin, Sanskrit,Tibetan and an entirely self-created language, Sa Dingding,united the beauty of Chinese tradition with smokylo-fi electronica to create a uniquely 21st century art form;• Roberto Fonseca 9 March 2009 – building on his generationbridgingexperience as pianist with Buena Vista Social Club,young Cuban composer Roberto Fonseca led his quintetthrough works drawing on his Afro-Cuban heritage and deeplove of jazz, funk and soul;• Rita 5 April 2009 – Israel’s premier diva performed hergreatest hits with a six-piece band, combining Middle Easternsounds and distinctive Persian rhythms in her powerfulcontemporary ballads;• Angelique Kidjo and Ayo 12 April 2009 – world music legend and Grammy Award-winner Angelique Kidjo delivered her iconic brand of Afro-funk, salsa, reggae, gospel and jazz to the Concert Hall. The headline performance wascomplemented by one of the latest success stories of theglobal music scene, Ayo, whose gentle soul-stirring groovesreflected her Nigerian and Gypsy heritage;• Tinariwen and Te Vaka 13 April 2009 – this double bill took theaudience on a journey from the African desert to the PacificOcean. Tinariwen’s Saharan blues recounted the strugglefor freedom and independence of the Tuareg people withtales of rebellion and exile, contrasted by Te Vaka’s infectiousPolynesian rhythms of pan-Pacific groove; and• Eleftheria Arvanitaki 23 and 25 May 2009 – two performanceswere presented by the queen of Greek-roots music,combining the traditions of rembetika with a contemporaryGreek idiom.Other programs of significant multicultural interest presented during the year included:• Sara Baras Ballet Flamenco 25–28 September 2008 – one of theleading lights of contemporary Spanish flamenco, Sara Barasperformed her latest program Sabores in the Concert Hallwith guest artists José Serrano and Luis Ortega and a corp deballet of eight dancers;• In Spitting Distance 7–18 October 2008 – Palestinian actorKhalifa Natour delivered a virtuoso performance in thestory of an Arab traveller attempting to catch a flight on theanniversary of September 11. Written by Palestinian TaherNajib and directed by Israeli Ofira Henig, the production wasperformed in Arabic with English subtitles in the Playhouse;• Rasa Unmasked 13–15 March 2009 – choreographed byAustralia’s Anandavalli and Lingalayam Dance Companyin collaboration with Malaysia’s Ramli Ibrahim and SutraDance Theatre, the production explored the nine key‘sentiments of rasa’ to a soundscape incorporating theJavanese gamelan, Carnatic Indian vocals and percussion inThe Studio; and• Teuila Postcards 29 April–2 May 2009 – acclaimedcontemporary dance ensemble Polytoxic presented a satiricallook behind the tourist façade of the Pacific Islands with theirholiday postcard from Samoa.Services and information to meet the needs of visitors andcustomers from diverse cultural backgrounds continue to beprovided through public tours provided in Japanese, Koreanand Mandarin. A new European language tour in French wastrialled this year, and will be introduced permanently next year. Inaddition, website pages, information brochures and other printedcollateral are produced in all languages in which we provide tours.Programs for staff continued with role training for Tour Guidesand Front of House staff, and customer service training forEmergency Planning and Response teams designed to meet theneeds of a diverse customer base. A series of workshops andevents for staff focused on working in a culture that respects andvalues diversity were held during Safety Week 2008.Next year Sydney Opera House will continue to:• Provide tours in Japanese, Korean and Mandarin, and a newlanguage tour in French;• Communicate via a range of translated material andinterpreters;• Present a number of opportunities to a range of artists,audiences and the community through events, services andconsultation; and• Provide training and development for staff in meetingcustomer needs.Freedom of Information (FOI)The impact of the FOI requirements on Sydney Opera Houseis minimal. No major issues have arisen during the year incomplying with the Freedom of Information Act 1989. Fourapplications were received during the reporting year and one waswithdrawn.FOI StatisticsFOI Requests 2008/09 2007/08 2006/07 2005/06New requestsBrought forwardTotal to be processedCompletedTransferred outWithdrawnTotal processed40030130000000unfinished (carriedforward) 004042024020200220

Freedom of Information Statement of AffairsFunctions and StructureSydney Opera House is operated and maintained for theGovernment of New South Wales by the Sydney Opera HouseTrust, which is constituted as a body corporate under the SydneyOpera House Trust Act 1961.The Trust is charged with:• The administration, care, control, management andmaintenance of the Building, brand and site;• The management and administration of Sydney OperaHouse as a performing arts and conference centre;• The promotion of artistic taste and achievement in anybranch of the musical, operatic, dramatic, terpsichorean,visual or auditory arts; and• Scientific research into, and the encouragement of newand improved forms of entertainment and methods ofpresentations.Sydney Opera House theatres, halls, reception rooms, foyers andsurrounding areas are hired out to performing arts companiesand other organisations for a wide range of purposes, includingperformances, exhibitions, conventions, seminars, lectures andreceptions.In addition, the Trust undertakes a number of entrepreneurialactivities to complement the conventional range of attractionspresented by resident companies and other entrepreneurs.The Sydney Opera House Trust has 10 members. Trustees areappointed by the Governor on the nomination of the Minister forthe Arts and their three year terms are timed to start on alternateyears. If otherwise qualified, Trustees are eligible for reappointmentand may serve no more than three consecutive terms.The Chief Executive of the Sydney Opera House Trust is theGeneral Manager, who is supported by a team of five Directors.More information about the structure and functions of SydneyOpera House can be found on page 28 or on our website atsydneyoperahouse.com.Public Participation in Policy FormulationThe Trustees represent the public in the management andfunctioning of the Sydney Opera House.Categories of Documents Held by Sydney Opera HouseMany documents are available free of charge on our websitesydneyoperahouse.com or by contacting the GovernmentRelations department. The documents available free of chargeinclude:• Sydney Opera House Annual Report• Corporate Goals• Artistic Vision• Conservation Plan• Utzon Design Principles• Sydney Opera House Policies- Artworks Management- Assistance to Communityand Charitable Organisations and Events- Charitable Collections- Child Protection- Code of Conduct- Commitment to Our Customers- Credit Control and Debtor Management- Customer Feedback- Giving Corporate Donations- Illumination of the Sails- Filming at Sydney Opera House- OH&S- People with Disabilities and Older People- Privacy- Receiving Gifts and Benefits- Smoking Ban: Covered Vehicle Concourse- Sponsorship.Sydney Opera House also holds information on files and incomputer systems covering the following functions:• Events management and production• Box Office• Tourism• Customer feedback• Occupational Health and Safety• Security• Philanthropy and corporate partnerships• Trust• Industry liaison• Property management and conservation.There are also administrative records concerned with theday-to-day management of the Sydney Opera House. These covermatters such as asset management, purchasing, travel, personnelmanagement, financial management, information technology andtelecommunications, legal matters and planning documents.AccessIf you would like to access any of the documents, apart from thefree of charge documents, you will need to make a request underthe FOI Act for access.Requests for access to documents held by the Trust must be made bywritten application accompanied by a fee of $30 and addressed to:Freedom of Information OfficerSydney Opera HouseGPO Box 4274Sydney NSW 2001Enquiries may be directed to the Freedom of Information Officerbetween the hours of 10am and 4pm, Monday to Friday. Contactdetails are listed below.Telephone: (02) 9250 7488Fax: (02) 9250 7844Email: foi@sydneyoperahouse.comHeritage ManagementThe cultural and architectural importance of Sydney OperaHouse is recognised with its inclusion on the World HeritageList, National Heritage List, and State Heritage Register. TheManagement Plan for the Sydney Opera House sets out the statutoryframework that will ensure that the heritage values of the site areprotected and conserved. The Sydney Opera House ConservationCouncil is a specialist advisory committee to the SydneyOpera House Trust on conservation matters. Refer page 29 forConservation Council Information.Work commenced on a comprehensive review of the ConservationPlan this year, with the fourth edition of this important documentscheduled to be ready by December 2009.The first development application assessed under the new WorldHeritage requirements was approved in 2008. This approval wasfor the installation of two new escalators from the Box Office levelto the Southern Foyers of the Concert Hall and Opera Theatre.Construction of these escalators is now nearing completion andwill be opened for public use in July and August 2009. No heritageissues were encountered during the construction of the escalators.SYDNEY OPERA HOUSE61 ANNUAL REPORT 2008/09

Government Reporting continuedIndigenousSydney Opera House supports Indigenous arts and Indigenousemployment in the performing arts and entertainment industry.Message Sticks Indigenous Arts FestivalPresented by Sydney Opera House, Message Sticks IndigenousArts Festival is a celebration of Indigenous culture throughcontemporary film, performance, music and visual arts.Due to building works in the Western Theatres two Festivalswere held this year, in July 2008 and in May 2009. The filmcomponent for both Festivals was curated by Darren Daleand Rachel Perkins of Blackfella Films and supported by ourpartnership with Screen Australia’s Indigenous unit. All filmswere made by Indigenous artists and question and answersessions were held after each screening, providing the audiencewith an opportunity to meet the filmmakers.Films in 2008 were mainly documentaries, drawing a wideaudience of Indigenous and non Indigenous filmmakers andmembers of the public. The memorable opening night filmRiver of No Return was preceded by a live performance from theChooky Dancers. Other significant films screened includedMad Morro, Spirit Stones and When Colin Met Joyce, and for the firsttime the Festival included special screenings for schools as part ofour House:Ed program.The 2008 Festival also featured three sold out music concerts inThe Studio that introduced the Wangatunga Strong Women’sGroup from Bathurst Island and the phenomenal talent ofGeoffrey Gurrumul Yunupingu to Sydney audiences.The 10th Message Sticks Indigenous Arts Festival was hosted by SydneyOpera House from 7–10 May 2009. The Festival presented acollection of 18 outstanding feature, short and documentary filmsby Australian and international filmmakers, highlighted by theSydney premiere of Warwick Thornton’s award winning Samson& Delilah.‘The New Black’ featured seven new short films by emergingIndigenous filmmakers, including Deborah Mailman’s Ralphand Leah Purcell’s Aunty Maggie and the Womba Wakgun. Twointernational films were presented, Barking Water from the uSAand Before Tomorrow from Canada. Message Sticks 2009 includedscreenings as part of the House:Ed program, as well as a series offree music performances and an exhibition of works by Indigenousphotographers Ricky Maynard and the late Michael Riley.In celebration of the Festival’s 10th anniversary, a retrospective ofWarwick Thornton’s short drama works was presented, includingthe award winning Green Bush and Nana. Hosted by MargaretThornton, the retrospective showcased five films, all of which hadtheir premiere at the Message Sticks Indigenous Arts Festival.Indigenous TraineeshipThe Sydney Opera House Indigenous Technical Theatre andGraduate Traineeship Program was launched as part of the 1999‘Dreaming of a Better Future’ Indigenous Conference. An initialcommitment to engage 10 trainees over a three year period sawthe first four trainees commence in May 2000. 17 trainees havesince completed a three month or 12 month program and anotherthree commenced in March 2009.The Program has now established itself as an avenue forleadership development, incorporating its own TraineeshipNetwork. Employment participation levels for Indigenous peopleat Sydney Opera House have increased as a direct result of theTraineeship Program, with Indigenous staff working in the Sound,Lighting, Staging, Production, Tourism and Visitor Operations ­Front of House departments.Wesley Enoch, Sydney Opera House Trustee and currentlyAssociate Artistic Director at Belvoir Street Theatre, participatedas guest speaker for the Trainee Network Forum this year andintroduced the trainees to industry contacts and relevant strategiesto progress their careers in the entertainment industry. In addition,other entertainment industry organisations such as BangarraDance Theatre, NAISDA, The Australian Ballet, Opera Australiaand Sydney Convention & Exhibition Centre have supported theWork Experience Program.This success has led Sydney Opera House to focus on establishinga three month Indigenous Graduate Work Placement Programwith funding from NSW DET Elsa Dixon Employment Program,enabling two graduates to gain the required work skills to cementtheir academic learning and to expose them to a diverse networkof future employers.Next year we aim to celebrate the 10th year of the program byseeking further funding opportunities to support the IndigenousEmployment Program.InsuranceSydney Opera House insurance coverage is provided by the NSWTreasury Managed Fund, a self-insurance scheme administeredby GIO (which covers property, public liability and motor vehicle)and by Allianz (which covers workers compensation).The property policy protects Sydney Opera House assets and theproperties for which it holds long-term leases.During the year Sydney Opera House had three property claimstotalling $13,420.A table showing the total cost of premiums excluding GST, arrivingat the cost per employee over the past five years, is set out below.Motor VehicleProperty 662,440PublicLiability 382,770Workers’Comp. 702,970Miscellaneous 5,4602008/09 2007/08 2006/07 2005/06 2004/05$ $ $ $ $0 0661,490370,940842,3901,8800406,700342,2301,411,97400481,550344,0601,114,0805,370700525,630459,3301,119,6405,350TOTALCOST 1,753,640 1,876,700 2,160,904 1,945,060 2,110,650TotalEmployees 716 719COST PEREMPLOYEE 2,4492,6107033,0747012,775Investment Performance Measure6443,277Investments are placed with NSW Treasury Corporation orbanks at interest rates equivalent to, or greater than, the relevantbenchmark Hourglass Investment.Land Title HoldingsSummary of Land HoldingsOwnership of Sydney Opera House and its land is vested in theMinister administering the Sydney Opera House Trust Act 1961(the Minister for the Arts) on behalf of the NSW Government.The Sydney Opera House Trust, which is constituted as a bodycorporate under the Sydney Opera House Act 1961, is responsiblefor the operation and maintenance of Sydney Opera Houseand its land. The site area is 3.606 hectares and is located at thenorthern end of Circular Quay East, Bennelong Point, and as at30 June 2009 was valued at $75,000,000.LegalThere have been no amendments made to the Sydney OperaHouse Trust Act 1961 or to the Sydney Opera House By-law2005 in the 2008/09 year.

Occupational Health and Safety(OH&S)OH&S continues to be a priority for the organisation. Key activitiesundertaken are outlined below (also refer pages 27 and 35).• Development of a new OH&S Policy and OH&S ConsultationStatement, as well as a Safety Leadership Handbook to provideleaders with practical guidance on ensuring the safety of allpeople working at Sydney Opera House.• A safety management system to document plans, proceduresand activities has been developed to help continue to improveour safety record.• A new centralised incident reporting and Material SafetyData Sheet repository has been established to allow collationof accurate data and proactive risk management processes.• Development of an online safety learning package to providegeneral site safety induction for staff, hirers and contractors,for implementation in 2009/10.Worker’s CompensationThe number of staff accidents resulting in injury this year hasdecreased (from 229 in 2007/08 to 221 in 2008/09). Lost time toinjuries has also decreased compared to 2007/08 (reduced from5.09 in 2007/08 to 4.87 hours lost per thousand hours worked in2008/09).The number of Workers Compensation cases has decreased(down to 44 from 45 in 2007/08).Improvements in both the number of injuries and lost time injurystatistics are the result of an increased focus on high risk activitiesacross the organisation, and an overall increase in the resourcesapplied to OH&S management as a result of the organisationalsafety realignment.YearNumberof staffinjuriesNumber of newworkers compensationcases*2008/09 221 442007/08 229 45^2006/07 252 462005/06 253 572004/05 286 69* Includes all workers compensation cases including provisional liability.^ In 2007/08 the number of new workers compensation cases was incorrectly reportedas 44.Overseas TravelSydney Opera House employees undertake interstate and overseastravel for business reasons including sourcing performing artsproduct, touring programmes and representing Sydney OperaHouse at key industry forums. Overseas travel was approvedby the Minister for the Arts and travel undertaken during thereporting year is listed below.Name/Position Date/Country PurposeWendy MartinHead of Theatreand Dance5–8 July 08France, Spainand uSA8–22 Nov. 08Canada,Germanyand France13 May –3 June 09uK, Belgium,France,Canada anduSATo attend the Avignon Arts Festivaland International productionsfor presentation at Sydney OperaHouse.To attend performances in Canadaand France commissioned by SydneyOpera House for presentation in2009 and the world’s leading dancefestival in Germany.To attend performances forpresentation at Sydney Opera Houseand attend the Kunsten Festival inBrussels.Name/Position Date/Country PurposeSarah DuthieSales AccountManager,TourismDavid AntawDirector, Financeand InnovationCarolynStewart-SmithManager,Planning andGovernanceKen McSwainBusiness SolutionsManager,InformationSystemsAaron CurranCRM ManagerRichard EvansCEOVictoria DoidgeDirector,Marketing andDevelopmentBrigid CollaeryStage ManagerPhilip RolfeAssociate DirectorGavin NorrisProductionManagerRay DickAssistant FacilitiesManagerNoel JordanHead ofPerformance forYoung Audiences7–20 Aug. 08uSA14–27 Sept.08India12–15 Aug.08New Zealand12–15 Aug.08New Zealand23–31 Aug.08uSA23–31 Aug.08uSA25–29 Aug.08China20–28 Oct.08uSA andCanada3–8 Dec. 08Denmark anduK5–17 May 09uSA20–24 May09China25 Aug. –9 Sept. 08uSA and uK30 Sept. –14 Oct. 08uSA26 Oct. –9 Nov. 08uK, Spainand Italy3–8 Nov. 08uK13–20 Nov.08New Zealand14–16 March09New ZealandTo attend the annual OzTalkNorth America trade event tocarry out targeted sales visits to keywholesalers and product planners.To attend the India Travel Missionto establish business relationshipswith key travel agencies and touroperators.To participate in the first comparisonsession of Project Marker involvingThe Edge, Auckland and The ArtsCentre, Melbourne.To participate in the first comparisonsession of Project Marker involvingThe Edge, Auckland and The ArtsCentre, Melbourne.To attend and present a paper at theTessitura Arts Enterprise SoftwareConference.To attend and present a paper atTessitura Arts Enterprise SoftwareConference.To accept an invitation to speak atthe 2008 World Summit for TheatreOperation and Development andattend the 10th Anniversary Concertof the Shanghai Grand Theatre.To attend the Performing ArtsConsortium Conference in Canadaand a meeting with Hewlett Packardin the uSA.To attend the funeral of Jørn Utzon.To attend the Performing ArtsCentres Consortium Conferenceand meet with heads of performingarts centres in New York and LosAngeles.To accept an invitation to speakat the 2009 International Summiton Theatre Development at theNational Centre for the PerformingArts in Beijing.To scope the development of adigital distribution capability toenable Sydney Opera House contentto be distributed across a range ofdestinations.To undertake an internship at theKennedy Centre in Washington andat the Brooklyn Academy of Music,New York.To attend the Womex Music Marketin Spain, meetings in London andthe production of In-I in Rome.To attend meetings in London todiscuss creative and technical aspectsfor the forthcoming production ofLe Grand Cirque.To attend a conference in Corrosionand Prevention. To visit The Edgeto discuss facility opportunities andchallenges within the same industryand discuss potential solutions.To attend the Capital E NationalArts Festival, Wellington and theAuckland International Arts Festival.SYDNEY OPERA HOUSE63 ANNUAL REPORT 2008/09

Government Reporting continuedName/Position Date/Country PurposeCameronO’NeillSupervisor,Sound/AVTechnical Support1–8 April 09Germanyand TheNetherlandsTo attend the Pro Light and SoundMesse in Frankfurt and visit theKassel Theatre.Virginia Hyam 18–21 June To attend an internationalHead of 09 production of Video Games LiveContemporaryCultureSingapore and meet with the producers andtouring organisation.Simon Spellicy 2–5 June 09 To accept the invitation of theTourism Manager Korea Mayor of Seoul to receive ‘Best CityLandmark in Asia Pacific’ Award atthe Seoul Tourism Awards.Maria Sykes 2–5 June 09Director, KoreaCommercial andOperationsTo accept the invitation of theMayor of Seoul to receive ‘Best CityLandmark in Asia Pacific’ Award atthe Seoul Tourism Awards.POPE Legislative CompliancePlace of Public Entertainment (POPE) Licence works to upgradefire systems in the building commenced in mid-2006 and haveprogressed according to agreed timeframes. The overall projectbudget is $25.5 million, of which $15.8 million has been spentin previous years to complete a Fire Services upgrade, WesternTheatres Smoke Management System upgrade, and Green RoomFire Safety upgrade.In 2008/09, $6 million was expended towards replacing firedampers throughout the building. The deadline for completionof the Fire Damper project is February 2010. The project is wellahead of schedule and is expected to be completed in the first halfof 2009/10.Stage 1 of the Fire Hydrant upgrade project has commenced,with expenditure to date of $300,000 for the installation ofstrategically placed isolation valves throughout the hydrant system.The isolation valves will enable parts of the system to be isolatedin future, without affecting the remaining hydrants. This willimprove access for maintenance and provide redundancy withinthe system in case of a partial malfunction.The requirements of the POPE Licence are being fully met.Pending changes to the NSW Environmental Planning andAssessment Act relating to POPE Licences are being monitoredand Sydney Opera House will continue to report in accordancewith any changes introduced in the future.Privacy ManagementThe Sydney Opera House Privacy Plan includes:• Descriptions of the key categories of personal informationheld by Sydney Opera House;• Procedures for facilitating the public’s right to accessinformation held on them; and• Procedures for privacy complaints and internal reviews.Details of how Sydney Opera House protects the privacyof its customers and visitors to its website are available atsydneyoperahouse.com. To obtain copies of Sydney OperaHouse’s latest Customer Privacy Statement, Privacy ManagementPlan, Privacy Policy and/or to make enquiries about privacyissues, contact:Privacy Contact OfficerSydney Opera HouseGPO Box 4274SYDNEY NSW 2001Telephone: (02) 9250 7111Email: privacy@sydneyoperahouse.comThere were no privacy complaints or reviews conducted duringthe year. Sydney Opera House received two inquiries relating tothe privacy of customer’s credit card information on our ticketingsystem, which were each resolved to the patron’s satisfaction. Anumber of customers also chose to opt out of receiving directmarketing material.PublicationsThis year we produced Sydney Opera House 2007/08 Annual Report;a bi-monthly What’s On Guide introduced in April/May 2009 toreplace the previous monthly version; Fairfax Quarterly insert‘At the House’ (produced and printed by Fairfax); brochures forAdventures, Kids at the House, Message Sticks Indigenous Arts Festival,Luminous festival, and the Spiegeltent; program brochures forUtzon Music Series and Hemispheres; programs for Message SticksIndigenous Arts Festival; promotional material for Adventures, Kids atthe House, Utzon Music Series, House:Ed, Hemispheres, Luminous festivaland the Spiegeltent; individual performance brochures, flyers andposters for each show; promotional material for a Christmas giftcampaign; Christmas Card; tourism flyers in a range of Asianlanguages; Backstage Tour passes; High Tea promotional material;Experience Packages flyers; Utzon Memorial program.The Sydney Opera House Annual Report 2008/09 is available on theinternet at sydneyoperahouse.com. The total costs for productionof the annual report including design, copywriting, additionalphotography, print format copies and internet version was $42,430including GST.Risk ManagementAuditsSydney Opera House Trust Risk Management (Audit) Committeeensures that obligations are met with respect to financial reporting,internal controls and risk management and ensures compliancewith all laws, regulations and codes of ethics. The charterof the Risk Management Committee was revised to includeassisting the Trust with the management of the Sydney OperaHouse Philanthropy Program as it relates to monitoring theimplementation of the Program, establishing guidelines for theinvestment and the expenditure of Program monies and approvalof actual expenditure of the monies.Performance and compliance audits were carried out by DeloitteTouche Tohmatsu on a variety of business processes and systemsfor the 2008/09 period, including:• Systems Security Review, May 2009 – an evaluation wasundertaken of the extent to which selected systems’ securitycontrols are implemented and operating effectively at SydneyOpera House. Systems in the scope of the review includedEvent Business Management System (EBMS), Sun Financials,PayGlobal, CHRIS21 and Tessitura. An assessment was alsoundertaken of the alignment of the primary Sydney OperaHouse network with recommended industry practices. Themajority of findings have been resolved, or are on track forresolution by July 2009;• Opera Point Events Contract Compliance Review, January 2009– a review was undertaken of the compliance of OperaPoint Events (OPE) with the Services Agreement withSydney Opera House, by reviewing processes and testinga range of transactions to supporting documentation andrevenue declarations. The key issue related to record keeping.Management continues to work with OPE to implementthe recommendations;• Entertainment Expenses Review, November 2008 – an internalassessment of the quality of controls over entertainmentexpenditure was conducted. This included the assessmentof the adequacy of existing Sydney Opera House policies,identification of trends in entertainment expenditure overthe last three years and compliance with Sydney OperaHouse policies in the areas of authorisation and approvalof entertainment expenditure, accuracy of the recording ofexpenditure and use of corporate credit cards. The majority

of issues raised have been addressed with the implementationof an Entertainment Expenses Policy and associatedguidelines in October 2008. In addition, an updated CreditCard Policy and a comprehensive Procurement Policy werealso implemented in October 2008; and• Philanthropy Health Check Review, August 2008 – a comparisonwas conducted of the procedures adopted by SydneyOpera House to the NSW Government’s best practiceguidelines for charitable organisations developed by theDepartment of Gaming and Racing, and it was found thatthe program closely aligned to those best practices. Suggestedrecommendations have been implemented, with a revisedPhilanthropy Committee Charter approved by the Trustin February 2009 and a Philanthropy Committee Code ofConduct adopted in March 2009.Business ContinuitySydney Opera House has in place a Business Continuity Plan andan Information Systems Disaster Recovery Plan to ensure criticalbusiness processes and IT systems can be continued in the eventof a serious unplanned event which may disrupt normal businessactivity. The Business Continuity Plan addresses the full range ofSydney Opera House resources including data processing, datacommunications links, personnel, desktop computers, workspace,voice communications, hard copy records and documents, andcritical corporate service support.For further information on risk management refer to theCorporate Governance section on page 29.Senior Executive ServiceThere are eight senior executive service positions at Sydney OperaHouse. Six positions are filled by women.SES Level 2008/09 2007/08 2006/07Wage and Salary MovementsA 4% wage increase was granted to staff covered by the CrownEmployees (Public Service Conditions of Employment) Award2002 effective from the first pay period commencing on and after1 July 2008.A 4.44% increase was granted to staff covered by the SydneyOpera House Enterprise Agreement 2006 effective from the firstpay period commencing on and after 1 July 2008.A 2.5% wage increase applied to Senior Executive Servicestaff effective from the first pay period commencing on orafter 1 October 2008 as per the Statutory and Other OfficesRemuneration Act 1975.Waste and Recycling ManagementSydney Opera House has been working to improve waste andrecycling management.Two waste audits were conducted this year to gain an in depthunderstanding of the waste streams at Sydney Opera House.Audit information has been used to review current practices andto develop a Recycling and Waste Management Strategy forimproving waste recycling, which will be implemented in the nextyear. The strategy will include a new three bin separation system(paper, comingled and landfill), improved recycling of buildingmaintenance materials including light bulbs, and trial systems formanaging organic food waste from kitchens within the SydneyOpera House precinct.Results of the waste audits are outlined below.Stream Tonnes Cubic MetresPercentage ofTotal (Tonnes)Cardboardrecycling 51.91 741.56 7%2346^2 (2 female*)4 (3 female*)1 (1 female)11 (1 female)3 (2 female)2 (1 female)124 (3 female)1Paper recycling 15.27 386.30 2%Glass recycling 150.95 487.00 20%General waste 547.17 4,142.57 71%Total 765.30 5,757.43 100%* Includes maternity leave coverage of two positions.^ This position is actually graded SES 5, Mr Evans was granted an additional grade toSES 6 on a personal basis from appointment.As at 30 June 2009 the Chief Executive of Sydney Opera Housewas Richard Evans.World Environment Day was celebrated on 5 June 2009 witha ‘Greening the House’ exhibition, featuring displays whichdescribed and sought feedback on the draft recycling and wastemanagement strategy and provided mobile phone recycling points.Performance StatementRichard EvansChief Executive Officer, SES Level 6Appointment at Level 6 commenced on 29 January 2008Total remuneration package: $311,950 paThe Director-General has expressed her satisfaction withMr Evans performance of his responsibilities.Mr Evans worked to the delivery of the Sydney Opera Housebusiness plan and budget endorsed by the Trust on 26 June 2008.Key activities and achievements are outlined in this report.The Sydney Opera House is an Australian icon and remains theflagship performing arts venue in Sydney, as well as a signatureSydney landmark. Its reputation and standing is maintainedthrough the efforts of the management team and the client artscompanies that perform there.SYDNEY OPERA HOUSE65 ANNUAL REPORT 2008/09

Performance ListPresenter Production VenuePerformancesAttendancePresenter Production VenueMusic Present Australia Premiering Sydney 2008 Concert Hall 1 1,7572Rules Media MahmoodKhanFunk Live Concert Hall 1 431Festival4-D International James Morrison and His Concert Hall 1 2,181Voices in the House 2008 Concert Hall 1 1,805Big Band World Voices 2009 Concert Hall 1 2,175Andrew McKinnon David Hobson & Teddy Concert Hall 1 1,862 Ryde District Schools Music Festival 2008 Concert Hall 1 2,200ConcertTahu Rhodes in ConcertSouthend Boys’ and Southend Boys and GirlsPresentationsGirls’ Choirs ChoirsUtzon Room 1 131Andrew McManus David Byrne Concert Hall 2 3,915Suzuki Talent Suzuki GraduationConcertPresentsEducationConcert Hall 1 1,648Arts North Primary Choral Concert Concert Hall 1 1,939 Association ofArts unite A Benefit Concert for Concert Hall 1 2,524 AustraliaSuzuki Piano Recitals Utzon Room 17 2,550the Victims of the Sydney Festival Dawn Chorus for Bushfire Forecourt 1 500Victorian BushfiresAppealATA Allstar Artists A Night in Budapest & Utzon Room 5 720 Masters of Tradition Concert Hall 2 4,158Vienna with Antal SzalaiMatthew Herbert Big Concert Hall 1 2,168and his Gypsy BandBandAustralian Chamber Dawn upshaw – ACO Concert Hall 1 1,683OrchestraThe Swell Season Concert Hall 3 6,764Euphoric Concert Hall 1 2,450Sydney International Sydney Piano Competition Concert Hall 5 7,618Great Romantics Concert Hall 1 1,405Piano CompetitionInner Voices Concert Hall 1 1,471Sydney Opera House 50 Years of Bossa Nova Concert Hall 1 2,062Intense Concert Hall 1 1,422Abby Dobson Forecourt 1 214The Red Tree Concert Hall 1 1,813Amanda Palmer The Studio 3 1,052Vivacious Concert Hall 1 2,194Angelique Kidjo & Ayo Concert Hall 1 2,216Australian Girls Australian Girls Choir Concert Hall 2 3,427ChoirBattles Opera Theatre 2 2,621Australian Institute Le Carnaval des Animaux The Studio 1 313Bill Frisell Trio The Studio 2 717of Brain Training Book of Longing Concert Hall 2 3,682Clavier School of Annual Concert Utzon Room 2 154 Broad Concert Hall 1 1,188MusicCharlie Haden Quartet Concert Hall 1 1,293Fiveways Studio Student Showcase Utzon Room 2 240 WestFremantle Media Australian Idol 2008 Final Forecourt 1 6,000 Christa and Dick Hughes Forecourt 1 296Australia Pty LtdChristmas at the House Concert Hall 8 13,809Frontier Touring Sting and Edin Karamzov Concert Hall 1 2,668CompanyCircle of Rhythm Forecourt 1 154Fuzzy Goldfrapp Concert Hall 1 2,260Coco’s Lunch – I Wanna Utzon Room 27 6,420Be A Mermaid*HVK Productions Treorchy Male Choir Concert Hall 1 860Coco’s Lunch – Invisible Utzon Room 1 65Kambala Music Festival 2009 Concert Hall 1 1,800Rhythm*Lior Lior – Shadows and Light The Studio 5 1,464Coco’s Lunch – Sing up Utzon Room 2 291Lisa B Entertainment Remembering the Utzon Room 2 287 a Storm*CarpentersDamien Dempsey Opera Theatre 1 1,018Michael Coppel Chick Corea and John Concert Hall 2 3,657PresentsMcLaughlin and the FiveDan Sultan Forecourt 1 301Peace Band Dave Graney The Studio 1 160Duffy Concert Hall 1 2,253 Dave McCormack Forecourt 1 220Simply Red with Kate Concert Hall 2 4,200 David Hobson in Concert Concert Hall 2 3,352Ceberano Dhafer Youssef Quartet The Studio 2 718MLC School MLC School Concert Concert Hall 1 2,200Eletheria Arvanitaki Concert Hall 2 3,5522009Europa Galante Concert Hall 1 2,049Musica Viva Gidon Kremer & Concert Hall 2 3,668Kremerata BalticaFine Blue Thread Forecourt 1 125NSW Department Encore 2009 Concert Hall 2 4,616Flow Goes the universe Playhouse 1 384of Education and Festival of Instrumental Concert Hall 4 7,767For the Good Times Concert Hall 3 6,260TrainingMusic Goran Bregovic and his Concert Hall 2 4,295Our Spectacular 2008 Concert Hall 1 1,900 Wedding and FuneralPrimary Choral Festival Concert Hall 4 7,703BandOpera Australia New Year’s Eve Gala Concert Hall 1 2,446Gretchen Parloto Forecourt 1 298Radiance – A Tribute Concert Hall 1 1,759Gurrumul The Studio 2 592to Richard Hickox Holly Throsby Forecourt 1 322PerformancesAttendance* SOH Young Audiences Program+ Balance of season in FY08# Balance of season in FY10

Presenter Production VenuePerformancesAttendancePresenter Production VenuePerformancesAttendanceSydney Opera Housecont.Israel PhilharmonicOrchestraI’ve Got a Bullet-ProofHeartJackie Orszaczky TributeJazz Hot Baby*Jazz Now 2008Jeff LangJim ConwayJimmy BarnesJoe Lovano &John SchofieldJon Hassell andMaarifa StreetJon HopkinsJuke BaritoneJustin Bond is Close to YouKate Miller-HeidkeKronos Quartet – TheFence ProjectKwartet PunakawanLadytronLatin Block PartyLee ‘Scratch’ PerryLiorLittle Boy Amadeus*Meet Me in the Middle ofthe AirMessage Sticks 2008 –Geoffrey GurrumilMingus Big BandMozart Boy Genius*Music for Tutus*NgarukuruwalaOld Man River andFriendsPatti Smith and Her BandPure Scenius – Part 1Pure Scenius – Part 2Pure Scenius – Part 3Rachid TahaReggie WattsRitaRobert ForsterRoberto FonsecaRonan/RonanRootRowland S HowardSa DingdingSeun Kuti and Egypt 80Stephen CummingsSweet Dreams*Tex Perkins and CharlieOwenConcert HallForecourtThe StudioUtzon RoomThe StudioForecourtForecourtForecourtConcert HallOpera TheatrePlayhouseForecourtThe StudioForecourtConcert HallThe StudioOpera TheatreThe StudioOpera TheatreForecourtUtzon RoomConcert HallThe StudioConcert HallUtzon RoomUtzon RoomThe StudioThe StudioConcert HallConcert HallConcert HallConcert HallOpera TheatrePlayhouseConcert HallThe StudioConcert HallForecourtForecourtForecourtConcert HallOpera TheatreForecourtUtzon RoomForecourt31230411111215111121221121630111111171211111111817,5982186446,7911,1441862743281,7448105633481,1873131,2202401,4125971,3866565,0172,2166882,1091,2177,0923092412,6811,6371,7021,4799292,6101,5735491,6332061672581,4549412603,397328Sydney Opera Housecont.Sydney PhilharmoniaChoirsSydney RegionMusic FestivalSydney SymphonyThe AudreysThe Blackeyed SusansThe Little Mermaid*Tinariwen & TeVakaTujiko Noriko – ElectricMusicurthboyUtzon Music Series –Cocos LunchUtzon Music Series –EthelUtzon Music Series –Flinders Quartet andGenevieve LaceyUtzon Music Series – Loveand the Art of WarUtzon Music Series – PaulGrabowskyUtzon Music Series –Sasha RozhdestvenskyUtzon Music Series– Simone Young andAlexander SoddyUtzon Music Series– Sydney SymphonyChamber PlayersUtzon Music Series –Teddy Tahu RhodesUtzon Music Series – TheABC Young PerformerAwardUtzon Music Series – TheWide AlleyUtzon Music Series –WindstrokesVanessa AmorosiWatussiZakir Hussain – Mastersof PercussionA Christmas CelebrationAmadeusChorus Oz: Haydn’s TheCreationEaster OratorioHandel’s MessiahMozart RequiemOde to JoySydney Region MusicFestival 2008A Louis ArmstrongTributeA Midsummer Night’sDreamA Tribute to DukeEllingtonAir SupplyThe StudioForecourtConcert HallConcert HallThe StudioForecourtUtzon RoomUtzon RoomUtzon RoomThe StudioUtzon RoomUtzon RoomUtzon RoomUtzon RoomUtzon RoomUtzon RoomThe StudioUtzon RoomForecourtForecourtConcert HallConcert HallConcert HallConcert HallConcert HallConcert HallConcert HallConcert HallConcert HallConcert HallConcert HallConcert HallConcert Hall1171111111111111111111211322125222643307,5111,5393021642001791792411791791991791981962161813253442,5651,4013,6275481,4375,5415,0063,9392,5335,23012,2314,7775,063* SOH Young Audiences Program+ Balance of season in FY08 SYDNEY OPERA HOUSE# Balance of season in FY10 67 ANNUAL REPORT 2008/09

Performance List continuedPresenter Production VenuePerformancesAttendancePresenter Production VenueSydney Symphony Ashkenazy conducts Concert Hall 3 7,362 Theatrecont.ShostakovichAdrian Bohm Dylan Moran Concert Hall 1 2,259Bach Voices Concert Hall 3 7,010 PresentsBeethoven and Beyond Concert Hall 3 6,974 Alex the Stage Play Alex The Studio 5 928Belshazzar’s Feast Concert Hall 2 5,186LtdA-List Entertainment Jimeoin On Ice Playhouse 12 4,181Best of the West End Concert Hall 2 5,104The Kranksy Sisters – Playhouse 7 2,631Elgar’s Cello Concerto Concert Hall 2 5,072 Three Bags FullElgar’s Enigmas Concert Hall 3 7,082 umbilical Brothers – Playhouse 12 4,724Gelmetti’s Farewell Concert Hall 2 5,004Don’t ExplainGrieg’s Piano Concerto Concert Hall 3 5,062Andrew Kay and The 39 Steps Playhouse 37 11,041AssociatesHero in the Making Concert Hall 3 6,295Andrew McManus Jerry Lewis in Concert Concert Hall 1 1,704Homelands Concert Hall 3 6,364 PresentsHuman Nature with the Concert Hall 3 6,452 Bell Shakespeare Anatomy Titus Fall of Playhouse 33 6,401Sydney Symphony Company RomeKate Cebrano with the Concert Hall 1 2,199Sydney SymphonyHamlet+ Drama 15 8,100TheatreMahler 1 Concert Hall 4 8,287Pericles# Drama 4 2,162TheatreMissa Solemnis Concert Hall 1 2,450The Alchemist Playhouse 34 9,720Movie Music: Crime Time Concert Hall 3 6,101Bjelke-Petersen Bros. National Seniors Final Concert Hall 1 2,501Polished Brass Concert Hall 1 1,874 2008Power and Panache Concert Hall 4 8,864 Jane Goodall Jane Goodall – Hope for Opera Theatre 1 753Romantic Perfection Concert Hall 3 7,496InstituteNatureRussian Tribute Concert Hall 3 6,422Sydney Festival Ivanov Drama 7 2,881TheatreSense and Sensuality Concert Hall 4 6,623Sydney Opera House Alan Cumming The Studio 4 1,220Strauss, Saint-Saëns & Concert Hall 3 7,031 Brian Eno Keynote Opera Theatre 1 942SibeliusAddress – SceniusStravinsky’s Firebird Concert Hall 3 7,171 Cabaret Decadanse Playhouse 4 1,241Stravinsky’s Petrushka Concert Hall 3 6,831 Camille Forecourt 6 1,870Sydney Symphony with Concert Hall 3 8,109Camp as a Row of Forecourt 1 324Roberta FlackTaikOz and the Sydney Concert Hall 3 7,134SpiegeltentsCaroline Nin+ The Studio 5 933Symphony Christa Hughes: Forecourt 1 328The Boys Concert Hall 1 2,298TemptationThe Colour of Time Concert Hall 1 1,983Client Earth Forum Opera Theatre 1 508The Dream of Gerontius Concert Hall 2 4,320Conversation Piece with Opera Theatre 1 432Jon Hassell and Brian EnoThe Spirit of Delight Concert Hall 2 4,640 David Sedaris Concert Hall 1 2,039Viennese Classics Concert Hall 3 7,492 Die Roten Punkte Forecourt 1 167Symphony Ms Shreya Ghoshal Live Concert Hall 1 1,852 Edward de Bono Opera Theatre 1 950Entertainers in ConcertFloating Playhouse 11 3,154The Australian Pops Absolutely British Concert Hall 2 3,619 Food Court Opera Theatre 2 1,142OrchestraGatz Playhouse 21 5,615The Austral-Korean Seoul Metropolitan Concert Hall 1 1,489Girl Who Cried Wolf* The Studio 10 1,395Culture Foundation Traditional MusicOrchestraHoly Cow The Studio 7 2,232The Harbour Katie Noonan The Studio 2 725How to Read Tea Leaves* Forecourt 2 258AgencyBeyond the Dark Side Concert Hall 1 2,026In Spitting Distance Playhouse 10 1,481Instructions for Modern The Studio 4 404united World Sydney Youth Musicale Concert Hall 3 4,550LivingConcert ToursJason & the Argonauts* Playhouse 10 2,840Visit Australia Japan Festival 2008 Concert Hall 1 1,000Jason Byrne The Studio 10 2,050World Youth Day SBS Youth Orchestra Concert Hall 1 1,200Jørn Utzon State Concert Hall 1 2,076Co-ordinationWorld Youth Day – Missa Concert Hall 1 2,681 Memorial ServiceAuthoritySolemnis Judith Lucy’s Not Getting Playhouse 26 10,281Youth Festival Forecourt 3 13,500 Any YoungerYouth Music Festival Concert Hall 1 1,800Laraaji – Laughter Flow Utzon Room 2 379XYZ Networks Max Sessions – Kasey The Studio 1 150Late Night Lounge The Studio 2 597Chambers Le Grand Cirque Concert Hall 26 45,394Max Sessions – Newton The Studio 1 150FaulknerLea DeLaria Forecourt 4 666Little Big Shots* The Studio 19 2,745TOTAL MUSIC 486 531,241 Men of Steel* The Studio 2 278PerformancesAttendance* SOH Young Audiences Program+ Balance of season in FY08# Balance of season in FY10

Presenter Production VenuePerformancesAttendancePresenter Production VenueSydney Opera House Message Sticks 2008 Film Playhouse 13 2,765 City of Sydney McDonald’s Operatic Opera Theatre 1 750cont. Festival Cultural Council Aria 2008Message Sticks 2009 Film Playhouse 9 2,771 Opera Australia Baroque Masterpieces# Opera Theatre 2 2,463FestivalBilly Budd Opera Theatre 8 8,158Message Sticks 2009Education Program*Monkeyshines: Kabaret4 Kids*Playhouse 2 195The Studio 17 4,346Otis Lee Crenshaw The Studio 6 751Pigs, Bears & Billy Goats Playhouse 23 7,609Gruff*Poetry Slam Finals The Studio 1 321Possessed+ Playhouse 6 2,230Rod Quantock Forecourt 1 148Rolf Harris Playhouse 14 5,470Sam Simmons Forecourt 1 302Cavalleria Rusticana &PagliacciPerformancesAttendanceOpera Theatre 11 11,774Don Giovanni Opera Theatre 18 22,003Goldman Sachs Tribute Opera Theatre 1 1,200ConcertLa bohème Opera Theatre 7 9,185Lady Macbeth Opera Theatre 8 7,008Lucia di Lammermoor Opera Theatre 10 12,909Madama Butterfly Opera Theatre 24 33,922My Fair Lady+ Opera Theatre 10 14,605Orlando Opera Theatre 8 7,463Special Delivery* Playhouse 24 5,500 Otello Opera Theatre 9 11,307Spontaneous Broadway# Playhouse 5 1,863 The Magic Flute Opera Theatre 18 23,932Tales of the Afterlives Opera Theatre 1 829 The Makropoulos Secret Opera Theatre 7 7,194Tete The Studio 1 310 The Pearlfishers Opera Theatre 13 17,210Teulia Postcards The Studio 3 478 Werther Opera Theatre 7 6,897The Burlesque Hour Forecourt 5 1,447 Sydney Opera House Jerry Springer – The Concert Hall 7 12,646(2008) OperaThe Burlesque Hour The Studio 17 5,279 The Australian 2008 Mathy Awards Opera Theatre 1 534(2009) Singing CompetitionThe Casio Brothers* The Studio 6 1,767 TOTAL OPERA 171 211,906The Casio Brothers & Forecourt 4 622Demolition B-Girl*The Shape of a Girl(2008)*The Shape of a Girl(2009)*The Tragical Life ofCheeseboy*The Studio 7 1,073The Studio 10 1,501The Studio 9 924Bangarra DanceTheatreCity of SydneyCultural CouncilMathinnaMcDonald’s BalletScholarship Finals 2008Primary School DanceGroupsDrama 30 10,889TheatreConcert Hall 1 864Concert Hall 1 1,300The Dirty Brothers The Studio 5 648Secondary Dance Groups Concert Hall 2 1,900The Wet Spots The Studio 2 521McDonald College An Evening of Classical Opera Theatre 1 1,297Tripod Forecourt 4 1,203 BalletVamp The Studio 12 3,172 Sydney Opera House Ballet Flamenco Sara Bara Concert Hall 4 6,878Wil Anderson – Wilosophy Playhouse 14 5,471 – SaboresWolf under the Bed* Playhouse 13 2,201 Bubble* The Studio 9 1,723Sydney Peace Sydney Peace Prize Concert Hall 1 1,778 In-I Drama 10 5,311Foundation Lecture TheatreSydney Theatre Pig Iron People Drama 54 26,000 Press Playhouse 6 1,683CompanyTheatrePush Concert Hall 4 6,525The Narcissist Drama 50 22,221TheatreRasa unmasked The Studio 3 643Travesties Drama 52 26,539Surprise*# The Studio 2 269Theatre The Australian Ballet Firebird and Other Opera Theatre 21 30,383When The Rain Stops Drama 49 24,187LegendsFalling Theatre Interplay Opera Theatre 21 25,518Tim Woods That Was the Year That Concert Hall 2 2,440 Introduction to the Ballet Opera Theatre 1 167Entertainment Was Manon Opera Theatre 22 31,516The Complete Works Playhouse 42 14,141 Nutcracker – The Story Opera Theatre 23 32,745of William Shakespeareof Clara(Abridged)Saturdays at Five – Clara’s Opera Theatre 1 302Vibe Australia The Deadly Awards 2008 Concert Hall 1 1,593StoryVisual Event Star Trek – World Concert Hall 1 1,769 Saturdays at Five – Opera Theatre 1 163Management PremiereCreative CollaborationsTOTAL THEATRE 855 337,992 Saturdays at Five – Opera Theatre 1 275Musical MasterpiecesOperaSaturdays at Five – Perfect Opera Theatre 1 273PartnersAustralian Opera Highlights of Opera 2008 Opera Theatre 1 746Auditions Committee TOTAL DANCE 165 160,624Dance* SOH Young Audiences Program+ Balance of season in FY08 SYDNEY OPERA HOUSE# Balance of season in FY10 69 ANNUAL REPORT 2008/09

Annual GivingProgramThe following are Donors to the Annual Giving Program, whose generosity raises support for Sydney Opera House’s performance,access and education initiatives. The Annual Giving Program sincerely appreciates the support of its donors since the Program’s inception in March 2007.Honour ($1,000–$4,999)Anonymous (2), Colleen & David Antaw, Christine &Maurice Atkinson, SJ Bell, Bennelong Club, Beverley & Phil Birnbaum,Jillian Broadbent AO, Emily Chang, Victoria Doidge, Richard Evans, Mr ErnestFajwul, Foxtel, Mr Matt Garrett, Diane Grady AM, Louise Hamshere, Dr Michael &Mrs Penny Hunter, Lindsay & Belinda Kelly, Ms J Kott, John & Gail Marshall of theMarshall Family Foundation, Pamela McGaw, Mr & Mrs Barry and Sally Merrett, MovieNetwork Channels, Mr & Mrs P E Oomens, Julia & Fred Pucci, Carolyn Stewart-Smith,Maria Sykes, Leonie Szabo, Evan Williams AM, Iain & Judy Wyatt, XYZnetworksAcclaim ($500–$999) Anonymous (4), Mr Charles M Abrams, Annette Adair,Ross Adamson, J Brokman, Mr Neil Burns, Catherine Gaskin Cornberg, V. Duscio,Dr & Mrs B Dutta, Penny Edwards, Suellen Enestrom, Ryissa Fogarty, MelanieMajor& Mark Gianoutsos, Monica Göbel, Mrs Inge Grant & Mr John Grant,DonorsRobert B Green, Ms Sharon Grey, Mrs Valmai Higgins, Andrew Kirton,The Balnaves Foundation, Clara Varga Foundation,In loving memory of Mdm Sim Ngor Lang & Mr Sng Boon Kui, Life’sThe Greatorex Foundation, Peter James Hall, The Keir Foundation,Opportunities, Ruth & Robert Magid, Mr & Mrs A B Maple-Brown,Mr Joseph Skrzynski AO, Mr Fred Street AM & Mrs Dorothy StreetMorris Margolis, Mr Peter Mason AM, Nicole & Seán McPeake,Founding Donor The Wolanski FamilyMs Joan Millard, Ms Masha Moss, Brian Nebenzahl OAM RFD &Chairman’s Leadership Circle ($10,000+) Anonymous (1), Mr Robert Albert AO Jocelyn Nebenzahl, Mr Kevin Nol, Edward Nuffield, Amelia Pryke,& Mrs Libby Albert, Mrs Betty Amsden OAM, Beirne Trading Pty Ltd, Sanchia & Tom Romanowski, Mrs Gisela Schmid, Susan Scobie, VivienneGuillaume Brahimi, CAFAmerica – David Fite & Danita Lowes, Dr Peter C Sharpe, Dr. Evan B. Siegel, Jerome & Ludmila Stern, LydiaFarrell AM, Andrew Kaldor & Renata Kaldor AO, John Kaldor AM & Naomi & Norman Taylor, Hon Philip A Twigg QC, Julia &Milgrom Kaldor, Ladies Committee of the Sydney Opera House AppealRaymond Vidor, Dr A Waldman, Ronald Walledge,Fund, Colleen & Robert Leece, Andrew & Paula Liveris, Mrs RosMs Joanne Watkins, Mr Richard Willis, Guy Wilson &Packer AO, Rebel Penfold-Russell OAM, Mr John B Reid AO &Jennifer Green, Christopher WyntonMrs Lynn Rainbow Reid, Maurice & Heilan Renshaw,Ovation ($250–$499) Anonymous (8), GrahamCount Charles Said-Vassallo, Sidewalk, Mr Tim &Bell, Minnie Kent Biggs, R. Brunton-Simmonds,Mrs Sally Sims, Ms Margaret Sixel & Dr GeorgeMrs Geraldine E Bull, Marianne Cochrane, AnneMiller AO, Sandra & Barry Smorgon, RalphCummins, Mr L Dillon, Mrs Elizabeth Donati,& Helen Waters, Peter Weiss AM, KimMr Andrew J Fisher, Barbara & JohnWilliams AMGeismar, Ms Sally Glover, Jennifer Gross,Tribute ($5,000–$9,999)Sophia Guest, Helping a great cause,Chris & Gina Grubb,Danielle Hoareau, Mrs Margaret Hunt,The Martin Family inSusan Ingram, Susie & Geoff Israel,memory of LloydLilla Ito, Margaret Keogh, A AMartin AM,Lohan, Marika & Peter Lorschy,VictoriaMr Peter Lowry OAM &TaylorDr Carolyn Lowry OAM,Mrs Katrina Makhoul, CarinaMartin, Mr Otto &Mrs Agnes Matrai,Dr Prashanth Mayur,Mrs RoslynMcDonald, JennyMcKee,

Miss ArnawazMerchant, Amanda Meyerowitz,Karen Michael, Mrs Rae Morris, SuzanJacinta Moses, Roy Neumann, Michael Page, SimonPaterson, Sharonne Phillips, D E Pidd, Keri Pratt, RaviRavinder, Mrs Sandra Robberds, Seed Production P/L, Allan Shaw,Monty Silver, Mr Charles Solomon, Mrs Wenancja Strugarek, CatherineWale, Glenda Westley, Dr Anna ZieglerDebut ($50–$249) Anonymous (63), Joanne Bacic, Jan Bakker, Mr & Mrs Gerardand Anita Bakkers, Colin & Gaye Barbour, Colin Baskerville, Claus Bayer, Dr Victor Bear& Mrs Adele Bear, Alice Beauchamp, J & L Benaud, Jane Beniac, Mr Nathan Bennett,Mrs Audrey Bevan, Mr Kevin Binder, Mrs Barbara A Bird, Mrs J Bishop, Jack Bloustein, JulieBonello, Margaret Borgenicht, Assaad Bousejean, Margaret Bradbery, Ms Janet Broady, KylieBryden-Smith & Craig Beattie, Mrs M Burbage, Mary Burchell, Margaret Burke, Dr Herma Buttner& Dr Gordon Kearley, Ms Maggie Cheah, Joanna Chin & Family, John Clements, Ms Sharon Clynick,Mr & Mrs V. H. Cohen, Mrs Cynthia Coleman, Robin Comino, P M Conder, Stan Conner, S. C. Cooper, MrsKim Crawford, H. Cromer, Linda Curnow, Mrs Jennifer Donohue, Lynne Dunn, Maadi Einfeld, Mrs ElizabethErkelens, Marilyn Escosa, Ms Joan Fawcett, Lisa Fazzolari, Ms Lorraine Fewster, Dr Jeniffer Fiore-Chapman, Robert J.Fitzell, Patricia Fleming, Fiona Floyd, June Folwell, Eric Gale, Ali Garcia Mendez, Beverley Garlick, Margaret Gibbons, MrsJ L Gibson, Ms Brenda Goldschmidt, On behalf of H. G. Goldstein, Ms Theresa Green, Pauline Griffin AM, Priscilla Guest, B Guthrie, Victor Guy, Roy Haberley, Robyn M Haines, Dr John Hanscomb, Ms Ardyce Harris, Donald Harris, Mrs Siss Hartnett, Mr Brian Harvey, Barbara Hassan, Margaret Hawke, Audrey Hawkins, Robina Healey, Diana Heath, Dr Peter Hendry, Gwen Higgins, Dr Anne Hollingworth, Elizabeth Hopson, Rebekah Hunter, Ron Inch, Avril Jeans, David Jeremy, Alan Jones, Mrs Evelyne Jones, Ms Kathleen Jones, Helen Ketelbey, Dr Dasia & Mr Bernard Kezelman, Nicole Khedoori, Pei Khoo, Kaliopi Korras, Mr Theo Kotrotsios, Tania Kraus, Ms Pauline Lakefield, Camille Laloux, Philip Lambe, Rita Langley with love from BGOTF, SarahLawrence, Mrs Jennifer R Lean-Fore, Patricia Leckie, Teresa Lee, Frances M. Lett, Dianne & Dorothy Lewis, Kieran Lewis, Glenn &Julia Liffen, Elisabeth M. Lobregat, Robert Longstaff, Ms Joanne Lucas, Mrs Joan Lui, John & Gay Lysenko, Lisa Mach, Wailyn Mar,Mr Damien Marquez, Robert Max, Mrs Ilana McCorquodale, Mr Andrew McDonald, Matthew McGuinness, Tom & Beryl McKay,Mr & Mrs J McKibbin, Mrs Barbara McNulty OBE, Medium Density Pty Ltd, Dr Graeme Mendelsohn, Mrs Frances Milat, Ms Patricia EMiller, Tony Mitevski, Gordon Mogg, Beryl Molloy, Mrs Elizabeth Montgomery, Mrs Rose Morgante, Mr Elston Murphy, Mr Ron &Mrs Margaret Murray, Mr Kristen John Myers, Ms Giovanna Ng, Lorraine Nicholls, W Nicholls, Ms Robyn Noble, Susan J Nocom, Ms JayneNorrie, Mrs Ogaytar, Ms Carol Oliver, Anne Owens, Mary Pace, Alice Jean Palmer, Cecile Paris, S Pearce, Ms Helen Petersen, Mr Evan Petrelis,Mrs Narelle Phipps, Mrs Di Piggott, Ms Norma Plummer, Rosalie Pratt AM, Project Sevin, Elizabeth Pryce, Dr Alex Radchik, Mrs Ada M Randell,Mrs Patricia Reid, Suzie Reid, Rosario Remedios, Ms Marlyn Robertson, Bertram Rosenberg, Suzie Rosenberg, Ms Barbara Roux, Mr Gordon Rowe,Mrs R. Rutherford, Mr Peter & Mrs Edith Ryba, Elizabeth Sakker, Albert Salinas, Ambra Sancin, Mrs Su-Lin Scheidegger, Peter Schettino,Dr Anne Schlebaum, Lillian & Ralph Schubert, Ms Celia Semit, Linda Shaw, Shirley & Robert Silverton, Deborah Singerman, Smylie Family,Mrs Pam Snedden, Paul & Lindsay Soady, Richard Spencer & Emily Booker, Catherine Stanton, Ms Ju Ju Sundin, Jiawen Tan,Mrs Gillian Thompson, Christine Thomson, Mr R & Mrs C Thornton, Derek To, C M Toy, Mrs Annalize Troost, Deborah Tseng,Katrina Hsiu-Mei Tseng, Anne Udy, Mr & Mrs S. C. Underhill, Mrs Anne Utteridge, Mrs Hermi M Vari, George & MaryanneVella, Sarah Vella, S Vernon, Diane Wachman, Lois Walker, Mr Christopher Waterhouse, Mark Watt, Susan E Way, Anne-MarieWhelan, Ms Margaret Whiting, George M Wilkins, Sheena Williams, A Wilmers & R Pal, Mr Malcolm T Wilson, Ms ValWood, Mrs Rita Woods, Ms Carolyn Wright, Ms Camille Wu, Rebecca Wyles, Olivia Wynne, Frances Young,Zajaczkowski FamilyPreview ($2–$49) Anonymous (207), David Arcidiacono, Steven Baillie, Andrew & Charmayne Banks, MikeBarry, Pat Bolger, Ms G. L. Borger, Mrs Elizabeth Byron-McAlister, Angelo & Mary Candalepas, David &Robin Castle, Edward & Jessie Chin, Mrs Wendy Croft, Kenneth Davis, Loyce Davis, Eva Dayaa, NancyDickman, Dr & Mrs Frank Doughty, Mrs Christine N Drake-Brockman, Raymond Dudgeon, KenEvans, Leonie Freed, Dr Marion Freedman-Lobel, Mr Jia Ge, Ms Monique Gooch, Ethel A.Gregg, Jennifer Hoare, Peter Jenkin, Kate Eliasson Artist Management, Leeann, LilibethLegaspi, Angela Lianos, Steven Lianos, Theo Lianos, Ross Little, Mrs MarilynMcMullen, Diane McQueen JP, Laura Michael, Ms Patricia D Moore,Ms Elaine Newby, Dr Nic, Mr Gavin Nuss, Tatham Oddie, Pat & KatieSydney Trip, Catherine Philps, Mr John Polgar, Dr Marilyn Rob,Mr Alan Rosendale, Mrs Elizabeth A Russell, Bill Sattin,Southworths, Mr Michael Sperber, Dr M. D. Tindale, Julia& Christine Torresan, Dick & An van Leer-de Boer,Aaron Vella, Brian Vern-Barnett, Count vonBretzenheim H.S.H. Lytton PatrickBrown, Terence Watson, Ms PWeise, Dr George & MartaWeyland, YukariCurrent at30 June2009SYDNEY OPERA HOUSE71 ANNUAL REPORT 2008/09

Annual ReportProject TeamCarolyn Stewart-Smith, Rachel Hawke,Rebecca Taylor, David Gallen andChris Wynton.Doppio – Design and LayoutPhotography CreditsJack Atley, Greg Barrett, John Baucher,Marcus Clinton, Adam Craven, MaxDupain, Anthony Geernaert, JulianKingma, Mel Koutchavlis, David Min,Peter Morris, Greg Newington, JimRolon, Marianne Rosenstiehl, JoanneSaad, Justin Smith.Small Image ReferencesPage Performance12/13 Lee ‘Scratch’ Perry, Geoffrey Gurrumul Yungupingu, In-I, Brian Eno14/15 Taikoz, James Morrison, Patti Smith, Angelique Kidjo16/17 Hoipolloi’s Floating, The Alchemist, The Narcissist, Travesties, The Pig Iron People18/19 Madama Butterfly, Don Giovanni, Billy Budd, Jerry Springer: The Opera20/21 The Nutcracker, Push, Sara Baras, Interplay, Rasa unmasked, Mathinna22/23 Music for Tutus, Pigs, Bears & Billy Goats Gruff, Shape of a Girl, Little Big Shots24/25 Chinese language guided tour, Enjoying drinks at theatre bars26/27 Western Foyers refurbishment, Greening the House initiatives34/35 Indigenous Traineeship Program graduates, Scenery dockTrade MarksSydney Opera House Trust is the owner of the following registered trade marks.SYDNEY OPERA HOUSE KIDS AT THE HOUSE HOUSE:EDLIVE PERFORMANCEEVERY DAYMESSAGE STICKS

Contact InformationHours of OperationSydney Opera House is open daily exceptfor Christmas Day and Good Friday.Box OfficeThe Main Box Office, located in theBox Office Foyer, Level 1 (upper Level)of Sydney Opera House is open from9.00am to 8.30pm Monday to Saturdayand Sundays from two hours prior toperformances scheduled for the OperaTheatre and Concert Hall. The WesternFoyer Box Office, located at ground level,is open in accordance with performancescheduling for events staged in thePlayhouse, Drama Theatre and The Studio.Telephone: 61 2 9250 7777Facsimile: 61 2 9251 3943Email: bookings@sydneyoperahouse.comMail: Box Office, Sydney Opera House,PO Box R239, Royal Exchange Sydney,NSW 1225 AustraliaBookings for performances and eventscan also be made online atsydneyoperahouse.comCall CentreOpen from 9.00am to 8.30pmMonday to Saturday and 10:00amto 6:00pm Sundays.Telephone: 61 2 9250 7777Facsimile: 61 2 9241 6410Web: sydneyoperahouse.comEmail: bookings@sydneyoperahouse.comMail: Call Centre, Sydney Opera House,PO Box R239, Royal Exchange Sydney,NSW 1225 AustraliaGuided ToursOur one hour ‘The Essential Tour’operates between 9.00am and 5.00pm daily(except Christmas Day and Good Friday).Tours can be purchased from the Toursdesk located in the main Box Office Foyer.Telephone: 61 2 9250 7250Facsimile: 61 2 9250 7096Web: sydneyoperahouse.comEmail: tourism@sydneyoperahouse.comCar ParkingWilson Parking operates a car park atSydney Opera House which is open from6.30am to 1.00am, seven days a week.Entry to the car park is via Sydney OperaHouse end of Macquarie Street, Sydney.Telephone: 1800 PARKING(1800 727 5464)National Relay ServiceFree service for customers who are deaf orwho have a hearing impairment.TTY users phone 13 36 77 then ask for:9250 7777 to book a performance9250 7250 to book an access tour9250 7185 for accessible parkingSpeak and Listen (speech-to-speech relay)users phone 1300 555 727 then ask for:9250 7777 to book a performance9250 7250 to book an access tour9250 7185 for accessible parkingInternet relay users connect to the NRS(www.relayservice.com.au) and then ask for:9250 7777 to book a performance9250 7250 to book an access tour9250 7185 for accessible parkingAdministrationAdministration hours are from 9.00am to5.00pm weekdays.Telephone: 61 2 9250 7111Facsimile: 61 2 9241 6410Email: infodesk@sydneyoperahouse.comAddress: Sydney Opera House, BennelongPoint, Sydney NSW Australia 2000Postal Address: Sydney Opera House, GPOBox 4274, Sydney NSW Australia 2001Web address: sydneyoperahouse.comor soh.nsw.gov.auSYDNEY OPERA HOUSE73 ANNUAL REPORT 2008/09

IndexAccess 5,7,9,11,25,27,55,57,59,72Accessibility and Western Foyers Project5,7,11,27,29,36,57Access Strategic Plan 5,11,29,57Account payment performance 54Acoustics 29Adventures 11,13,17,64Aims 2,9,11Annual giving 11,29,51,52,70-71APN Outdoor IBCAsian language tours 8,9,11,24,25,56,57,59,60,72Audio description 57Audits 27,29,38,64,65Australian Radio Network (ARN) IBCAustralasian Reporting Award 11Avant Card IBCBackstage tour 8,7,64Balnaves Foundation 11,24Baulderstone IBCBell Shakespeare Company 16,33,68Blue Star Print Group IBCBox office 17,27,55,56,57,58,61,72Box office sales 12,56Brand 9,11,25,33,35,55,61Budget 29,35,53,65Building Committee 29,31,33Building condition indices 11Building works 8,11,26,27,29,62Café Sydney IBCCar park 12,56,72,IBCCEO message 6Chairman’s message 4Charter 29,51,64,65Code of conduct 11,29,35,54,59,61,65Cleanevent IBCColonnade 5,7,8Communication 27,35,55,59,61,65Commercial revenue sources 37Commissions program 10,11Committees 29Community support 3,13,24,35Concert Hall7,8,11,13,17,21,23,27,29,36,57,58,60,66-69Consultants 38,53,54Conservation Council 29,30,31,33,54,61Conservation plan 8,11,61Consumer response 9,11,24,25,54,55,56Contact information 73Corporate social responsibility 11Courtesy Shuttle Bus 55Credit card use 54,55Customer experience 5,7,9,11,24,25,54,55,57Customer research 24,25,56Customer service 24,25,35,55,56,60Darrell Lea IBCD&b audiotechnik IBCDance 7,11,13,20,21,63,66,67Definitions 74Disability access 11,54,57Disability Action Plan 54,57Drama Theatre 16,17,21,27,57,66,69,72Education 5,7,9,22,23,25,31,51,59,63Electronic service delivery 54,58,59,64Employee survey 7,35,58Energy management 11,54,58Enterprise agreement 11,65Environment 5,7,11,25,27,29,44,55,58,59,61,65Equal employment opportunity 35,44,54,58,59Ethnic Affairs 54Executive management 5,7,29,32,33,54,56,59,61Exhibitions 13,25,36,61FBI 94.5FM IBCFestival of Dangerous Ideas 13Financial overview 5,7,11,29,36,37Financial statements 36,38,54Food and beverage 5,79,11,13,23,27,29,58,66,67,68,69Forecourt 5,9,11,12,13,23,27,29,58,66,67,69Four Seasons Hotel IBCFoxtel 31,IBCFreedom of information 54,60,61Grants 37,40,41,42,46,53Goals 5,7,9,54,57,61Governance 11,27,28,29,33,63,65Greatorex Foundation 22Guarantee of service 55Guided tours 8,9,11,24,25,56,57,58,68,72Guillaume at Bennelong 70Hastie Services IBCHelpmann Awards 13Hemispheres 14Heritage management 9,29,33,54,61Highlights 2-3High Tea 64Host Team 55,57House:Ed 23,62,64,72Human resources 11,33,34,35,58,59Hungerford Hill IBCIndigenous 21,30,35,54,59,62,64Information technology 27,33,35,54,58,59,61,64Insurance 41,44,46,53,54,62Investment performance measure 62JC Decaux IBCJohn Holland IBCJørn Utzon State Memorial Service 5,68Key targets and priorities 11Key performance indicators 11,54Kids at the House 23,64,72Land title holdings 48,53,54Legal 33,44,54,61,62,64Lighting 13,23,29,58,62London Philharmonic Orchestra 13Luminous 13,15,24,25,27,36,58,59,64Major events 5,13Major works 5,11,13,26,27,37,42,46-48,55,60,64Mallesons Stephen Jaques IBCMarket research 25,58Marketing 25,29,31,33,37,53,56Message Sticks 11,59,62,64,67Music 11,13,14,15,19,21,23,31,33,59,60,62,64,66-68National Australia Bank (NAB) IBCNational Heritage Listing 8National Service of Mourning 5,13Neumann Berlin IBCNSC Enterprise Solutions IBCObjectives 10,11,29Occupational health and safety 11,27,31,35,54,61,63Online ticketing 13Opera 13,18,19,21,68Opera Australia 8,13,15,19,62,68Opera Point Events 29,64Opera Theatre 5,7,27,29,66-69Organisation structure 28Overseas travel 63-64People & Culture 11,34,35,58,59Performance list 66-69Performance trends 12Performing arts 5,7,13,23,29,31,33,35,57Performance Planning Review Scheme 35,59Peters IBCPhilanthropy 29,54,61,64Philanthropy Committee 29,31,33,54,65Photography 72Place of Public Entertainment (POPE) 27,29, 54,64Playhouse 9,27,57,66-69Presenter survey 57Privacy management 54,64Publications 54,64Public program 5,7,11,13Recording Studio 57Recycling 27,65Registered training organisation 35,59Research 11,25,29Resident companies 5,7,9,10,13,15,35,36,55,57,61Retail 5,7,11,24,25,33,37,46,52,53,56Reward and recognition 35Rider Levett Bucknell IBCRisk management 29,33,45,50,54Risk Management Committee 29,30,31,33SBS IBCSecurity 29,35Senior executive service 54,65Sennheiser IBCSignwave Newtown IBCSony IBCSources of funding 5,7,27,36,37Spring Dance 11,13Sponsorship 36,46,49,53,61Staff 5,7,11,27,35Star Trek 13,69State heritage listing 8Strategic plan 11,25,27,29,33Sydney Festival 31Sydney Opera House Appeal Fund 51Sydney Opera House By-law 2005 62Sydney Opera House Trust Act 1961 28,61,62Sydney Opera House presentations5,7,14,15,16,17,19,21,66-69Sydney’s Child IBCSydney Symphony 5,7,9,13,15,31,33,68Sydney Theatre Company 5,7,9,13,17,31,69Ten year performance trends 12Theatre 5,7,16,17,19,22,23,57,68,69The Australian Ballet 5,7,9,13,21,66The Essential Tour 5,7,9,25,73The Famous Spiegeltent 5,7,11,15,64,68The Keir Foundation 24The Studio 9,13,21,23,25,31,66-69The Sydney Morning Herald IBCTicketing 33,37,53,56,57Total asset management 29,61Tourism 5,7,11,24,25,33,36Trade marks 72Traineeships 35,59,62Training and development 11,35,59,60Trustee code of conduct 54Trustees 5,7,11,28,29,30,31unified customer support system 24,25united Group IBCUtzon Design Principles 5,9,29,61Utzon, Jørn 5,9,13,27Utzon Music Series 11,14,64,67Utzon Room 5,7,8,57,66,67Venue Improvement Programme 36Vision 9,27 Wage and salary movements 65 Waste and recycling 27,54,65Website 24,25,27,35Wilson Parking 56,73,IBCWorkers compensation 62,63Workplace giving 35World heritage listing 5,8,9,61World Youth Day 5,13Young audiences 22,23Year ahead 13Note: audited financial statements appearon pages 41 to 53.Financial information elsewhere in this reportis unaudited.Definitions:PerformancesAll performances open to the public (ticketed andnon-ticketed), film screenings, previews, large scalerehearsals with audiences. Excludes performances bySOH touring productions.EventsAll performances as outlined in definition above andalso includes functions, ceremonies, conferences,exhibitions, film shoots, lectures, presentations, smallscale rehearsals with audiences, sporting events,secondary performances, speech days, workshops,launches and media calls. Excludes performances bySOH touring productions.

SponsorsMajor PartnersSydney Opera House would like toacknowledge the valuable support of ourCorporate Partners, without whom muchof our work would not be possible.Jørnutzo1918n–2008PartnersSponsors

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