Annual Report 2011 - Sydney Opera House

imagination lives insidesydney opera house 2010/11Vivid Live 2011 was a true spectacle of creative genius within SydneyOpera House and beyond. Courageous thoughts, ideas and experiencescame together to inspire imagination and create a relevant and vitalpart of the Australian cultural landscape. 'Imagination lives inside'promotes innovation through vivid colour theory and a unique hide andreveal exploration, which expresses not only the Sydney Opera Housebrand, but also the strength of an idea.

Sydney Opera House Presents Martha Wainwright

annual report 2010/113imagination lives insidetable of contentsThe Hon. George Souris MPMinister for the ArtsWe have the pleasure of presenting the Annual Report of the Sydney Opera Housefor the year ended 30 June 2011, for presentation to Parliament. This report has beenprepared in accordance with the provisions of the Annual Reports (Statutory Bodies)Act 1984 and the Public Audit and Finance Act 1983.Kim Williams AMChairmanRichard EvansChief Executive3 Letter to Minister4 Highlights6 Chairman’s Message8 CEO’s Message10 Vision and Goals12 Outcomes and Objectives16 Artistic Excellence20 Sydney Opera House Presents26 resident and Supported Companies32 Community Engagement and Access36 Community Outreach and Participation38 Beyond Bennelong40 Customer Service and Access42 A Vibrant and Sustainable Site46 our Precinct48 Building and Maintenance50 environmental Sustainability52 Safety and Security54 Earning Our Way58 Governance64 people and Culture66 Financial Overview70 Financial Statements96 Government Reporting116 Performance List120 Donors Acknowledgement122 Contact Information123 Site Map124 Index125 Sponsors

4sydney opera houseimagination lives insidehighlights 2010/11Attendance at performances has increased by 20% over the last 10 years.Goal 1Artistic Excellence+ 1,318,525 people attended 1,795performances, an increase of 3.6% inattendance (p.19).+ 10 productions presented at Sydney OperaHouse won Helpmann Awards (p.20).+ The most successful Vivid LIVE to datewas held with 33 performances and 59%of the 40,258 attendees being first-timepatrons to Sydney Opera House (p.20).+ Berlin Philharmonic Orchestrapresented in sold-out concerts withmaster classes for students in Gosfordand Sydney (p.20).+ Young Audiences program attendancesgrew by 46% to 88,173 people (p.23).Goal 2Community Engagement and Access+ The 10,000th child attended aperformance through the Arts Assistsubsidy program (p.36).+ Our first Reconciliation Action Plan wasdeveloped creating education, employmentand artist opportunities (p.36).+ A world-wide animation competitionwas launched as part of the GRAPHICfestival (p.38).+ Kids at the House production Saltbush –Children’s Cheering Carpet toured threevenues in Western Sydney (p.38).+ A range of new access experiencescommenced for students withdisabilities (p.40).Goal 3A Vibrant and Sustainable Site+ Opera Kitchen opened on the LowerConcourse, hosting some of Australia’smost celebrated food producers andchefs (p.46).+ Two new tourism package experienceswere launched at the Australian TourismExchange (p.46).+ Vehicle Access and Pedestrian Safetyproject commenced, with first stageworks nearing completion (p.48)+ Bronze partner status achieved inthe NSW Government SustainabilityAdvantage program (p.50).

8annual report 2010/11imagination lives insidefrom the chief executiveSydney Opera House underwent A significant organisational refresh this yearto ensure that it aligned with the long-term strategic priorities.Short-term planning around thenew business model and organisationstructure has also taken place.The organisation is now structured tobetter align activities and resourcesto deliver on the four strategic priorityareas set out below.Artistic Excellence (P.16)Bringing the best of the world’s performersto our stages for the community’senjoyment is a key goal. I am pleasedto advise that this year 10 productionspresented at Sydney Opera House wereacknowledged by receiving a HelpmannAward for distinguished artisticachievement and excellence. Sydney OperaHouse Presents won four awards andresident and supported performing artscompanies collectively won six awards.Our annual festival of contemporarymusic, Vivid LIVE, attracted local,interstate and international audiences toSydney during May and June 2011 in whatwas the most successful Vivid LIVE todate. Over 40,000 tickets were purchased,59% of which were sold to first-timepatrons to Sydney Opera House.Sydney Opera House welcomed the BerlinPhilharmonic Orchestra to Sydney for thefirst time in November 2010 as part of theWorld Orchestra Program. The programalso gave young music students inGosford and Sydney the once in a lifetimeexperience to work with some of theOrchestra’s musicians in master classes.Programming for young audiences grewthis year with 379 performances attracting88,173 people, an increase of 46%.Community Engagement and Access (p.32)A lot of work has gone into initiativesto maximise community access andensure diverse community interests arerepresented at Sydney Opera House.This year a number of community andcharitable organisations were providedwith complimentary tickets and tourexperiences. Our first ReconciliationAction Plan was developed, the Inthe House youth engagement programcommenced and the 10,000th childattended a performance through the ArtsAssist program.As part of reaching out to local, nationaland global communities a world-wideanimation competition was launchedas part of the GRAPHIC festival. TheYouTube Symphony Orchestra was verysuccessful in its second year and wepartnered with Opera Australia andCinemaLive to distribute performancerecordings to global cinema networks.The Kids at the House productionSaltbush toured to Western Sydney.We launched Insiders, the first SydneyOpera House membership program,providing discounts and priority service;introduced sign-language tours; andconducted the first audio-description ofan opera in NSW in collaboration withOpera Australia and Vision Australia.A Vibrant and Sustainable Site (p.42)As part of our goal to build a vibrant andcompelling site we opened Opera Kitchen,a new culinary offering this year. Twonew tourism packages were also launchedto the industry providing more optionsfor our customers.This year we commenced the VehicleAccess and Pedestrian Safety projectwhich will remove some 1,100 weeklyheavy truck movements from publicareas, replaced four escalators deliveringimproved reliability and installed a newsound system in the Drama Theatre.

9I am pleased to report that we haveimplemented a number of strategiesto reduce Sydney Opera House’senvironmental impact and lead the way instrengthening environmental responsibilityin the performing arts. We achievedBronze Partner status in the NSWGovernment’s Sustainability Advantageprogram and a new Sustainable EventsProject Manager role was created.Achieving the highest possible standardsof workplace health and safety foreveryone that works at or visits theSydney Opera House is a priority.An online hazard and incident reportingsystem was implemented and wecollaborated with Opera Australia toenhance safe work practices on and off thestage. A new Business Continuity Managerwas appointed to strengthen emergencyand disaster recovery strategy.Our financial management systemwas improved this year with theimplementation of a new reportingdashboard providing key financial andnon-financial measures to monitororganisational performance. We delivereda strong general operating profit of $3.2mthrough cost control, increased activitylevels and deferral of some projects. A newE-procurement system was launched andintegrated with accounting systems.‘The year has been busyand rewarding andwe have made strongprogress in the fourstrategic priority areas.’Earning Our Way (p.54)The Trust and its sub committees arevaluable in providing independent reviewand oversight of key organisationalinitiatives and risks. The Trust endorsedthe 2010/11 business plan and monitoredthe implementation of the plan objectives.The Audit and Risk Committee workedwith management to strengthen reportingin the key areas of financial and eventrisk, as well as Occupational Health andSafety. The Building Committee supportedmanagement to deliver a highly complexbuilding project and maintenance programon time and on budget.Valuing and developing staff andproviding a positive working environmentis a key focus. Secure remote systemaccess improvements were implementedfor staff and a new three-yearEnterprise Agreement was negotiated,designed to deliver a series of reforms toimprove business efficiency and delivermore flexibility in meeting customerrequirements. National and industryrecognised qualifications were awardedto 11 staff.RICHARD EVANS, CHIEF EXECUTIVE

10sydney opera houseimagination lives insidevision and goalsvision To continue the legacy of Utzon’screative genius by creating, producingand presenting the most acclaimed,imaginative and engaging performing artsexperiences from Australia and around theworld; onsite, offsite and online. As thecreative and cultural flagship of Australia,and as host for visitors from Australiaand around the world, we welcome, engageand inspire through a range of compellingperforming arts and visitor experiences.We strive to take people on a journey fromthe ordinary to the extraordinary, whoeverand wherever they are.goalsArtistic Excellence > Produce and presentimaginative and engaging performing artsevents from Australia and aroundthe world (p.16).Community Engagement and Access >Sydney Opera House belongs to everyoneand all communities have access toexperiences (p.32).A Vibrant and Sustainable Site >Intensifying customer engagement andensuring progress works in harmony withheritage values (p.42).Earning Our Way > Remain relevant,contemporary and leverage our position asa critical tourism and cultural asset (p.66).Staff engagement and empowerment (p.64).Who We Are Sydney Opera House is a globalicon, the most internationally recognisedsymbol of Australia and one of the greatbuildings of the world.We are one of the world’s busiestperforming arts centres, with sevenprimary performance venues in use nearlyevery day of the year. In 2010/11, 1,795live performances were enjoyed by over1.3 million people.Sydney Opera House is a core part of thenational cultural fabric and an importantpiece of tourism infrastructure. Morethan 8.2 million people from Australiaand around the world visit Sydney OperaHouse each year and some 300,000 peopletake part in guided tours. A 2008 report tothe Commonwealth Government (EconomicActivity of Australia's World HeritageAreas) estimated Sydney Opera Housecontributes $758.4m in direct and indirecthousehold income and 12,165 direct andindirect jobs to the Commonwealth.We are also a community symbol thatunites Australians from all geographic,cultural and socio-economic backgrounds.Nationwide research has shown that95% of Australians, wherever they live,see Sydney Opera House as a national iconand a source of national pride.We are a public trading enterprise thatgenerates 85% of its operational fundingthrough commercial and other ventures(food and beverage, ticket sales, venuerentals and associated business, retail,tourism, and fundraising). The 15%balance of operating funding comes fromthe NSW State Government Endowment,which also funds the maintenance of theSydney Opera House building.In July 2007 Sydney Opera Housewas inscribed on the World Heritagelist by UNESCO as a 'masterpiece ofhuman creative genius'. Importantly, ourcommitment to leadership in performanceand creativity goes hand in hand withour responsibility to look after thisgreat building – to uphold its beautyand integrity but also to maintain itas a living, working space.We have a responsibility to residentand supported companies, artists,audiences and the community toensure that this process of renewal andrejuvenation is consistent with our roleof cultural adventurer.

13StrategicGoalAchievementsOutcome(self-rated)The FutureCommunity Engagement and Access Pages 32-40Maximise communityparticipation andengagement.18,000 people attended free Open Day in 2010 (p.36). Open Day scheduled for 16 October 2011.1,200 people attended free tours for AustralianHeritage Week (p.36).In the House youth engagement programcommenced for young people transitioning fromJuvenile Justice (p.36).Reconciliation Action Plan launched (p.36).Funding campaigns to support youthaccess to performances to continue.In the House youth engagement programto continue next year.Work experience and apprenticeshipprograms will be developed in line withthe Reconciliation Action Plan.Broaden reach andparticipation for audiencesbeyond Bennelong.YouTube Symphony Orchestra streamed 33 milliontimes world-wide (p.38).Opera Australia performances distributed to cinemanetworks through CinemaLive (p.38).Saltbush – Children’s Cheering Carpet tour toWestern Sydney, with six performances for 667people (p.38).Online presence will continue to growthrough new digital content.Development of global distributionnetworks and partnerships.Cultural Hubs pilot program to bringmore presentations to regional andrural NSW.Uphold customer serviceexcellence and enhanceaccess to facilities andprograms.Achieved 83% overall satisfaction for online customersatisfaction survey (target was 85%) (p.101).First program in Sydney of audio-described OperaAustralia performances (p.40).85% overall satisfaction set as a targetfor next year.Continue to implement accessimprovements in line with the AccessStrategic Plan 2009/12.Sign-language (Auslan) tours introduced (p.102). Development of Access Strategic Plan2012/14.A Vibrant and Sustainable Site Pages 42-52Range of accessible performances and experiences foryoung people with a disability commenced (p.40).Accessible performance experiencesto continue.Build a vibrant precinctwith compelling onsiteexperiences.Opera Kitchen opened on the Lower Concourse (p.46).GRAPHIC and Vivid LIVE Festival bars (p.46).Retail offering to expand and Box OfficeStore refurbished.Kids Tour launched in partnership withTwo new tourism package experiences launched (p.46). House:Ed.Tour visitors totalled 292,148 (target was302,000) (p.46). Maintain tour visitors at 292,000.Implement key buildingdevelopment projects.Construction for Vehicle Access and Pedestrian Safetyproject commenced (p.48).Continue Vehicle Access and PedestrianSafety project.Design and tendering for Podium Waterproofingproject completed (p.48).Commence Podium Waterproofing project.Continue to work to secure funding forprojects to ensure the longevity andaccessibility of the building and site.Undertake high prioritymaintenance.33 major maintenance projects were delivered thisyear within expenditure targets of $8.5m (p.48).High priority and safety maintenanceprojects will continue to ensure thesafety and preservation of the building.Building Condition Indices achieved 84% (target of80% exceeded) (p.45).Achieve 80% for Building ConditionIndices.Stage 2 of the fire hydrant and hose reel upgrade 80%complete (p.105).Completion of Stage 2 of the fire hydrantand hose reel upgrade.Refurbishment of Lower Concourse retail and food andbeverage space (p.48).Four Lower Concourse escalators replaced and newDrama Theatre Sound System installed (p.48).High priority and safety maintenanceprojects will continue to ensure thesafety and preservation of the building.KEY: Completed Partial completion Not completed

14StrategicGoalAchievementsOutcome(self-rated)The FutureA Vibrant and Sustainable SitePages 42-52 (cont...)Maintain the heritageand architectural valuesof the site.Conservation Management Plan 4th Edition preparedfor public consultation (it was to be published) (p.48).Conservation Management Plan published.Reduce environmentalimpact for a sustainablesite and operations.Bronze partner status in NSW GovernmentSustainability Advantage program achieved (p.50).Electronic waste recycling stream introduced (p.50).Environmental Sustainability – targets for electricity,waste and water met (water not met) (p.51).Continue to implement initiativesin line with the EnvironmentalSustainability Plan.Sustainable event management system.Improvements to water metering andmonitoring assessed and implemented.Manage safety and securityrisks across the site.New height safety installations and equipmentfor Opera Theatre and Drama Theatre (p.52).High risk activities register completed.Online hazard and incident reporting systemimplemented (p.52).Continuation of initiatives to addressmanual handling and work at height risks.Range of new risk management, reporting andinvestigation procedures implemented (p.52).Internal audit against NSW GovernmentOH&S and Injury Management Standards.Dedicated Business Continuity Managerappointed (p.52).Earning Our Way Pages 54-95Good governance andreporting to supportdecision-making andpositive business outcomes.Eminent Architects Panel established to provideexpert advice on architecture or design for buildingdevelopment (p.59).Gold Australasian Reporting Award forAnnual Report achieved.Training in board preparation andpresentations for managers.Achieve Gold Award and strengthenreporting on strategic and operationalchallenges.Build organisationalcapability through staffengagement, training anddevelopment.National and industry recognised qualificationsawarded to 11 staff (p.64).Training and coaching programs delivered to 886participants (p.65).Marker Business Excellence Project surveyand staff forums to be conducted in 2012.Training and development programsto continue in line with staff andbusiness needs.Recognise and reward staff. Two staff presented with CEO Award for OutstandingService (p.64).Online performance review system continued (p.64).To continue next year.Enhanced culture of safetyawareness.Safety-related training provided for 116 staff (p.64). Safety training needs analysis.Safety Week held with focus on workplace safetyinspections and safety in the theatre environment (p.64).Initiatives to educate staff and enhancesafety awareness to continue next year.Staff and business needsaligned through strategichuman resource policiesand plans.New Enterprise Agreement agreed and commenced(p.64).Eight staff related policies developed or reviewedand implemented.Code of Conduct updated andcommunicated.Continued review and development of keypolicies relating to staff and employment.Maximise Contribution. Food and beverage contribution growth of 22.7%(target 20%) (p.66).Tourism contribution decrease of 5.1% (target4% growth). Target increase of 19% for 2011/12. Target increase of 1.5% for 2011/12.Cost managed through restructuring benefits, sitecosts and other administration and operationalsavings (p.66).Operating cash reserve was maintained abovethe target of $5m.Continue to target and deliver ongoingbusiness improvements to effectivelymanage cost base.Operating cash reserve maintainedabove $5m.KEY: Completed Partial completion Not completed

ARIA Awards15

17“The Opera Houseis vital and an everrelevant plATform for art.I’ve seen performancesTHAT have broken my mindand blown my heart.Jessica freeman, housemate

10 year performance trendsyear perfs audiences capacity10/11 1,795 1,318,525 80%09/10 1,679 1,272,097 82%08/09 1,677 1,241,763 83%07/08 1,661 1,269,996 83%06/07 1,595 1,212,270 85%05/06 1,558 1,129,879 83%04/05 1,543 1,134,881 81%03/04 1,653 1,145,789 80%02/03 1,730 1,252,846 81%01/02 1,563 1,101,320 83%average 1,645 1,207,937 82%Sydney Opera House Presents Cat Power

20artistic excellenceimagination lives insidesydney opera house presentsOur programming now represents some 50% of all events, guided by a teamof leaders across five key areas: Music, Theatre and Dance, ContemporaryCulture, Public Programs, and Education and Young Audiences.Music Program >48 presentations, 69 performances,96,162 audiencesSydney Opera House welcomed the BerlinPhilharmonic Orchestra to Sydney forthe first time in November 2010 as partof the World Orchestra Program. Led byArtistic Director and Chief Conductor SirSimon Rattle, the orchestra presentedfour sold-out concerts featuring Haydn,Brahms, Mahler, Rachmaninov and Bergto an audience of 10,469. The 12 cellistsof the Orchestra made their Sydney debutpresenting a specially commissioned workby Australian composer Brett Dean in oneconcert for 2,139 people. Performanceswere widely acclaimed by critics andaudiences, achieving Helpmann Awardsfor Best Individual Classical Performanceand Best Symphony Orchestra Concert.The Orchestra also participated in theinaugural World Orchestra Educationprogram (p.25).The colour and energy of Vivid LIVEbrought local and international audiencesto Sydney in May and June 2011 in themost popular festival yet. Over 40,000tickets were purchased, 59% of whichwere sold to first-time patrons to SydneyOpera House and 4,500 to interstateor international visitors. Curated byStephen Pavlovic, founder of the hugelysuccessful record label Modular People,an exciting line up of artists appearedin over 33 performances, includingjazz icon Sonny Rollins, dynamic newtalent Bat for Lashes and kids, showYo Gabba Gabba! Legendary rock bandThe Cure presented tracks from theirfirst three albums in two unforgettableperformances for 4,214 people, whilespace rock outfit Spiritualized captivatedaudiences on opening night performingwith a gospel choir and orchestra. Withclub nights, a daily radio show andaudio-visual performances adding to themix of stand-out acts, Vivid LIVE was amultidimensional festival that appealedto audiences across generations.Theatre and Dance >18 presentations, 192 performances,113,594 audiencesHaving taken Europe by storm, Swissperformance duo Zimmermann & de Perrotbrought in their latest production, GAFFAFF to Sydney Opera House in October2010. Combining music, dance and circusskills this humorous and inventiveshow played to 1,302 people over sixperformances. Commissioned by SydneyOpera House, Barbican London and WexnerCenter for the Arts USA, Panic combinedmask-work and puppetry in an explorationof the god of nature Pan and the idea ofpanic. Created and performed by UK’sImprobable Theatre, seven performanceswere presented to an audience of 1,268.An all-Australian production of theinternationally acclaimed Love, Loss andWhat I Wore was presented throughoutsummer 2011. An audience of 19,104attended 54 performances. Le Grand Cirquereturned to the Concert Hall for the thirdtime in January 2011 with Adrenaline.This spectacle of thrilling acts, comedyand physical agility featured a cast ofextreme athletes from around the world.19 performances delighted an audienceof 34,842.In July 2010, one of the UK’s mostexciting new dance ensembles HofeshShechter Dance Company presented theirnew work Political Mother. This powerfuland intensely physical work featured10 dancers, live drummers and guitaristsin five shows for an audience of 1,926.Cuban dance spectacular Havana Rakatantook over the Opera Theatre in June 2011with a sizzling celebration of Cubandance. 14 performances were enjoyedby 14,354 people.

23The second annual Spring Dance festivalwas held in September 2010, featuringnine diverse productions and the returnof online dance competition MyMutation.Events onsite included tap dance masterSavion Glover in Bare Soundz, internetsensations the Chooky Dancers withWrong Skin, and festival centrepieceSutra, performed by 17 monks fromthe Shaolin Temple. Narelle Benjamin’sHelpmann Award winning In Glasspremiered to a sold-out audience of 1,230over six performances, while the Forecourtfeatured free films curated by TheAustralian Ballet’s Artistic Director, DavidMcAllister, attracted over 2,000 people.Contemporary Culture >41 presentations, 160 performances,54,015 audiencesThe inaugural GRAPHIC festival washeld in August 2010, celebrating theimagination and ideas of visionary creatorsin the fields of graphic storytelling,comics, animation and illustration. Thefestival featured specially commissionedproductions, musical responses to stories,animation and illustration, interviews andpanel discussions, as well as an onlineanimation competition. 8,760 peopleattended one of the 13 events onsite andthe online competition attracted 77 entriesfrom 13 countries.In January 2011, two cabaret circus eventspresented very different performancesin the Studio and Drama Theatre. Theburlesque of Briefs combined feats ofphysical prowess with humour andmischief for an audience of 2,837 over10 performances. Direct from theEdinburgh Fringe Festival, Soap presenteda family-friendly and impeccably performedshow combining dance, acrobatics,hula-hoops and even opera to an audienceof 17,053 over 32 performances.Dynamic late night entertainment continuedthis year with Late Night Lounge presentingmonthly rock ’n’ roll, cabaret, comedyand variety performances. This year’sline-up included multi-platinum sellingsinger David Campbell, magician AdamMada, French chanteuse Caroline Nin andcomic Claire Hooper. Seven performancesentertained an audience of 2,258.The Screen Live series showcased cinemaand live performance in five events for2,325 people this year. The Georges MélièsProject combined recently restored silentfilms with live musical accompaniment byPhillip Johnston and a three-piece band,while Australia’s queen of boogie-woogiepiano Jan Preston provided a new score toLarry Sermon’s rarely seen 1925 versionof The Wizard of Oz. Brilliant Journeysfeatured a collection of Australian artfilms together with live performancesby contemporary noise, electronic androck musicians, and Kenji Mizoguchi’s1933 film The Water Magician combinedsilent film with Benshi, the Japanese artof storytelling in March 2011. Roundingout the series, Pina, Wim Wenders’ 3Dcinematic tribute to contemporary danceicon Pina Bausch was presented to anaudience of 1,309 followed by a Q&Awith the director.Public Programs >37 presentations, 49 performances,32,871 audiencesThe second Festival of Dangerous Ideaswas held in October 2010 in partnershipwith the St James Ethics Centre. A seriesof 25 thought-provoking events coveredthe big issues along with matters relatingto everyday life, attracting an audienceof 13,526. A host of speakers includedsocial researcher Hugh Mackay, New Yorkcolumnist Lenore Skenazy, and GeoffreyRobertson and Alan Dershowitz in akeynote debate. The festival also includeda live broadcast of ABC TV’s Q&A thatattracted 746,000 viewers and a publicspeaking competition Soapbox, which gaveeveryone the chance to have their say.Today’s leading entertainers, academicsand writers also engaged and entertainedaudiences throughout the year in separateSydney Opera House Talks events.British actor and writer Stephen Frycaptivated an audience of 5,382 over twoperformances in July 2010. This sold-outevent was also broadcast on ABC TV. NobelPrize-winning economist Joseph Stiglitztalked about the global challenges we face,screenwriter Joss Whedon spoke abouthis love of popular culture and the themesthat shape his work across media forms,environmentalist David Suzuki discussedhis life’s work and new book The Legacy,and author Sir Terry Pratchett entertained2,700 people with stories from his worldof comic fantasy fiction.The 12th Message Sticks Indigenous FilmFestival was held at Sydney Opera Housefrom 12–15 May 2011 featuring film, livemusic, performance and discussion. Filmsand documentaries from Australia andaround the world were screened for anaudience of 3,031 and included screeningsfor schools as part of the House:Edprogram. Six Australian premieres werepresented, including Andrew OkpeahaMacLean’s On the Ice and Grab by NativeAmerican director Billy Luther, whileBec Cole’s debut feature Here I Am madeits Sydney premiere on opening night.A film pitching session was also heldfor filmmakers in partnership with theAustralian Film, Television and RadioSchool, and a forum on storytelling acrossartforms was chaired by Rachel Perkinsof Blackfella Films.The festival was expanded this year withtwo performing arts presentations. UrsulaYovich presented the soulful cabaretMagpie Blues over three nights and BabiesProm production I See offered audiences2–5 years of age the opportunity toparticipate in this year’s festival throughIndigenous dance, music and storytelling.Education and Performances forYoung People >19 presentations, 379 performances,88,173 audiencesProgramming for young audiencesprovided an exciting range ofcontemporary performances and creativeexperiences this year. The year-longKids at the House program presented16 productions, with 362 performancesentertaining an audience of 85,927. 11productions also featured in the House:Edprogram, linking performances withcurriculum for creative learning acrossa broad range of topics.A highlight of 2010, Saltbush – Children’sCheering Carpet provided a journeythrough Aboriginal culture through dance,music, song and stories. Performed on atouch sensitive carpet that triggers imagesand sound, the production portrayedthe journey of two friends as they crossthe diverse Australian landscape andencouraged the audience to explore anddance with performers as the landscapeunfolds around them. 20 performancesattracted an audience of 2,369. Followingthe Sydney Opera House season, withsupport from the Ministry of Housing,the production toured to three venues inWestern Sydney with six performancespresented to 667 people.

Sydney Opera House Presents Festival of Dangerous Ideas

25'Sydney Opera Houselaunched its world orchestrasProgram in 2010 featuringthe world-renowned BerlinPhilharmonic Orchestra.'Australia’s biggest film festival especiallyfor kids, Little Big Shots, returned to ThePlayhouse in August 2010, showcasingthe best of local and international shorts,animations and documentaries. 14 sessionswere attended by 3,158. Popular BBC TVseries Charlie & Lola was brought to lifeon the stage this year with Charlie &Lola’s Best Bestest Play. 2D and 3D worldscombined with puppetry, live action andmusic in a production that delighted bothchildren and adults alike. This summerhit attracted an audience of 24,740 over 77performances. The production also featureda creative play area in the Western Foyers,allowing 685 children from 407 families tojoin in a range of fun, educational activitiesbefore and after the show for free.Scotland’s Puppet State TheatreCompany made their Australian debutin 2010 with The Man Who PlantedTrees. Combining puppetry, comedy andinspiring storytelling, this award-winningproduction explored themes of war,conservation and environment as a barrenwasteland is transformed into a thrivingforest. 18 performances were attended by2,857 people. Fantastical imagery, physicaltheatre and innovative lighting combinedto tell the story of a girl trying to befriendher shadow in Patch Theatre Company’sHelpmann Award winning Me and MyShadow in April 2011. An audience of6,044 attended 22 performances, and506 children from 295 familiesparticipated in free activities in thecreative play area created for the event.The Babies Proms program continuedto entertain and excite 2–5 year oldsas an audience of 34,883 attended 169performances this year. Coincidingwith the Message Sticks IndigenousFilm Festival, I See introduced kids tothe music, dance and storytelling fromIndigenous nations across Australia. Musicfor Tutus returned by popular demand,with the Babies Proms Orchestra anddancers performing excerpts from TheNutcracker, Sleeping Beauty and SwanLake. As 2011 commenced Sydney OperaHouse celebrated 30 years of Babies Promsevents and introduced the first FamilyProms event to the Concert Hall. Buildingon the success of Babies Proms, FamilyProms offers primary school children thechance to experience music on a granderscale. In the first of these events,Lah-Lah’s Big Live Band had audiencessinging, clapping and dancing along withLah-Lah, Buzz the Bandleader and theirbig band of characters in five colourful andenergetic performances for 5,094 people.Sydney Opera House launched its WorldOrchestra Education program in 2010,featuring the world-renowned BerlinPhilharmonic Orchestra. Two educationprograms were held in partnership withthe NSW Department of Education andTraining, culminating in a performanceprior to the Orchestra’s closing night.The program also gave two groups ofyoung people from regional NSW andSydney the once-in-a-lifetime experienceof working with some of the Orchestra’smusicians in master classes, supportedby Arts NSW.In addition to the annual performanceprogram, seven workshops and masterclasses were held this year, and Architectsof Air installed their interactive sculpture,Mirazozo on the Forecourt in January2011. 45,410 people experienced the colourand light created by this maze of windingpaths and domes over 25 days.AttendancesSydney opera house presentsChallenges > Effectively managingprogramming risk – SOH Presentsproduces and presents a large and diverseartistic program each year. Comprisingover 850 performances at an expenditureof some $25m per year, a range of risksmust be managed to ensure the viability ofindividual events and the artistic programas a whole. An integrated approach hasbeen developed through policies, systems,data analysis and reporting tools to identifyand manage risk more effectively and driveefficiency across programming activity.Improvements to program budgeting, astronger focus on project expenditure andmore collaborative planning amongst SOHPresents and Marketing teams have alsobeen realised in 2010/11.The Future > + Just for Laughsinternational comedy festival heldat Sydney Opera House (2011/12).+ Expanded Message Sticks Festivalprogram including commission of newworks by Aboriginal and Torres StraitIslander artists (2011/12). + Increasedprogram of free foyer activities forfamilies and young audiences (2011/12).+ ARTiculate, a free monthly series ofconversations about the arts with residentcompany and visiting artists (2011/12).Performances400,000 1,000350,000 875300,000 750250,000 625200.000 500150,000 375100,000 25004/05 05/06 06/07 07/08 08/09 09/10 10/11

26artistic excellenceimagination lives insideResident and Supported CompaniesOpera Australia >18 presentations, 190 performances,219,097 audiencesOpera Australia’s 2010 Winter Seasonopened with a beautifully presentednew production of A Little Night Music,directed by Stuart Maunder and conductedby Andrew Greene. Featuring star ofstage and screen, Sigrid Thornton, theincomparable Anthony Warlow and oneof Australia’s best known theatrical stars,Nancy Hayes, this production delighted anaudience of 12,338 over 10 performances.Nigel Jamieson made his directorial debutfor Opera Australia with Puccini’s rarelyperformed work La fanciulla del West(The Girl of the Golden West). This newproduction was conducted by Arvo Volmerusing cinematic projections and state ofthe art technology. Nine performancesattracted 9,282 people.Mozart’s The Marriage of Figaro returnedto the stage in 2010, with an all-starcast presenting 22 performances for24,479 people. The vibrancy and energyof The Pirates of Penzance also returnedto enthral an audience of 34,725 over29 performances.Julie Edwardson’s new production ofBellini’s bel canto masterpiece,La sonnambula, was staged by OperaAustralia for the first time in August2010. Conducted by Richard Bonynge andAnthony Legge with Emma Matthews asAmina, the production was awarded aGreen Room Award for Best Opera andBest Director. 10 performances wereattended by 10,682 people.Summer 2011 heated up with the returnof Carmen. Israeli mezzo-soprano RinatShaham made her Australian debutin the title role, embodying the fieryand dramatic Carmen. 23 performanceswere presented to 32,511 people. EmmaMatthews shone alongside CatherineCarby and Jaqueline Dark in the firstAustralian production of the Olivieraward-winning Partenope. Directed byChristopher Alden, this co-production withthe English National Opera was a thoughtprovokingand modern interpretationthat showed Handel at his most virtuosic.Seven performances were presented to anaudience of 7,292.This year Opera Australia commenced apartnership with Sydney Opera House andCinemaLive to enable audiences aroundthe globe to experience the magic andsplendour of opera on the big screen.The Marriage of Figaro and Rigolettowere delivered to cinemas across Australiaand New Zealand in high definitionin 2010, the first of many productions tohit cinemas worldwide. A partnership withVision Australia and Sydney Opera Housealso delivered opera to new audiencesonsite, with the first audio-describedperformances for patrons who are blindor vision impaired. The Pirates ofPenzance and The Barber of Seville werethe first in an ongoing program ofaudio-described performances.In January 2011 Opera Australia, SydneyOpera House and the Sydney MorningHerald partnered to present a benefitconcert for the Queensland Floods.Featuring special guests Rinat Shaham,Giorgio Caoduro, Rosario La Spina,Milijana Nikolic as well as a host of otherInternational guest artists and OperaAustralia principal singers, the concertattracted an audience of 1,493.Sydney Symphony >45 presentations, 105 performances,236,964 audiencesAs part of its commitment to theperformance of new compositions, anumber of Australian and world premieresfeatured in Sydney Symphony’s seasonthis year. The Australian premiere of JohnAdams’ dramatic Dr Atomic Symphony was

Bangarra Dance Theatre - Riley, of earth & sky27

28'Sydney TheatreCompany’s 2011Main Stage Seasonopened with theAustralian premiereproduction of SarahRuhl’s Broadway hit,In The Next Room,or the vibrator play.'Images from left to right >Sydney Theatre Company - In The Next Room, or the vibrator play; Sydney Symphony - Double Basses; Opera Australia - Carmen

29presented in July 2011. World premieresincluded James Ledger’s Outposts –Bassoon Concerto, and Matthew Hindson’sjoyous Concerto for two pianos.Sydney Symphony’s two-year Mahlercycle continued with over 38,000 peopleattending 17 performances throughoutthe year. Performances in 2010 includedMahler’s Symphony No. 4 and SymphonyNo. 3, featuring mezzo-soprano LilliPaasikivi. In 2011 the program presentedSymphonies No. 6, 7, 9 and 10, featuringesteemed pianists Steven Osborne andJean-Efflam Bavouzet.Renowned conductor and recording artistKristjan Järvi was welcomed to theConcert Hall stage to conduct Gershwin’sclassic Rhapsody in Blue in October2010. Two performances attracted anaudience of 5,140. Celebrated violinistMidori returned this year in MidoriPlays Classics, conducted by AntonelloManacorda in his debut appearance withthe Sydney Symphony. Two performancesof this enthralling production were enjoyedby 3,907 people. The 2010 season closedwith Tchaikovsky Spectacular, featuringacclaimed Canadian violinist James Ehnesperforming Tchaikovsky’s most lovedworks. Three performances enthralledan audience of 7,662.Making his debut with the SydneySymphony in February 2011, youngAustralian violinist Ray Chen gave anelegant performance of Brahm’s ViolinConcerto to an audience of 9,268 over fournights. Comedy rock star Tim Minchincollaborated with the Sydney Symphonyin March 2011, presenting a program ofnew songs and Minchin classics. Fourperformances were presented to anenthusiastic audience of 10,261.International musical sensation Lang Langbrought audiences to their feet with aseries of performances and a public masterclass in June 2011. Performing works byRachmaninoff, Tchaikovsky, Prokofievand Beethoven, Lang Lang’s vibrant andvirtuosic performances drew an audienceof 11,839 over five performances.In May 2011 Sydney Symphony announcedthe extension of Vladimir Ashkenazy’scontract as Principal Conductor andArtistic Advisor, continuing the maestro’ssuccessful leadership to the end of2013. This extension will enable SydneySymphony to maintain its focus onincreasing recording activity, internationaltouring and hosting the world’s bestperformers and conductors.The Australian Ballet >7 presentations, 93 performances,117,496 audiencesThe romantic triple bill Edge of Nightopened in November 2010, showcasingthe best in Australian choreographictalent. Resident Choreographer StephenBaynes’ bittersweet At the edge of nightand Molto Vivace were accompanied by theworld premiere of Tim Harbour’s Halcyon.Marking Harbour’s exciting transitionfrom dancer to accomplished choreographer,Halcyon was an exploration of Greekmythology presented by an all-Australiancreative team and with a speciallycommissioned score. 20 performancesattracted an audience of 25,769.Concluding the 2010 season, PeterWright’s The Nutcracker brought thetradition and splendour of this Christmasfavourite to the Opera Theatre stage.The technical brilliance and spirit of thecompany delighted both critics and patronsalike, attracting rave reviews and playingto sold-out audiences. 23 performancesattracted an audience of 33,014.After a 13-year absence and extensiveoverseas touring, Stanton Welch’s MadameButterfly made a much-anticipated returnin April 2011. 31,590 people attended22 performances of this sophisticatedand poignant production. In May 2011British Liaisons celebrated three Britishchoreographers, presenting Dame Ninettede Valois’s Checkmate, ChristopherWheeldon’s After the Rain and Sir KennethMcMillan’s Concerto. 22 performances wereattended by 24,482 people.As The Australian Ballet counts downto their 50th Anniversary in 2012,programming continues to focus onpresenting company ballets which havemade their mark on the world stage aswell as classics and new works.Sydney Theatre Company >4 presentations, 183 performances,80,186 audiencesThroughout September and October 2010,Sydney Theatre Company presented anew production of Thornton Wilder’sAmerican classic, Our Town. Directed byIain Sinclair in his Main Stage debut,this heart-warming production featured a15-strong ensemble cast that performed tocritical acclaim. 50 performances attractedan audience of 23,266.The success of Our Town was followedwith Melbourne Theatre Company’sproduction of the new Australian play,The Grenade. Written by Tony McNamaraand directed by Peter Evans, TheGrenade featured a cast of six led bylegend of Australian stage and screen,Garry McDonald. 42 performances of thishilarious whodunit were presented to anaudience of 17,334.Sydney Theatre Company’s 2011 MainStage Season opened with the Australianpremiere production of Sarah Ruhl’sBroadway hit, In The Next Room, or thevibrator play. Directed by Pamela Rabeand featuring Jacqueline McKenzie, thisTony Award and Pulitzer Prize nominatedplay attracted an audience of 27,243 peopleover 59 performances before embarking onan extensive tour.In June 2011, Sydney Theatre Companypresented Ireland’s Abbey Theatre withtheir acclaimed production of MarkO’Rowe’s Terminus. In its final stop in aworld tour, this award-winning productionshowcased the Irish storytelling traditionin an intense and thrilling night oftheatre. 32 performances attracted anaudience of 12,343 with the seasoncontinuing into 2010/11.Bell Shakespeare >4 presentations, 116 performances,44,784 audiencesIn 2010, Bell Shakespeare brought theBard’s masterful comedy of mistakenidentity Twelfth Night to the stage.Carefully directed by Lee Lewis andbrilliantly performed by Max Cullen andAndrea Demetriades, 38 presentationsdrew an audience of 13,015.Set against a backdrop of 1950’s Sicily,John Bell’s exuberant production of MuchAdo About Nothing opened in April 2011.A strong ensemble cast including BlazeyBest, Max Gillies and Toby Schmitzbrought this charming story to the stage.18,427 people enjoyed 40 performances.Taking a departure from Shakespeare,Faustus presented a re-working ofChristopher Marlowe’s Dr Faustus incollaboration with Queensland TheatreCompany. Michael Gow directed JohnBell and Ben Winspear in a bold andsophisticated tale of moral ambiguity.The opening night performance attractedan audience of 380 as the season continuesinto 2011/12.

30'Resident and supported companiespresented 42% of all performancesat sydney opera house and 57% oftotal audiences.'Bangarra Dance Theatre >1 presentation, 34 performances,16,090 audiencesBangarra Dance Theatre presented two newworks as part of the production Of earth& sky in 2010. Francis Rings’ Artefactexplored the significance of traditionalartefacts including a coolamon, stringbags, weaving and grinding stones. In hisdebut work for the company, Daniel RileyMcKinley’s Riley drew on the work oflate photographer Michael Riley and usedsoundscapes by David Page in a sensitiveand engaging work. 34 performancesattracted an audience of 16,090.Bangarra Dance Theatre’s inauguralKoori Kids Day took place during the Ofearth & sky season, providing over 200students and teachers with complimentarytickets and bus travel to attend a matineeperformance. A further 400 complimentarytickets were given to members of thelocal Indigenous community to enjoy thepreview performance.Sydney Festival >3 presentations, 12 performances,14,199 audiencesIndie-pop sensation Sufjan Stevensreturned to Sydney to present materialfrom his first full-length album The Ageof Adz. Blending an array of musicalgenres, including folk, orchestral,bluegrass and electronic sounds, Stevenstransformed the Concert Hall with anaudio-visual extravaganza. An audienceof 4,317 attended two performances.International collective Gob Squad tookto the streets of Sydney to create SuperNight Shot. Interactions with strangerswere captured on film and screenedunedited on four screens for audiences,culminating in one synchronised story.Presented in partnership with SydneyOpera House and Performance Space, sixperformances were held in The Studio foran audience of 1,462.Acclaimed actor John Malkovich broughthistory’s greatest seducer, Casanova tothe stage in The Giacomo Variations.Combining excerpts from Casanova’s1790 memoir Histoire de ma vie andsome of Mozart’s most beloved music,Malkovich was joined by actress IngeborgaDapkünaité, soprano Martene Grimson,baritone Andrei Bondarenko and theSydney Symphony. Four performancesattracted an audience of 8,420.Sydney Philharmonia Choirs >6 presentations, 10 performances,16,055 audiencesSydney Philharmonia Choirs’ concertseries opened with Berlioz’s Te Deum,featuring New Zealand born tenor KeithLewis and premiering a special fanfare byPeter Sculthorpe. Two performances drewan audience of 3,356. Handel’s tour deforce, Messiah, provided an unforgettableexperience in the Concert Hall for 5,049people over three performances, while AChristmas Celebration gave audiences thechance to sing along to timeless Christmascarols. 1,216 people joined the Choirs forthis special performance.Bach’s deeply moving St John Passionopened the 2011 season, combiningthe voices of the Sydney PhilharmoniaChamber Singers and Symphony Chorus.An audience of 1,983 people attendedone performance. Moving into the 20thcentury, It’s All About Rhythm celebratedGershwin, Bernstein and Orff in a spiritedpresentation comprising Porgy and Bess,West Side Story and Carmina Burana.Featuring soloists Amelia Farrugia,Grant Smith and Michael Lewis, twoperformances attracted 2,961 people.The 2011 season closed with Chorus Ozinviting singers from around Australiato tackle Beethoven’s colossal choralmasterpiece Missa Solemnis.Australian Chamber Orchestra >6 presentations, 6 performances,10,011 audiencesThe Australian Chamber orchestrapresented six exceptional programsthis year. Barefoot Fiddler featured theAustralian premiere of Mansurian’s ViolinConcerto ‘Four Serious Songs’ led by guestdirector Patricia Kopatchinskaja, whileone performance of Viennese Masterspresented Schubert, Beethoven and Brahms’graceful Clarinet Quintet to 1,874 people.A new theatrical work commissionedby the Australian Chamber Orchestrapremiered in November 2010. LauraWade’s Kreutzer Sonata featured actorsRobin McLeavy and Samuel West withmusic by Janácek and Beethoven in adramatic collaboration of theatre andmusic. One performance attracted anaudience of 1,745.In February 2011 opera star Teddy TahuRhodes joined the Australian ChamberOrchestra to sing a varied program ofsongs, from Mahler’s Adagietto to classicnursery rhymes. The season continuedwith a concert programmed and presentedby The New Yorker music critic andauthor Alex Ross. Based on the best-sellingbooks Listen to This and The Rest isNoise, the concert presented a selectionof 20th century music, including theAustralian premiere of Anna Clyne’sWithin her arms. One performance waspresented to 1,573 people.Closing the 2011 season, virtuosoclarinettist Martin Fröst combined mimewith sheer musical mastery to perform theAustralian premiere of Anders Hillborg’sThe Peacock Tales alongside a range ofworks by Mozart, Ravel and Brahms.1,649 people attended one performance.

'The technical brillianceand spirit of thecompany delighted bothcritics and patrons alike,attracting rave reviewsand playing to sold-outaudiences.'The Australian Ballet - British Liaisons

32Goal 2.imagination lives insidecommunity engagement and accessSydney Opera House Tour >

33“ Whether I'm coming orgoing, whatever the angle,the sails always seem to waveAT me and whisper 'come closer'in the breeze.John Kerswell, housemate

'Sydney OperaHouse’s firstmembershipprogram, Insiders,was launched inSeptember 2010.'Sydney Opera House Insiders

introduction35imagination lives insidecommunity engagement And AccessCommunity Outreach and ParticipationImplement initiatives to maximisecommunity access and ensure diversecommunity interests are representedat Sydney Opera House (p.36).Achievements >+ Community and charitable organisationsprovided with 139 complimentarytickets, 58 free tour experiences and 11personally guided VIP tours (p.36).+ Reconciliation Action Plan developed(p.36).+ In the House youth engagementprogram commenced (p.36).+ 10,000th child attended a performancethrough the Arts Assist program (p.36).Beyond BennelongReach out to local, national and globalcommunities through dynamic andinnovative content, experiences andnetworks (p.38).Achievements >+ World-wide animation competitionlaunched as part of GRAPHICfestival (p.38).+ Hosted the second YouTube SymphonyOrchestra, including a global onlineaudition and streaming of onsiteperformances (p.38).+ Partnership with Opera Australiaand CinemaLive to distributeperformance recordings to globalcinema networks (p.38).+ Tour of Kids at the House productionSaltbush to Western Sydney (p.38).Customer Service and AccessListen and respond to the needs ofcustomers, enhancing access to programsand facilities and ensuring the highestlevel of customer service (p.40).Achievements >+ Insiders, the first Sydney Opera Housemembership program launched (p.40).+ Performance and tour experienceswere improved for customers withdisabilities (p.40).+ Customer service training providedto 224 staff (p.40).

36community engagement and aCCessimagination lives insidecommunity Outreach and ParticipationOverview > Sydney Opera House’scommitment to providing an ‘Open House’for all continued this year with Open Dayheld on 24 October 2010. The day receivedsignificant media coverage and some18,000 people participated in a range offree activities onsite, including backstagetours, live performances and lightingdemonstrations. The inaugural AustralianHeritage Week was celebrated withDiscovery Day in April 2011. A $20,000grant from the Department of Sustainability,Environment, Water, Population andCommunities enabled 1,200 people toexperience The Essential Tour free ofcharge and celebrate Sydney Opera House’scontribution to Australia’s heritage.Sydney Opera House is committed tobridging the gap between Aboriginaland Torres Strait Islander Australiansand fellow Australians and in May 2011unveiled its first Reconciliation ActionPlan (RAP). The RAP expands on existingrelationships and programs, such as theMessage Sticks Festival and IndigenousTraineeship Program, with actions andtargets focused on building relationships,artistic content, audience participation,cultural awareness, education andemployment opportunities. With aworking group and staff RAP ambassadorsin place, a number of initiatives havealready commenced and will continueto be delivered next year (p.107).Reaching out to young people andencouraging long-term engagement in thearts remains a key goal for Sydney OperaHouse. A pilot work experience programwas held onsite in November 2010 forthree students from schools in WesternSydney. Students gained an understandingof the theatre and entertainment industryand its networks, enabling them to explorefuture employment opportunities. Theprogram will provide work experience for12 Indigenous students next year.A program for young people transitioningfrom Juvenile Justice through engagementwith the arts commenced this year andwill continue in 2011/12. Funded bythe NSW Minister for Juvenile Justicein 2010, the program was developedin partnership with NSW communitymentoring organisation Whitelion,Blacktown Arts Centre, Joan SutherlandPerforming Arts Centre, CampbelltownArts Centre, Street University – Ted NoffsFoundation and artist Candy Bowers. Theprogram builds on the 2010 pilot Detoursand Destinations, which was developedand implemented in partnership withShopfront contemporary arts centre andHeaps Decent.Strengthening community access is afunding priority for Sydney Opera House.The Arts Assist program enabled 2,559students from NSW Priority FundedSchools to access performances this year,and Sydney Opera House celebrated amilestone in November 2010 with the10,000th child under this programattending a House:Ed performance ofThe Man Who Planted Trees.In May 2011 a music workshop was hostedfor 20 students from Canterbury BoysHigh School, led by acclaimed US groupHypnotic Brass Ensemble, followed by atour of the building. Projects such as thesewill continue to be developed next year inpartnership with Sydney Opera House’seducation department.Challenges > Open Day – As the largestfree event onsite, Open Day providesthousands of people with access tobackstage areas normally closed to thepublic. Ensuring a truly memorableexperience for everyone requirescoordination of various activities, madeeven more challenging this year withconsistent rain throughout the day.Improvements to crowd management,online registration for tours, and thecommitment of staff and volunteersensured better flow of crowds throughthe building and across the site.The Future > + Work experience programfor Aboriginal and Torres Strait Islandersecondary students (2011/12). + In theHouse youth engagement program tocontinue with workshops, work experienceand mentoring opportunities (2011/12).+ Indigenous school based apprenticeshipsprogram developed (2011/12). + Fundingcampaigns to support youth access toSydney Opera House performances tocontinue (2011/12).

37'Donors to SydneyOpera House enableus to increase accessto education andcommunity programs.'Sydney Opera House Presents Babies Proms: Four Seasons

38community engagement and aCCessimagination lives insidebeyond bennelongKids at the house production Saltbush – Children's CheeringCarpet toured three venues in Western Sydney this year.Overview > Sydney Opera House’s onlinepresence is becoming an increasinglyimportant channel for global audiences tocommunicate and participate in events.Recognising the need to offer the bestquality online experience, a new-lookwebsite was unveiled in September 2010featuring easier navigation, video content,enhanced news display, blogs and photogalleries. Complementing the revitalisedwebsite, a new PLAY video portal waslaunched in April 2011 with iPhone andiView compatibility.The GRAPHIC festival featured auser-generated animation competitionin August 2010, drawing 77 entriesfrom 13 countries and attracting 65,000unique views over seven weeks. SydneyOpera House hosted the second YouTubeSymphony Orchestra in March 2011. Thisevent invited amateur musicians fromaround the world to go online to auditionand participate in concerts held at SydneyOpera House. The final live concert wasstreamed 33 million times world-wideduring the event and in a re-broadcastafter the performance.Reaching beyond the website, contentdelivery channels continued to growin collaboration with performance anddistribution partners. Sydney OperaHouse, Opera Australia and CinemaLiveworked together to record and distributetwo operas in high definition to cinemanetworks this year. Partnering with ABCCommercial, Stephen Fry Live at SydneyOpera House was broadcast on televisionin October 2010 and then releasednationally on DVD, while the first VividLIVE iPhone App was launched this year,downloaded by 4,300 people.The aim to provide cultural experiencesto live audiences offsite progressed thisyear as Kids at the House productionSaltbush – Children’s Cheering Carpettoured three venues in Western Sydneyin October 2010. Supported by the NSWGovernment, the tour allowed youngpeople in Campbelltown, Penrith andParramatta the chance to experience thisinteractive journey through Aboriginalculture. Next year Sydney Opera House isdeveloping cultural hubs in partnershipwith organisations in outer metropolitan,regional and rural areas of NSW.Challenges > Engaging with communitiesoffsite – Extending opportunities foraudiences offsite and online to experienceSydney Opera House is an importantpart of Sydney Opera House’s future. Inaddition to the thousands of performancesand events delivered onsite each year,reaching communities beyond BennelongPoint requires planning, funding,resources and expertise. Pilot programs inpartnership with local government and theeducation sector are being used to buildstrategies and expertise that will providelong-term cultural, social and economicbenefits for outer metropolitan, regionaland rural areas.The Future > + Five Opera Australiaperformances distributed to cinemas incollaboration with CinemaLive (2011/12).+ Pilot cultural hubs program inpartnership with Glasshouse Arts,Conference and Entertainment Centre(2011/14). + Continued focus onbuilding global distribution networksand partnerships for Sydney OperaHouse products, broadcasts and digitalstreaming (2011/14).

Sydney Opera House Open Day39

40community engagement and aCCessimagination lives insidecustomer Service and AccessA range of programs gave patrons who are blind or vision impairedopportunities to engage with live performances.Overview > Sydney Opera House’s firstmembership program, Insiders, waslaunched in September 2010. Gaining its2,000th member in June 2011, Insidersprovides members with priority booking,ticket and parking discounts, dining offersand other benefits with partners onsiteand around Sydney.Ensuring high quality service is extendedto all visitors, artists and staff at theirentry point to Sydney Opera House,the Host Team took over operations atStage Door in December 2010. The teamundertook training with Vision Australiain order to provide appropriate customerservice to people who are blind or visionimpaired, while broader customer servicetraining was provided to 224 staff (p.65).Sydney Opera House partnered withOpera Australia and Vision Australia topresent audio-described performances ofThe Pirates of Penzance and The Barberof Seville, and will continue to present aseries of audio-described operas next year.In November 2010 a group of 80 studentsattended a performance of The Man WhoPlanted Trees, with a pre-performancesession allowing them to touch and feelthe puppets and props. A sensory sessionalso enabled 40 young people to exploreinstruments used in performances ofLah-Lah’s Big Live Band in June 2011.A socially inclusive and Auslan-interpretedperformance of Me and My Shadow wasattended by 40 participants from theAutism Spectrum Association and RoyalDeaf and Blind School in April 2011.Introduced by Sydney Opera House AccessAmbassador and gold-medal winningParalympian Louise Sauvage OAM, theevent showcased access experiences fordonors, theatre companies, governmentand peak access organisations.Challenges > Increasing participation forpatrons with disabilities – A strategicapproach to building development hasaddressed some key access issues throughthe installation of lifts, escalators andother accessible amenities. Despite thisprogress, securing funding to ensure fullindependent access to the major venuesand associated foyer areas remains achallenge. Along with building projects,access barriers are addressed throughvarious initiatives, including staffassistance for patrons, a regular courtesyshuttle bus from Circular Quay, andaccessible signage and information onsite.Access strategies will continue to focuson removing physical barriers as well asincreasing participation for people withdisabilities through artistic programmingopportunities, industry partnerships andawareness raising activities (p.102).The Future > + Online captioned videoproviding information on accessibleservices for people with disabilities,presented by Louise Sauvage OAM(2011/12). + Continued presentationof audio-described performances incollaboration with Opera Australia andVision Australia (2011/12). + Access forYoung Audiences initiative continuedwith more performances as part ofKids at the House and House:Edprograms (2011/12).

Sydney Opera House Presents Spring Dance: Dance on Film41

42Goal 3.imagination lives insidea Vibrant and Sustainable SiteLighting The Sails,VIVID LIVE 2011 - Superbien’sLa Macula >

43“Like a butterfly emergingfrom its cocoon, the SydneyOpera House flASHes its vibrantCOlours, delighting all artslovers alike.Craig Kirchner, housemate

'Sydney OperaHouse wasinscribed on theUNESCO WorldHeritage List on28 June 2007.'Sydney Opera House

46A vibrant and sustainable siteimagination lives insideOUr PrecinctPerformances at Sydney Opera House have increased by 15% over the last10 years and 8.2 million people visit the site every year.overview > With over 8.2 million peoplevisiting every year, enhancing thediversity and quality of experiencesonsite remains an important goal forSydney Opera House. The precinct wasenlivened this year with Opera Kitchenopening in December 2010. This newfood and beverage outlet, hosting fiveof Australia’s best chefs and foodproducers, has been welcomed by patronsand critics, strengthening Sydney OperaHouse’s position as an internationaldining destination.Late night dining options also improvedwith Opera Bar expanding their menuand extending kitchen trading hours untilmidnight, and themed bars aligned withkey festivals proved popular with patrons.The SONY Lounge became a dynamicsocial hub for Vivid LIVE and VividSydney, while the GRAPHIC ‘pop-up’ barprovided another opportunity for patronsto enhance their festival experience.Overall, the expansion of food and beverageexperiences gave outlets solid growth,with a 23% increase in contributioncompared to 2009/10.A range of product bundling opportunitiesfor tourists were developed this year,combining tours with promotions andretail discounts. Two new products werelaunched at the Australian TourismExchange, held in Sydney for the firsttime in 12 years and attracting some320 tourism trade buyers from the USA,Europe, Asia and Australia. The Tour andTasting Plate from Opera Kitchen andA Taste of Opera were unveiled to anenthusiastic response.Contribution from Sydney Opera Houseretail stores grew by 7.5% this year, withproduct sales increasing by 3.1%. Twoleased retail outlets were closed this yearto make way for a new food and beverageoffering. With retail space onsite nowdedicated to product relating to SydneyOpera House programs and activities, theretail strategy is focusing on improvingstore presentation, linking with tourismand food and beverage offers, andrevitalising the product mix to develop thequality and number of products. This focuswill continue next year with an expandedproduct development strategy for storesonsite and in key offsite locations.Challenges > Tourism Market – The strongAustralian dollar, lacklustre westerneconomies and a series of natural disastershave impacted on travel to Australia frommost established markets. Overall guidedtour visitor numbers fell by 5.6% thisyear to 292,148 people, generating $3.0min contribution, a decrease of 5.1% onthe previous year. Promotion of SydneyOpera House as an integrated performingarts, tourism, food and beverage andretail precinct is central to maintainingengagement in view of these challengesin the market. Groundwork undertaken inprevious years is coming to fruition withgrowth in Eastern markets, such as Chinaand Japan providing protection from theworst of the tourism downturn this year.The Future > + Celebration of the10th Anniversary of both Guillaumeat Bennelong restaurant and OperaBar (2011/12). + Refurbishment ofthe Box Office Retail Store to provideimproved customer access and enhancedmerchandising capability (2011/12). + KidsTour launched in partnership with theHouse:Ed program (2011/12). + Researchreviewed for Tourism Visitor Analyticsand Directional Strategy (2011/12).

48A vibrant and sustainable siteimagination lives insideBuilding and Maintenanceoverview > Significant progress was madethis year to improve visitor safety onsitewith the commencement of the VehicleAccess and Pedestrian Safety project(VAPS). Since funding of $152.1m forthe project was announced by the NSWGovernment in June 2010, all projectapprovals have been obtained, stage onediversion of the Bennelong Drain is nearingcompletion and a second phase of earlyworks including diversion of power andwater mains has commenced. Significantdesign work has been completed for thenew underground loading dock, withtenders for the main contract package tobe called in August 2011.While construction on the VAPS projecthas closed the Forecourt for events, SydneyOpera House has ensured people aroundthe world can still be part of this outdoorvenue. Launched in March 2011, theHousemates campaign invited the publicto send in photos of themselves for displayon the hoarding walls. With over 1,000photos exhibited, the campaign provided aunique opportunity for people across theglobe to connect with Sydney Opera House.Ensuring effective management ofthe heritage aspects of the site, theConservation Management Plan 4th Editionwas compiled ready for consultationand public exhibition. The Plan hasbeen updated to incorporate changesto frameworks governing planning andmanagement and to provide additionaltools for conservation of the site to WorldHeritage standards. The new Plan willbe released following public consultationand endorsement from the AustralianGovernment (p.106).Continuing to maintain and enhance thesite’s amenity, facilities and equipment,a range of other building projects werecompleted this year. Four Lower Concourseescalators were replaced providing bettersafety and reliability for visitors anddelivering improved energy savings. Anew Drama Theatre Sound System wasinstalled, a wig room constructed for theOpera Theatre, and the refurbishment ofthe Lower Concourse retail and food andbeverage space completed.Challenges > Managing the impact ofmajor works and maintenance projects– With activity 363 days of the year,ensuring essential maintenance iscompleted within budget and on time isan ongoing challenge. In addition to therecurrent regular maintenance program,33 major maintenance projects weredelivered this year within expendituretargets of $8.5m. The overall maintenancetargets have been achieved for the fourthconsecutive year. Extensive planning,consultation and management ensuremaintenance and building works canbe completed with minimal disruptionto core operations and services forpatrons and visitors.Funding building and site renewal –Sydney Opera House’s future relies onmaintaining an accessible, functionaland engaging site for artists andthe community. Supporting criticalinfrastructure needs and site upgradesrequires significant funding and expertiseto manage the unique architecturalcharacteristics and heritage standardsof the site. Sydney Opera House worksin collaboration with key stakeholdersthroughout government, industry andthe community to develop strategies andsecure funding for major projects that willmaintain operational integrity and enhanceaccess into the future.The Future > + Continued constructionon the Vehicle Access and PedestrianSafety project (2013/14). + Publicationof the Conservation ManagementPlan 4th Edition (2011/12). + PodiumWaterproofing Project constructionto commence (2011/14). + Update ofthe Strategic Building Plan to providea framework for future buildingdevelopment and maintenance (2011/13).

50A vibrant and sustainable siteimagination lives insideEnvironmental SustainabilityImplementation of the Environmental Sustainability Plan 2010/13 began this year,as a range of initiatives to reduce energy towards a low carbon future and embedsustainability throughout all Sydney Opera House activities commenced.overview > Reduction in energyconsumption was pursued through energyefficiency upgrades to lighting andair conditioning, as well as educationawareness campaigns. Waste to landfillwas reduced through the introduction ofnew recycling streams such as electronicwaste, and work to embed sustainabilityprinciples into projects advanced with thedevelopment of a Sustainability ActionPlan for the Vehicle Access and PedestrianSafety project (p.103).Progress on work to green Sydney OperaHouse events by 2013 continued with thedesign of a Sustainable Event ManagementSystem commencing this year. A part-timeSustainable Events Project Manager wasappointed in May 2011 to assist in theimplementation of the project and buildsustainability skills within the event teams.The commitment to an environmentallysustainable future was strengthenedthrough a new partnership with Originfrom March 2011. Origin purchased 10%GreenPower for Sydney Opera House,offset event emissions from Vivid LIVE2011, and have ensured future SOHPresents events have an auditable carbonmeasurement and analysis tool (p.104).Environmental Sustainability Plan –Key Performance Indicators > Eachyear Sydney Opera House will reporton performance against its threequantitative targets:- Reduce electricity consumption by15% by June 2013 from the 2000/01baseline;- Reuse or recycle 70% of the precinct’swaste; and- Reduce metered water use by 15% byJune 2013 from the 2005/06 baseline.Challenges > Monitoring and managingwater use – A leak from a burst pipeunderneath the Western Broadwalkwent undetected from April to June2011. At the time, no single sourceof excessive use could be established,preventing application of suitable controls.Improvements to water metering andmonitoring have been identified andare currently being scoped forimplementation in 2011/12. A studywill also be conducted to determineopportunities for harvesting, treatmentand usage of rainwater on the site.The Future > + Lighting controls upgradeproject for selected theatres, foyers andother central areas, supported by theNSW Government’s Building RetrofitProgram (2011/12). + Development ofa sustainable procurement strategy(2011/12). + Implementation of thesustainable event management system(2011/12). + Improvements to watermetering and monitoring assessed andimplemented (2011/12).

51Environmental Sustainability Plan – Key Performance Indicators >2011 Result 2011 Target 2012 Target 2013 TargetElectricity ✔ 9.5% 1 5% 10% 15%Waste ✔ 27% 23% 46% 70%Water 6 -14% 2 5% 10% 15%1 Due to the recent availability of more reliable data, the FY 2000/2001 baseline estimate hasbeen adjusted from 20.1 GWh to 20.01 GWh.2 This result is due to limitations in timely identification of the source of a major leak thatoccurred between April and June 2011. Refer to Challenges for more information.Sydney Opera House

52A vibrant and sustainable siteimagination lives insideSafety and Securityoverview > Safety management wasstreamlined this year with the mergingof corporate safety, production safety,injury management and the Health Centreunder one functional area to ensure aholistic approach to health and safetyacross the organisation. This streamliningconsolidated activities under a set ofkey objectives and reportable measuresencompassing incident reporting andinvestigation, risk assessment and workerscompensation benchmarks (p.110).With an aim to improve safety across allproduction teams, Sydney Opera Houseand resident companies worked togetherto enhance production safety and managingrisks associated with physical work-basedteams. New height safety installationsand equipment in the Opera Theatre andDrama Theatre were installed this yearand a Safety Action Plan was introducedto capture and address potential risksfor production teams. These and otherinitiatives were supported by a SharedSafety Responsibilities Workshop held forSydney Opera House and Opera Australiasupervisors (p.110).Initiatives to further strengthen thesafety management system across theorganisation included the introduction ofan online incident and hazard reportingtool, allowing staff to report incidents,hazards and near misses electronicallyfor the first time. New OH&S RiskManagement Procedures and IncidentReporting and Investigation Procedureswere implemented, while Manual HandlingProcedures and Guidelines were developedand a leading Australian ergonomist wasengaged to review and provide advice onhazardous manual tasks (p.110).A dedicated Business Continuity Managerwas appointed in 2010 with an aimto bring greater alignment to emergencyplanning and preparedness and disasterrecovery across Sydney Opera House.A series of emergency managementactivities were undertaken thisyear, including disaster recoverymanagement with the executive teamand evacuation exercises with residentand supported companies.Challenges > Stage machinery riskmanagement – An independent review ofstage machinery in 2010 was undertakento assess the condition and operation ofConcert Hall and Opera Theatre stagemachinery. A number of changes wereidentified to improve overall effectivenessand minimise risk. Operational procedureshave as a consequence been modifiedand asset management plans revised andproposals developed for funding.Safety and security for major and highprofile events – Maintaining the higheststandards of safety and security forpatrons and visitors onsite is a priority forSydney Opera House. Large-scale and highprofile events bring thousands of peopleto Sydney Opera House and surroundingareas, requiring coordination with hirers,government and various State authoritiesfor site specific and city-wide managementstrategies. Post-event debriefings areused to review all aspects of the event;ensuring safety and security strategiescontinually improve.The Future > + Completion of a highrisk activities register (2011/12). +Focus on production safety continueswith manual handling and working atheights continuing to form key priorityareas (2011/12). + Review and update ofsafety policy, procedures and consultationarrangements with the introductionof the Model Work Health and Safetylaws (2011/12). + Internal audit againstNSW Government OH&S and InjuryManagement Standards (2011/12).

Sydney Opera House Backstage Tour53

54Goal 4.imagination lives insideearning our waySydney Opera Houseat dusk >

55“I wATCHed it grow. I haveworked bOTH bACkstage and Frontof House. I have witnessed theextraordinary and the exquisite.Aldo King, housemate

'In January 1957, JørnUtzon was announcedthe winner of the"Opera House DesignCompetition" and wasawarded prize moneyof 5,000 pounds.'Sydney Opera House

introduction5757imagination lives insideEarning our WayGovernanceProvide structures and processes thatare transparent, accountable and enableeffective decision-making (p.58).- The Trust (p.58).- The Executive (p.62).Achievements >+ Approval of 2010/11 business planand monitoring and review of planobjectives (p.58).+ Review and endorsement of TrusteeCode of Conduct (p.58).+ Gold Australasian Reporting Awardachieved for Annual Report 2009/10.People and CultureValue and develop staff to ensure askilled and innovative workforce anda positive working environment (p.64).Achievements >+ Secure remote system accessimprovements for staff (p.64).+ New three-year Enterprise Agreementagreed and implemented (p.64).+ National and industry recognisedqualifications awarded to 11 staff (p.64).+ $24,808 raised for charity bystaff through the Workplace GivingProgram (p.64).FinancialsEmbed sound financial managementsystems and disciplines for operationalstability and sustainable growth (p.66).Achievements >+ New reporting dashboard providingkey financial and non-financialmeasures to monitor organisationalperformance (p.66).+ Operating surplus delivered througheffective cost management, strongunderlying business performance,effective risk management and anumber of one-offs (p.66).+ E-procurement system launchedand integrated with accountingsystems (p.103).

58earning our wayimagination lives insideGovernance: The TrustSydney Opera House is operated and maintained for the Government of NewSouth Wales by the Sydney Opera House Trust, which is constituted as a bodycorporate under the Sydney Opera House Trust Act 1961.The Trust’s Objectives and ConductThe Trust’s objectives are: to administer,care for, control, manage and maintainthe Sydney Opera House building andsite; to manage and administer the siteas an arts centre and meeting place; topromote artistic taste and achievementin all branches of the performing arts;to foster scientific research into andto encourage the development of newforms of entertainment and presentation(excerpt from Sydney Opera House TrustAct 1961).The seven core performance requirementsof the Board of Trustees in providingeffective leadership are:- To agree core artistic, entrepreneurial,financial and operational policies andobjectives on an annual basis and toset all the short, medium and long termdelivery priorities for the enterprise;- To set and appraise the performanceof the CEO and management team;- To monitor and assist in themaintenance of reliable and effectiverelationships with key presentingcompanies;- To manage the financial affairs andvarious supporting systems andreporting frameworks commensuratewith best international standards andpractice;- To maintain the best possible workingrelationship with the Minister for theArts in an environment where there is asecure trust from Parliament and a goodworking relationship with the media;- To maintain the landmark site andbuilding and its amenity to ensure thatit is always presented as a vibrant,contemporary performing arts venuewhich changes and evolves over time;- To promote directly and indirectlythe performing arts with a view tomaximising engagement and enthusiasmfrom diverse audiences for a range ofexceptional experiences.The Trust review and individually sign aCode of Conduct for Trustees on an annualbasis (p.98).Committees, Memberships, AttendancesThe Trust > The Sydney Opera HouseTrust consists of 10 members appointedby the Governor on the nomination of theMinister. A Trustee holds office for threeyears and is eligible for reappointment forno more than three consecutive terms. TheTrust must include at least two personswho have knowledge of, or experience in,the performing arts.Mr Kim Williams AM, Mr Robert LeeceAM, Ms Renata Kaldor AO and Mr LeoSchofield AM were reappointed to theTrust for a further three-year term to31 December 2013.Meeting attendance figures for theperiod 1 July 2010 to 30 June 2011are set out on the next page. All meetingabsences were formally noted andTrustees and members were excusedfrom attending the specific meetings.With key strategic and business itemson the agenda, eight Trust meetings wereheld. Agenda items encompassed: a planningsession including a feedback and prioritiessession with resident companies, annualreview of Trust Committee charters andmembership and discussion of 2030 visionand strategic aspirations; overall businessperformance monitoring; annual budget andthree-year business plan; recurrent assetand maintenance program and performingarts and commercial projects.Audit and Risk Committee > The Audit andRisk Committee oversees: the adequacyof the accounting system, internal

60The Trust membersKIM WILLIAMS AMJoined the Trust in January 2005 –Chair of Sydney Opera House Trust andmember of Audit and Risk Committee andBuilding Committee.Qualifications: B.Mus (Univ Syd)Background: Previous roles includedChief Executive of both the AustralianFilm Commission and Southern StarEntertainment, Senior Executive at theAustralian Broadcasting Corporation,CEO of Musica Viva Australia andestablishment Chief Executive of FoxStudios Australia. Kim founded theAustralian Film Finance Corporationin 1988, as well as being its inauguralChairman and has held numerous boardpositions in government and the privatesector over three decades, including thepositions of Chair of Musica Viva and ofthe Sydney Symphony. In 2009 he wasawarded a Doctor of Letters, honoris causa,by Macquarie University for services tothe arts and entertainment industryin Australia.Other Directorships: Director of FOXTELManagement Pty Ltd, Customer ServicesPty Ltd, FOXTEL Cable TelevisionPty Ltd, Multiview Analytics Pty Ltd,Stradivarius Pty Ltd, The Country MusicChannel Pty Ltd, The Racing ChannelPty Ltd, The Weather Channel AustraliaPty Ltd and XYZ Networks Pty Ltd.Chairman of Multi-Channel Network PtyLtd, Alternative Director of NickelodeonAustralia Pty Ltd and Artists ServicesCable Management. Member of theBusiness Council of Australia.Government and Community Involvement:Privately supports a wide range ofarts activities including the annualDavid and Joan Williams DocumentaryFellowship and various music and theatrecommissions through the Williams DoveyCreative Support Fund.CatHERINE BRENNERJoined the Trust in May 2009 -Chair of Audit and Risk Committee.Qualifications: BEc LLB, MBABackground: Former Managing Director inthe investment banking division of ABNAMRO where she has held various seniorroles in the mergers and acquisitions andequity capital markets divisions. Prior tobecoming an investment banker Catherinewas a corporate lawyer.Other Directorships: Coca Cola AmatilLtd (Non-Executive Director), AMP Ltd(Non-Executive Director), Boral Limited(Non-Executive Director).Government and Community Involvement:Australian Brandenburg Orchestra(Director), Takeovers Panel – FederalGovernment Forum (Member).ARTHUR BRIDGE AMJoined the Trust in January 2009 –member of Conservation Council.Qualifications: M.Litt, D.MusBackground: Arthur was a Director of theRiverside Theatre in Parramatta and theJoan Sutherland Performing Arts Centrein Penrith.Other Directorships: Ars Musica AustralisFoundation (Chair and Chief Executive).Government and Community Involvement:Music Board of the Australia Council(Member). Parish Priest of St.OliverPlunkett Parish in Harris Park since2008. Patron of a number of performingarts organisations such as the SydneyYouth Orchestra, the Sydney YouthBallet, the Australian InternationalConservatorium of Music and High School,and the Sydney Conservatorium CentenaryCelebrations and Sydney Omega Ensemble.WESLEY ENOCHJoined the Trust in January 2007.Background: Previously Associate ArtisticDirector at Belvoir Street Theatre, ArtisticDirector of Kooemba Jdarra IndigenousPerforming Arts, Associate Artist with theQueensland Theatre Company, ResidentDirector with the Sydney TheatreCompany, and Artistic Director of IlbijerriTheatre. In 2002 Wesley was the recipientof a Cité International des Arts residencyin Paris. He also won the 2005 PatrickWhite Playwright’s Award for the play TheStory of the Miracles at Cookie's Table.Other Directorships: Queensland TheatreCompany (Artistic Director).Government and Community Involvement:Nunnuccal Nuugi People of SouthernQueensland (Member), Ethics Council ofthe National Congress of Australia’s FirstPeople (Member).RENATA KALDOR AOJoined the Trust in January 2005 -member of the Audit and Risk Committee.Qualifications: BA, Dip EdBackground: Renata was Deputy Chancellorof The University of Sydney, a Fellow ofthe University Senate and was awarded anHonorary Fellowship from University ofSydney in 2004. Renata has served on theAdvisory Council at Westmead Children’sHospital, was Chairperson of NSWWomen’s Advisory Council, a member ofthe Sydney Olympic Bid Committee, adirector of NSW State Rail Authority andThe Garvan Medical Research Foundation.Other Directorships: ASI (Director).Government and Community Involvement:Renata is involved in business, educationand community affairs and is a Director ofThe Sydney Children’s Network Hospital.In 2009 Renata was appointed JudicialCommissioner NSW.ROBERT LEECE AMJoined the Trust in August 2002 -Chair of Building Committee.Qualifications: BE, M.Eng.Sc, MBA,F.I.E.Aust, CPEngBackground: Robert was previously ChiefOperating Officer of Tenix Pty Ltd andheld board positions of various publicand private organisations. He was theInfrastructure Co-ordinator Generaland Chair of NSW Nation Building andJob Plans Taskforce until April thisyear. He is a Fellow of the University ofSydney. Throughout his career he has beenresponsible for the successful developmentand construction of over $40 billion ofinfrastructure and buildings in Australia.Government & Community Involvement:Health Infrastructure Board (Chair).SUE NATTRASS AOJoined the Trust in November 2006 -member of Audit and Risk Committee.Background: Sue was the Artistic Directorof the Melbourne International Festivalof the Arts and General Manager of theVictorian Arts Centre and has been anArts consultant since 2000. She wasPresident and is now a Life Member of theAEIA/LPA, was Chair of the CollectionsCouncil of Australia Ltd, the Confederationof Australian International Arts Festivals,the Melbourne 2006 CommonwealthGames Cultural Working Group, the 2007World Swimming Championships CulturalProgram Working Group and on the Boardof the Melbourne Football Club.Government and Community Involvement:Melbourne and Olympic Parks Trust(Trustee), Brian Stacey Memorial Trust(Director), John Truscott Design Foundation(Director), Cultural Development AdvisoryBoard – Melbourne City Council (Chair),Advisory Board – Arts and EntertainmentManagement Program at Deakin University(Chair), Arts and Humanities Committeeof the Myer Foundation (Member),Australian International Cultural Council(Member) and Melbourne Workers TheatreBoard (Member).

61chair: kim williams amCATHERINE BRENNERARTHUR BRIDGE AMwesley enochRENATA KALDOR AOROBERT LEECE AMSUE NATTRASS AOTHOMAS PARRY AMLEO SCHOFIELD AMEVAN WILLIAMS AMTHOMAS PARRY AMJoined the Trust in February 2010.Qualifications: BEc, MEc, PhDBackground: Thomas has had several roleswith Macquarie Group, was FoundationExecutive Chairman of the IndependentPricing and Regulatory Tribunal of NSW(IPART) and was the Foundation NSWNatural Resources Commissioner. Hewas an ex officio Commissioner of theAustralian Competition and ConsumerCommission, a member of the NSW Councilon the Cost and Quality of Government,a Board Member of SE Area Health and aFoundation Director of the NSW ClinicalExcellence Commission. Tom has hadover 35 years experience as an academicbusiness and public policy consultant, inthe financial sector and as a regulator. Hehas been Head of the School of Economics,University of New South Wales andDean, Faculty of Commerce, Universityof Wollongong.Other Directorships: Expert AdvisoryPanel for the Review of NSW ElectricityNetwork Businesses (Chair), First StateSuper Trustee Corporation (Chair),Sydney Water Corporation (Chair),Australian Energy Market Operator (Chair),ASX-Compliance (Director) and PowercoNZ (Director).LEO SCHOFIELD AMJoined the Trust in January 2005.Background: Former Director of SydneyFestival (1998-2001), Artistic Director ofthe Sydney 2000 Olympic and Paralympiccultural festivals, Artistic Director ofthe Melbourne International Festival ofArts (1994-1996), and Artistic Directorof Sydney’s New Year’s Eve Celebrations(2002–2004). Leo has been involved inAustralian debut presentations of a numberof major international events and companiesincluding the Edinburgh Military Tattoo, theParis Opera Ballet and the National Ballet ofCuba. He is also a well-known and respectedjournalist and television broadcaster and hasworked closely with many arts organisationsin a fundraising capacity. He served nineyears as a Trustee of the PowerhouseMuseum in Sydney.Government and CommunityInvolvement: National Portrait Gallery(Board Member).EVAN WILLIAMS AMJoined the Trust in November 2006 –Chair of the Conservation Council andmember of the Building Committee.Background: Walkley Award-winningjournalist and former newspaper editor,and has been a film critic for TheAustralian since 1981. From 1986 to 2001,Evan was head of the NSW Government'scultural sector before being appointed asenior advisor in the NSW Cabinet Office.He has filled previous temporary vacancieson the Sydney Opera House Trust andhas served as a member of the ArchivesAuthority of NSW and the AustralianInternational Cultural Council, and on theboards of the Sydney Biennale, the SydneyFestival and the Australian ChamberOrchestra. Evan was a speechwriter andarts adviser to the Hon. E.G. Whitlam from1973 to 1977.

64earning our wayimagination lives insidePeople and Cultureeleven staff received national qualifications from our Registered TrainingOrganisation this year.overview > Working with staff toenhance organisational effectiveness andperformance, initiatives from the secondround Marker Business Excellence Projectcontinued to be implemented this year.Improvements to remote system accessfor staff were carried out and anothertwo people were awarded a CEO Awardfor Outstanding Service in recognitionof their contribution to the organisation.Work also commenced to review the Codeof Conduct with the aim of providingupdated and more relevant guidance onethical work standards.A three-year Enterprise Agreement wasagreed and commenced, providing a 3.4%pay increase and a series of reforms toimprove business efficiency and delivermore flexibility in meeting customerrequirements. The simpler and more logicalformat of the new Agreement ensuresgreater clarity for staff and assists tostreamline the implementation of reforms.A focus on personal and professionalgrowth this year provided a range oflearning programs as outlined in thetable on the following page. Qualificationsfrom the Sydney Opera House RegisteredTraining Organisation were also awardedwith three staff gaining a Diploma ofManagement and eight staff achievinga Certificate III in Venues & Events(Customer Service). Next year theorganisation will work with Bangarra DanceTheatre as they host their first IndigenousTraineeship for a 12-month placement.With the aim of building a positive safetyculture amongst staff and onsite partners,a range of safety training programs andresources were provided this year. Safetyrelatedtraining was delivered to 116 staff,including manual task training for 37people, while OH&S induction resourceswere strengthened to support generalsafety inductions for staff and performers.Safety Week was once again celebrated inOctober 2010 with a series of activitiesfocused on workplace safety inspectionsand safety in the theatre environment.Yoga and Pilates classes continued to beoffered to staff free of charge on a weeklybasis to assist them to manage stress andmaintain fitness (p.110).Sydney Opera House staff this yearcontinued to support seven charities andSydney Opera House’s Arts Assist programthrough Workplace Giving. Staff gave$24,808 through payroll contributions,fundraising events and donations, anda further $4,400 in goods through theChristmas Gift Appeal. The BoysTownbookstall, a fundraising fixture at SydneyOpera House, raised $2,500 through thesale of donated books.Contributing to fundraising efforts,CEO Richard Evans participated in theinaugural Whitelion Sydney Bail Out 2011in order to raise funds to support youngpeople at risk. Staying overnight with31 other CEO inmates at the YASMARJuvenile Detention Centre on 13 May 2011,$2,470 was raised for Whitelion, also apartner in Sydney Opera House’s In theHouse youth engagement program (p.36).Challenges > Increasing operationaldemands – Balancing the increasingnumber of day-to-day work demands withthe time required for staff developmentis an ongoing challenge. Consistentengagement with staff to measureorganisational and personal performanceto date has assisted in identifying areasof development. Key training programsare scheduled on a monthly basis withothers conducted on demand and learningresources provided online. Ongoing workto improve the alignment of performancemeasurement programs to the business

65Learning and Development 2010/11ProgramParticipantsCustomer Service 224Orientation and Role Training 105Bullying and Harassment Workshops 95Management Development and Coaching 73Career Coaching and Interview Skills 66Team Building 57Conflict Management and Grievance Handling 46Workplace Training and Assessment Programs 41Manual Task Training 37Workplace Health and Safety Legislation Briefing 36Cash Handling; Sales Techniques 33Performance Recognition 30Production Safety Awareness and Training Programs 29Technical and Licence Training Programs 14total 886planning cycle will allow better integrationof development needs and business activities.An integrated safety culture – Creatingan inclusive safety culture relies oncommunicating with a range of individualsand workgroups onsite. In addition toSydney Opera House staff, the safetyof resident and supported companies,contractors, commercial partners,performers, visitors and patrons mustbe managed on a daily basis. A newsafety management structure and planwas established this year to ensure aconsistent safety message is delivered toall people onsite, and targeted activities tobuild safety awareness amongst productionsafety teams have been implemented.The Future > + Third Marker BusinessExcellence Project staff survey andforums to identify further improvementopportunities (2011/12). + Seniormanagement training program inpartnership with the Australian Instituteof Management (2011/12). + Performingarts safety network to be established toshare information and establish industrybenchmarks (2011/12). + Safety trainingneeds analysis conducted to inform a newsafety training plan (2011/12)Five-year comparison of staff as at 30 June 20112011 2010 2009 2008 2007Total Permanent Staff 263 306 321 313 350Equivalent Full-TimePermanent StaffTotal Non-Permanent Staff(includes casuals)Equivalent Full-TimeNon-Permanent Staff(includes casuals)Total Full-Time Equivalent(includes casuals)216.32 251.36 263.9 254.04 285.35485 424 393 392 352234.49 204.37 186.37 189.63 151.67450.81 455.73 450.27 443.67 437.02“The last five yearshas seen an 82%'Sydney growth Opera in attendances Househas to been Sydney a Registered OperaTraining House performing Organisation artsawarding programming.” nationalqualifications sinceDecember 1999.'Data is calculated over the last pay period each financial year. Total staff numbers include current casual staff whodid not work in the last pay period of the financial year.

66earning our wayimagination lives insidefinancial overviewOverall group result is a loss for the year of $5.0m. This comprises a profitfrom general operations of $3.2m and a net profit of $7.1m from buildingdevelopment and maintenance, offset fully by depreciation expense of $15.3m.The overall loss reflects the high depreciation associated with the SydneyOpera House asset base, which has a value in excess of $2 billion.OVERVIEW To maintain sufficient cashreserves for general operations, SydneyOpera House actively prioritises fundingrequests to ensure sustainable operationslonger term. During 2010/11 the generaloperating cash flow was $2.8m, with the2010/11 general operations profit of $3.2moffset by investment in capital assetsof $0.4m. The strong general operatingprofit was achieved with cost control,a number of one-off upsides, increasedactivity levels across the businessand the conscious deferral of $1.5mproject expenditure into future years.Expenditure on building maintenanceand building development continued to befunded 100% by government grants withany profit due to combination of timingissues and the capitalisation of $14.0min 2010/11 of building maintenance anddevelopment expenditure.Holding adequate cash reserves is animportant risk strategy in ensuringcapacity to maintain operations giventhe volatility in global and domesticmarkets, as well as to manage potentialrisks associated with around the clockbuilding operations. General operatingcash reserves at $12.5m are not large;they represent only 13.4% of operatingactivities revenue and are immaterial interms of Sydney Opera House’s asset basein excess of $2 billion.General Operations Operating revenuesincreased by 16% or $13.1m on the prioryear. Key reasons for this include:- Operating interest increased by $0.8mor 43% due to higher opening fundsand cash flow profile;- Self Generated Fundraising revenuesincreased by $0.6m or 12% duepredominantly to sponsorshipgrowth; and- Commercial Revenues and OtherRevenues increased by $11.8m or20% with major movements:> SOH Presents increased by $6.3m dueto increased activity and attendanceduring the year, as in prior years theresult includes Events NSW fundingof $1.2m for Vivid LIVE 2011.> Venue related revenues increased$2.9m or 15% reflecting increasedactivity levels, aided by a strongForecourt season.> Food and Beverage increased by$1.1m or 23% due to increasedpatronage and new food andbeverage offerings on site.Sydney Opera House, its residentcompanies and other presenters continueto have an important role in the performingarts, supporting a range of artists andpresenting both classic and new works thatengage and inspire audiences.- overall 1,795 performances werepresented to an audience of 1,318,525,an increase of 3.6% in attendance overthe prior year;- the four major resident companiespresented 571 performances covering

67opera, music, ballet and theatre toaudiences of 653,743, an increase of0.7% in attendance; and- Sydney Opera House itself presented849 performances, covering a widerange of genre to audiences of 384,815,an increase of 17% in attendance overthe prior year. In addition 40 publicactivities attracted attendances of47,357, driven by the Architects ofAir Forecourt event which attracted45,410 people.Expenditure on Sydney Opera Houseprogramming activities was $25.9m witha net investment after related productionincome of $3.3m.Building Development and MaintenanceThe Other Activities profit of $7.1mincludes recognition of Governmentgrants for Building Maintenance of$29.5m and $1.9m for the WaterproofingRepairs project. In 2010/11 maintenanceexpenditure totalled $28.8m – of which$5.8m was capitalised. Significantprogress was made in undertaking anumber of high priority maintenanceprojects in 2010/11, including theDrama Theatre sound system upgrade;enhancement of the Lower Concourseservices infrastructure to support Foodand Beverage activities, upgrade ofcommunications networks, refurbishmentof theatre lighting control desks andvarious energy efficiency projects.This year building development continued,with the commencement of the VehicleAccess & Pedestrian Safety Project and theawarding of the contract to commence theWaterproofing Repairs work.Funding has been approved for the StageManagement Systems upgrade $8.6m andthe Lift and Escalators Upgrade $18.5mprojects in future years.An additional other grant of $0.9m wasadvised by the Office of Environment andHeritage for upgrades to lighting controlsystems that will assist in achieving ourenergy saving targets, of which $0.3mwas received in 2010/11.‘Expenditure onbuilding maintenanceand buildingdevelopment continuedto be funded 100% bygovernment grantswith any profit dueto combination oftiming issues andcapitalisation.’

68Net investment in SYDNEY OPERA HOUSE PROGRAMMING05/06 06/07 07/08 08/09 09/10 10/11$3.3m$3.5m$4.2m$2.4m$2.8m$3m2011 2010NOTE $’000 $’000Operating ActivitiesRevenuesOperating revenues 79,163 65,942Government endowment 14,316 14,44393,479 80,385ExpenseOperating expense (90,295) (78,571)Operating profit before depreciation & other activities 3,184 1,814Depreciation expense (15,313) (17,008)Other ActivitiesRevenuesMaintenance Grant 29,469 29,013Capital Grant 1,930 0Asset related adjustment revenue 985 675Increased in Prepaid superannuation 242 364Restricted donation revenues 343 5332,969 30,105ExpensesBuilding refurbishment & maintenance expense (25,775) (26,604)Asset related adjustment expense (33) (2,595)Restricted donation expense (39) (100)(25,847) (29,299)Other Activities Profit / (Loss) 7,122 806Surplus / (Deficit) for the year as per AuditedFinancial Report Income Statement (5,007) (14,388)

696%3%15%SOURCE OF FUNDING FOR OPERATING ACTIVITES 2010/112011$’0002010$’00076%Self generated - Commercial & recoveries 70,824 59,022Endowment 14,316 14,443Self generated fundraising 5,627 5,024Interest 2,712 1,896TOTal 93,479 80,3854% 4% 2%8%32%COMMERCIAL REVENUE SOURCES 2010/118%2011$’0002010$’00011%SOH Presents 22,523 16,236Venue rental & Recoveries 21,636 18,736Tourism Services 7,499 7,702Food & Beverage 5,851 4,767Ticketing Services 5,665 5,090Front of House 3,160 2,865Business Development & Retail 1,629 2,273Other revenue & recoveries 2,861 1,35331%TOTal 70,824 59,0226%5% 3%7%OPERATING EXPENSES 2010/117%25%47%2011$’0002010$’000Personnel expense (42,725) (39,746)Presentation (22,110) (16,386)Marketing (6,269) (5,878)Facility expense (6,511) (6,387)Administration (5,730) (3,701)Fee of service (4,162) (3,325)Other * (2,788) (3,148)TOTal 90,295 78,571* Other includes - Merchandising, Repair and Maintenance, Tourism and other

70earning our wayimagination lives insideFINANCIAL statementsINDEX71 Statement in Accordance with Section 41c72 Independent Auditor’s Report73 Income73 Statement of Comprehensive Income74 Statement of Changes in Equity75 Balance Sheet76 Cash Flow Statement76 Notes To and Forming Part of theFinancial Statement76 1. Summary of Significant Policies81 2. Financial Risk Management83 3. Income83 4. Expenses84 5. Trustees’ Remuneration84 6. Cash and Cash Equivalents84 7. Trade and Other Receivables84 8. Prepayments85 9. Derivatives Used for Hedging85 10. Inventory – Held for Distribution85 11. Property, Plant and Equipment87 12. Intangible Assets87 13. Trade and Other Payables87 14. Deferred Revenue87 15. Payables – Personnel Services87 16. Provisions88 17. Financial Instruments91 18. Trust Funds92 19. Interest in Joint Ventures93 20. Movements in Equity93 21. Commitments94 22. Contingent Liabilities94 23. Payments to Consultants94 24. After Balance Date Events94 25. Notes to the Statementof Cash Flows95 Budget

71SYDNEY OPERA HOUSE TRUSTSTATEMENT IN ACCORDANCE WITH SECTION 41C OF THE PUBLIC FINANCE AND AUDIT ACT, 1983Pursuant to Section 41C of the Public Finance and Audit Act, 1983, and in accordancewith a resolution of the Sydney Opera House Trust, we being members of the Trust,state that:1. In our opinion, the accompanying financial statements exhibit a true and fair viewof the financial position of the Sydney Opera House Trust as at 30 June 2011, andfinancial performance for the year then ended.2. The financial statements have been prepared in accordance with the provisions ofthe Public Finance and Audit Act, 1983, the Public Finance and Audit (General)Regulation 2010 and the Treasurer’s Directions.Further, we are not aware of any circumstances which would render any particularsincluded in the financial statements to be misleading or inaccurate.Kim Williams AMChairmanCatherine BrennerChair, Audit and Risk Committee/TrusteeSYDNEY23 SEPTEMBER 2011Sydney Opera House

72INDEPENDENT AUDITOR’S REPORTSydney Opera House Trustgpo box 12sydney nsw 2001To Members of the New South Wales Parliament,I have audited the accompanying financial statements of the Sydney Opera House Trust (the Trust), which comprise the balances sheetas at 30 June 2011, the income statement, the statement of comprehensive income, the statement of changes in equity and the cash flowstatement for the year then ended, notes comprising a summary of significant accounting policies and other explanatory information.OpinionIn my opinion, the financial statements:- give a true and fair view of the financial position of the Trust as at 30 June 2011, and of its financial performance for the yearthen ended in accordance with Australian Accounting Standards- are in accordance with section 41B of the Public Finance and Audit Act 1983 (the PF&A Act) and the Public Finance and AuditRegulation 2010.My opinion should be read in conjunction with the rest of this report.The Trustees’ Responsibility for the Financial StatementsThe Trustees are responsible for the preparation and fair presentation of the financial statements in accordance with AustralianAccounting Standards and the PF&A Act and for such internal control as the Trustees determine is necessary to enable the preparationof the financial statements that are free from material misstatement, whether due to fraud or error.Auditor’s ResponsibilityMy responsibility is to express an opinion on the financial statements based on my audit. I conducted my audit in accordancewith Australian Auditing Standards. Those standards require that I comply with relevant ethical requirements relating to auditengagements and plan and perform the audit to obtain reasonable assurance about whether the financial statements are free frommaterial misstatement.An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the financial statements.The procedures selected depend on the auditor’s judgement, including the assessment of the risks of material misstatement of thefinancial statements, whether due to fraud or error. In making those risk assessments, the auditor considers internal controls relevantto the entity’s preparation and fair presentation of the financial statements in order to design audit procedures that are appropriatein the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the entity’s internal controls. An auditalso 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 statements.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- about the effectiveness of its internal control- about the security and controls over the electronic publication of the audited financial statements on any website where theymay be presented- about any other information which may have been hyperlinked to/from the financial statements.IndependenceIn conducting my audit, I have complied with the independence requirements of the Australian Auditing Standards and other relevantethical pronouncements. The PF&A Act further promotes independence by:- providing that only Parliament, and not the executive government, can remove an Auditor General- mandating the Auditor General as auditor of public sector agencies but precluding the provision of non audit services, thusensuring the Auditor General and the Audit Office of New South Wales are not compromised in their role by the possibility oflosing clients or income.Steven MartinDirector, Financial Audit Services27 September 2011SYDNEY

INCOME STATEMENTFOR THE YEAR ENDED 30 JUNE 2011732011 2010NOTE $’000 $’000IncomeBEGINNINGOF AUDITEDFINANCIALstatementsSale of goods and services income 3(a) 61,928 51,300Share of net profits for joint venturesaccounted for using the equity method 19 - 121Investment income 3(b) 3,329 2,597Grants and contributions 3(c) 8,874 6,570Government contributions income 3(d) 45,715 43,456Total Income 119,846 104,044ExpensesPersonnel services expense 4(a) 42,601 39,183Other expenses 4(b) 41,236 37,216Maintenance expense 4(c) 25,703 25,025Depreciation and amortisation expense 4(d) 15,313 17,008Total Expenses 124,853 118,432Deficit for the year 20 (5,007) (14,388)The accompanying notes form part of this financial statement.STATEMENT OF COMPREHENSIVE INCOMEFOR THE YEAR ENDED 30 JUNE 20112011 2010NOTE $’000 $’000Deficit for the year 20 (5,007) (14,388)Other comprehensive incomeRevaluation of land, property,fabric and internal fit-out 20 21,896 350,063Unrealised profit/(losses)on forward exchange contracts 9,20 266 (189)Other comprehensive income for the year 22,162 349,874Total comprehensive income for the year 17,155 335,486The accompanying notes form part of this financial statement.

74STATEMENT OF CHANGES IN EQUITYFOR THE YEAR ENDED 30 JUNE 2011aCCumulated Asset Revaluation Hedgefunds Reserve Reserve TOTalNOTE $’000 $’000 $’000 $’000Balance at 1 July 2010 231,280 1,902,973 (332) 2,133,921Deficit for the year (5,007) - - (5,007)Other Comprehensive IncomeNet increase in property, plant and equipment 20 - 21,896 - 21,896Transfers on disposals 20 3,714 (3,714) - -Unrealised profit 9,20 - - 266 266Total other comprehensive income 3,714 18,182 266 22,162Total Comprehensive Income for the year (1,293) 18,182 266 17,155Balance at 30 June 2011 229,987 1,921,155 (66) 2,151,076Balance at 1 July 2009 212,500 1,586,078 (143) 1,798,435Deficit for the year (14,388) - - (14,388)Other Comprehensive IncomeNet increase in property, plant and equipment 20 - 350,063 - 350,063Transfers on disposals 20 33,168 (33,168) - -Unrealised losses 9,20 - - (189) (189)Total other comprehensive income 33,168 316,895 (189) 349,874Total Comprehensive Income for the year 18,780 316,895 (189) 335,486Balance at 30 June 2010 231,280 1,902,973 (332) 2,133,921The accompanying notes form part of this financial statement.

Balance SHEETAS AT 30 JUNE 2011752011 2010NOTE $’000 $’000ASSETSCurrent AssetsCash and cash equivalents 6 49,768 48,752Trade and other receivables 7 3,198 3,733Prepayments 8 4,184 4,427GST receivable 1,363 870Derivatives used for hedging 9 1,373 2,073Inventory 10 95 112Total Current Assets 59,981 59,967Non - Current AssetsProperty, plant and equipment 11 2,125,654 2,104,465Intangible assets 12 424 773Total Non - Current Assets 2,126,078 2,105,238Total Assets 2,186,059 2,165,205LIABILITIESCurrent LiabilitiesTrade and other payables 13 10,507 6,537Deferred revenue 14 9,378 10,381Payables - Personnel service providers 15 12,147 10,420Provisions 16 230 152Derivative financial instruments 9 1,439 2,405Total Current Liabilities 33,701 29,895Non - Current LiabilitiesPayables - Personnel service providers 15 1,152 1,128Provisions 16 130 261Total Non - Current Liabilities 1,282 1,389Total Liabilities 34,983 31,284Net Assets 2,151,076 2,133,921EQUITYAccumulated funds 20 229,987 231,280Reserves 20 1,921,089 1,902,641Total Equity 2,151,076 2,133,921The accompanying notes form part of this financial statement.

76CASH FLOW STATEMENTFOR THE YEAR ENDED 30 JUNE 2011SYDNEY OPERA HOUSE TRUSTnotes TO AND FORMING PARTOF THE FINANCIAL STATEMENTSFOR THE YEAR ENDED 30 JUNE 2011Cash flows from operating activities2011 2010NOTE $’000 $’000ReceiptsReceipts from operations 77,721 55,100Interest received 3,157 2,447Cash flows from Government 45,715 43,456Total receipts 126,593 101,003PaymentsPayments to suppliers andpersonnel service providers (112,783) (98,065)Total payments (112,783) (98,065)Net cash inflows from operating activities 25 13,810 2,938Cash flows from investing activitiesPayments for property, plant and equipment (12,794) (14,496)Net cash outflows from investing activities (12,794) (14,496)Net increase/(decrease) in cash and cash equivalents 1,016 (11,558)Cash and cash equivalents at the beginning of thefinancial year 48,752 60,310Cash and cash equivalents at theend of the financial year 6 49,768 48,752The accompanying notes form part of this financial statement.1. SUMMARY OF SIGNIFICANTaccounting POLICIES(a) Reporting EntityThe Sydney Opera House Trust isconstituted as a body corporate by theSydney Opera House Trust Act, 1961. It isdesignated as a Public Trading Enterpriseand a transitional entity by NSW Treasuryand required to use the not for profitaccounting standards.This financial statement for the yearended 30 June 2011 has been authorisedfor issue by the Sydney Opera HouseTrust on 23 September 2011.(b) Basis of PreparationThe financial statement is a generalpurpose financial statement which hasbeen prepared on an accruals basis andin accordance with applicable AustralianAccounting Standards (which includeAustralian Accounting Interpretations),the requirements of the Public Financeand Audit Act, 1983, and the PublicFinance and Audit Regulation, 2010, andTreasurer’s Directions.Property, plant and equipment, collectionassets and financial assets at ‘fair valuethrough profit or loss’ are measured at fairvalue. Other financial statement items areprepared on an accrual basis and basedon historical costs. The methods used formeasuring fair value are discussed furtherbelow.The Trust has kept proper accounts andrecords in relation to all of its operationsin accordance with Section 41(1) of thePublic Finance and Audit Act, 1983.Judgements, key assumptions andestimations management has made aredisclosed in the relevant notes to thefinancial statements.Figures shown in the financial statementhave been rounded to the nearest $1,000and expressed in Australian currency.(c) Statement of ComplianceThe financial statements and notes complywith Australian Accounting Standardswhich include Australian AccountingInterpretations.(d) InsuranceThe Trust’s insurance activities areconducted through the NSW Treasury

77Managed Fund Scheme of self insurancefor Government agencies. The expense(premium) is determined by the FundManager based on past claim experience.(e)Accounting for Goods & Services Tax (GST)Revenues, expenses and assets arerecognised net of the amount of GST,except:- the amount of GST incurred by theTrust as a purchaser that is notrecoverable from the AustralianTaxation Office is recognised as partof the cost of acquisition of an asset oras part of an item of expense; and- receivables and payables are statedwith the amount of GST included.Cash flows are included in the cash flowstatement on a gross basis. However, theGST components of cash flows arisingfrom investing and financing activitieswhich is recoverable from, or payableto, the Australian Taxation Office areclassified as operating cash flows.(f) Income RecognitionIncome is measured at the fair valueof the consideration or contributionreceived or receivable. Revenues arerecognised in accordance with AASB 118and AASB 1004. Additional commentsregarding the accounting policies for therecognition of income are discussed below.(i) Sale of GoodsRevenue from the sale of goods isrecognised as income when the Trusttransfers the significant risks and rewardsof ownership of the assets. In cases wherethe Trust acts as an agent, the Trust doesnot have exposure to the significant risksand rewards associated with the sale ofgoods and in such cases the income earnedis reported on the net basis.(ii) Rendering of ServicesRevenue is recognised when the serviceis provided or by reference to the stageof completion (based on labour hoursincurred to date). In cases where theTrust acts as an agent, the Trust does nothave exposure to the significant risks andrewards associated with the sale of goodsand in such cases the income earned isreported on the net basis.(iii) Investment, Rental and Royalty IncomeInterest revenue is recognised using theeffective interest method as set out in AASB139 Financial Instruments: Recognition andMeasurement. Rental revenue is recognisedin accordance with AASB 117 Leases ona straight-line basis over the lease term.Royalty income is recognised in accordancewith AASB 118 Revenue on an accrual basisin accordance with the substance of therelevant agreement.(iv) Grants and ContributionsGrants and contributions (includingdonations) are generally recognised asincome, when the Trust obtains controlover the assets comprising the grantsand contributions. Control over grantsand contributions is normally obtainedwhen the obligations relating to thereceipt have been met and in the case ofdonations on receipt of cash.(v) Government ContributionsGovernment contributions (includinggrants and donations) are recognised asrevenue when the Trust obtains controlover the assets. Control over Governmentcontributions is obtained upon the receiptof cash. Government contributions aregranted for recurrent, maintenance andcapital purposes.(g) Assets(i) Acquisition of AssetsThe cost method of accounting is used forthe initial recording of all acquisitions ofassets controlled by the Trust. Cost is theamount of cash or cash equivalents paidor the fair value of the other considerationgiven to acquire the asset at the time ofits acquisition or construction or, whereapplicable, the amount attributed tothat asset when initially recognised inaccordance with the specific requirementsof other Australian Accounting Standards.Assets acquired at no cost, or for nominalconsideration, are initially recognised attheir fair value at the date of acquisition.Fair value is the amount for which anasset could be exchanged betweenknowledgeable, willing parties in anarm’s length transaction.Where payment for an item is deferredbeyond normal credit terms, its cost isthe cash price equivalent, i.e. the deferredpayment amount is effectively discountedat an asset-specific rate.(ii) Capitalisation ThresholdThe minimum value of an asset, or groupof parts or components of an asset to becapitalised is $5,000.(iii) Revaluation of Property, Plant and EquipmentPhysical non-current assets are valued inaccordance with the “Valuation of PhysicalNon-Current Assets at Fair Value” Policyand Guidelines Paper (TPP 07-01). Thispolicy adopts fair value in accordance withAASB 116 Property, Plant and Equipmentand AASB 140 Investment Property.Property, plant and equipment ismeasured on an existing use basis, wherethere are no feasible alternative uses inthe existing natural, legal, financial andsocio-political environment. However, inthe limited circumstances where there arefeasible alternative uses, assets are valuedat their highest and best use.Fair value of property, plant andequipment is determined based on thebest available market evidence, includingcurrent market selling prices for thesame or similar assets. Where there is noavailable market evidence, the asset’s fairvalue is measured at its market buyingprice, the best indicator of which isdepreciated replacement cost.The Trust revalues each class of property,plant and equipment at least every fiveyears or with sufficient regularity toensure that the carrying amount of eachasset in the class does not differ materiallyfrom its fair value at reporting date.Land was revalued by the Land & PropertyManagement Authority as at 30 June 2010.Building fabric, structure, internal fit out,building services and the art collectionwere revalued by independent valuers at30 June 2010. Building fabric, structure,internal fit out and building serviceswere revalued by Rider Levett BucknallNSW Pty Ltd and the art collection wasrevalued by Sue Hewitt.Management is of the opinion that thecarrying values of land, building, buildingservices and the art collection do notdiffer significantly from their fair valueat 30 June 2011.Plant and equipment were revalued byindependent valuers, Rodney Hyman AssetServices Pty Ltd, as at 30 June 2011.The value of work in progressrepresents capital works not completed at30 June 2011.Non-specialised assets with short usefullives are measured at depreciated historicalcost, as a surrogate for fair value.When revaluing non-current assets byreference to current prices for assets newerthan those being revalued (adjusted to reflect

78SYDNEY OPERA HOUSE TRUSTnotes TO AND FORMING PART OF THE FINANCIAL STATEMENTSthe present condition of the assets), thegross amount and the related accumulateddepreciation are separately restated.For other assets, any balances ofaccumulated depreciation at therevaluation date in respect of those assetsare credited to the asset accounts towhich they relate. The net asset accountsare then increased or decreased by therevaluation increments or decrements.Revaluation increments are crediteddirectly to the asset revaluationreserve, except that, to the extent thatan increment reverses a revaluationdecrement in respect of that class ofasset previously recognised as an expensein the surplus/deficit, the increment isrecognised immediately as Income in thesurplus/deficit.Revaluation decrements are recognisedimmediately as expenses in the surplus,except that, to the extent that a creditbalance exists in the asset revaluationreserve in respect of the same class ofassets, they are debited directly to theasset revaluation reserve.As a not-for-profit entity, revaluationincrements and decrements are offsetagainst one another within a class ofnon-current assets, but not otherwise.Where an asset that has previously beenrevalued is disposed of, any balanceremaining in the asset revaluation reservein respect of that asset is transferred toaccumulated funds.(iv) Impairment of Property, Plant & EquipmentAs a transitional entity, reportingunder the not-for-profit guidelines, theimpairment testing requirements aremodified under AASB 136. AASB 136modifies the recoverable amount test tothe higher of fair value less costs to selland depreciated replacement cost. Thismeans that, for an asset already measuredat fair value, impairment can only ariseif selling costs are material. Selling costsare deemed immaterial.(v) Intangible AssetsThe intangible assets held by SydneyOpera House Trust comprise software forinternal use and is recognised at cost.Intangible assets are subsequentlymeasured at fair value only if there isan active market. As there is no activemarket for the agency’s intangible assets,the assets are carried at cost less anyaccumulated amortisation.The useful lives of intangible assets areassessed to be finite. The Trust’s softwareis amortised on a straight line basis over3-5 years.All intangible assets were assessed forimpairment as at 30 June 2011. Nointangible assets were found to be impaired.(vi) Depreciation and AmortisationDepreciation is provided on certainproperty, plant and equipment.Depreciation is calculated on a straightline basis so as to write off the depreciableamount of each asset over its expecteduseful life to its estimated residual value.Leasehold improvements are depreciatedover the period of the lease or estimateduseful life, whichever is the shorter,using the straight line method. Theestimated useful lives, residual values anddepreciation method are reviewed at theend of each annual reporting period.All material separately identifiablecomponents of assets are depreciated overtheir shorter useful lives.Land is not a depreciable asset. The SydneyOpera House building and the artworkcollection are considered to be heritageassets with an extremely long useful life.Depreciation for these items cannot bereliably measured because the useful lifeand the net amount to be recovered at theend of the useful life cannot be reliablymeasured. In these cases depreciationis not recognised. The decision not torecognise depreciation for these assets isreviewed annually. In FY11 Managementis of the opinion that depreciation shouldnot be recognised on these assets.Depreciation rates are shown hereunder:Category ofAssetsRate ofDepreciation %Computer hardware 10, 20 & 33.3Computer software 20 & 33.3Plant and equipment Range between1 & 33.3Forklifts and Vehicle 10Grand Organ 0.5Amortisation10, 20 & 33.3of leaseholdimprovements(vii) MaintenanceThe costs of day-to-day servicing ormaintenance are charged as expensesas incurred, except where they relate tothe replacement of a part or componentof an asset, in which case the costs arecapitalised and depreciated.(viii) Leased AssetsA distinction is made between financeleases which effectively transfer from thelessor to the lessee substantially all therisks and benefits incidental to ownershipof the leased assets, and operating leasesunder which the lessor effectively retainsall such risks and benefits.The Trust has no finance leases.Operating lease payments are charged tothe Income Statement in the periods inwhich they are incurred.The cost of improvement to or onleasehold property is capitalised anddisclosed as leasehold improvements andamortised over the unexpired period ofthe lease term.Leasehold decommissioning costs havebeen capitalised and expensed wherethe Sydney Opera House Trust iscontractually bound to restore the leasedpremises upon lease expiry. The assetand provision for decommissioning costsrepresents the present value of the Trust’sbest estimate of the future sacrifice ofeconomic benefits that will be requiredto restore the leased premises to theiroriginal condition. The estimate hasbeen made on the basis of market valueon commercially leased property. Theunexpired terms of the premises leaserange from 1 to 3 years.(ix) Loans and ReceivablesLoans and receivables are nonderivativefinancial assets with fixedor determinable payments that arenot quoted in an active market. Thesefinancial assets are recognised initiallyat fair value, usually based on thetransaction cost or face value. Subsequentmeasurement is at amortised cost usingthe effective interest method, lessan allowance for any impairment ofreceivables. Any changes are accountedfor in the operating statement whenimpaired, derecognised or through theamortisation process.Short-term receivables with no statedinterest rate are measured at the originalinvoice amount where the effect ofdiscounting is immaterial.

79(x) InventoriesInventories held for distribution arestated at cost, adjusted when applicablefor any loss of service potential. A lossof service potential is identified andmeasured based on the existence of acurrent replacement cost that is lowerthan the carrying amount. Cost isassigned to individual items of inventoryusing the weighted average cost method.(xi) InvestmentsInvestments are initially recognised atfair value plus, in the case of investmentsnot at fair value and the carryingexpenses are recorded on the profitor loss through transaction costs.The Trust determines the classificationof its financial assets after initialrecognition and, when allowed andappropriate, re-evaluates this at eachfinancial year end.Fair value through profit or loss - TheTrust subsequently measures investmentsclassified as “held for trading” ordesignated upon initial recognition “atfair value through profit or loss” at fairvalue. Financial assets are classified as“held for trading” if they are acquired forthe purpose of selling in the near term.The Hour-Glass Investment Facilities(other than the Hour Glass Cash facility)are designated at fair value throughprofit or loss using the second leg of thefair value option – i.e. these financialassets are managed and their performanceis evaluated on a fair value basis, inaccordance with a documented riskmanagement strategy, and informationabout these assets is provided internallyon that basis to the Trust’s keymanagement personnel.Any Hour Glass Investment facilities heldby the Trust are short term unit trustinvestment funds managed by the NSWTreasury Corporation. The agency hasbeen issued with a number of units inTCorp’s Hour Glass Cash Facility Trust,based on the amount of the deposit andthe unit value for the day.Held to maturity investments – Nonderivativefinancial assets with fixedor determinable payments and fixedmaturity that the agency has the positiveintention and ability to hold to maturityare classified as “held to maturity”. Theseinvestments are measured at amortisedcost using the effective interest method.Changes are recognised in the incomestatement when impaired, derecognisedor though the amortisation process.Available for sale investments - Anyresidual investments that do not fallinto any other category are accountedfor as available for sale investments andmeasured at fair value directly in equityuntil disposed or impaired, at which timethe cumulative gain or loss previouslyrecognised in equity is recognised inthe income statement. However, interestcalculated using the effective interestmethod and dividends are recognised inthe income statement.Purchases or sales of investments undercontract that require delivery of the assetwithin the timeframe established byconvention or regulation are recognisedon the trade date; i.e. the date the entitycommits to purchase or sell the asset.The fair value of investments that aretraded at fair value in an active market isdetermined by reference to quoted currentbid prices at the close of business on thebalance sheet date.(xii) Impairment of financial assetsAll financial assets, except thosemeasured at fair value through profit andloss, are subject to an annual review forimpairment. An allowance for impairmentis established when there is objectiveevidence that the entity will not be ableto collect all amounts due.For financial assets carried at amortisedcost, the amount of the allowance isthe difference between the asset’scarrying amount and the present value ofestimated future cash flows, discountedat the effective interest rate. The amountof the impairment loss is recognised inthe income statement. When an availablefor sale financial asset is impaired, theamount of the cumulative loss is removedfrom equity and recognised in the incomestatement, based on the differencebetween the acquisition cost (net of anyprincipal repayment and amortisation)and current fair value, less anyimpairment loss previously recognisedin the income statement.Any reversals of impairment losses arereversed through the income statement,where there is objective evidence, exceptreversals of impairment losses on aninvestment in an equity instrumentclassified as “available for sale” mustbe made through the reserve. Reversalsof impairment losses of financial assetscarried at amortised cost cannot result ina carrying amount that exceeds what thecarrying amount would have beenhad there not been an impairment loss.(xiii) Derecognition of financial assets andfinancial liabilitiesA financial asset is derecognised whenthe contractual rights to the cash flowsfrom the financial assets expire; or if theagency transfers the financial asset:- where substantially all the risks andrewards have been transferred; or- where the agency has not transferredsubstantially all the risks and rewards,if the entity has not retained control.Where the agency has neithertransferred nor retained substantiallyall the risks and rewards or transferredcontrol, the asset is recognised tothe extent of the agency’s continuinginvolvement in the asset.A financial liability is derecognised whenthe obligation specified in the contract isdischarged or cancelled or expires.(xiv) Derivative Financial InstrumentsThe Trust holds derivative financialinstruments to hedge its foreign currencyrisk exposures. Derivatives are initiallyrecognised at fair value; attributabletransaction costs are recognised in theprofit or loss when incurred. Subsequentto initial recognition, derivatives aremeasured at fair value and changestherein are accounted for as below.Changes in the fair value of the derivativehedging instrument designated as a cashflow hedge are recognised directly inequity to the extent that the hedge iseffective. To the extent that the hedgeis ineffective, changes in fair value arerecognised in profit or loss.If the hedge instrument no longermeets the criteria for hedge accounting,expires, or is sold, terminated orexercised, then hedge accountingis discontinued prospectively. Thecumulative gain or loss previouslyrecognised in equity remains thereuntil the forecast transaction occurs.(xv) Other AssetsOther assets are recognised ona cost basis.

80SYDNEY OPERA HOUSE TRUSTnotes TO AND FORMING PART OF THE FINANCIAL STATEMENTS(h) Personnel Servicesand Other Provisions(i) Personnel Services ArrangementsThe Trust and Communities NSW(CNSW) entered into a Memorandumof Understanding effective from 1 July2006 which sets out the arrangementsfor employment and payment of staffworking at the Sydney Opera Housewho are considered employees of CNSW.All payments to personnel and relatedobligations are done in CNSW name andABN and are classified as “PersonnelServices” costs in these financialstatements. The Public Sector Employmentand Management (Departments) Order2011 abolished CNSW on 1 April 2011as part of the restructure of all NSWGovernment Agencies. The currentarrangement with CNSW remainedeffective until 30 June 2011. Newarrangements between the Trust andDepartment of Trade and Investment,Regional Infrastructure and Service(DTIRIS) commenced 1 July 2011.(ii) Personnel Services, Annual Leave,Sick Leave and On-costsBased on the memorandum and employmentagreement with Communities NSW,provisions are calculated as part of thepersonnel services and stated as a liabilityto the service provider, Communities NSW.Provision is made for benefits accrued forpersonnel services (including non-monetarybenefits), and annual leave that fall duewholly within 12 months of the reportingdate are recognised and measured on anominal basis.Unused non-vesting sick leave doesnot give rise to a liability as it is notconsidered probable that sick leave takenin the future will be greater than thebenefits accrued in the future.The outstanding amounts of payrolltax, workers’ compensation insurancepremiums and fringe benefits tax, whichare consequential to the provision ofpersonnel services by the CommunitiesNSW, are recognised as liabilities andexpenses where the personnel services towhich they relate have been recognised.(iii) Long Service Leave and SuperannuationIn the financial statements ofCommunities NSW, long service leave iscalculated in accordance with AASB 119Employee Benefits for employees with 5 ormore years of service, using current ratesof pay. It is measured using an actuarialassessment with reference to the semiannualgovernment bond rate of 5.21% toarrive at the reported value and a currentliability. The Sydney Opera House Trustreports the equivalent expense and liabilityin its financial statements to reflect thisprovision of personnel services.The superannuation expense for thefinancial year is determined by usingthe formulae specified in NSW Treasuryguidelines. The expense for certainsuperannuation schemes (i.e. Basic Benefitand First State Super) is calculated as apercentage of the equivalent of employees’salary. For other superannuation schemes(i.e. State Superannuation Schemeand State Authorities SuperannuationScheme), the expense is calculated as amultiple of the equivalent of employees’superannuation contributions.Prepaid superannuation contributionsare recognised as non-current assetsin the Balance Sheet of CommunitiesNSW as required by AASB 119. SydneyOpera House Trust offsets the same valueagainst the Personnel Services payableto Communities NSW provided for undercurrent liabilities.(i)Other Liabilities(i) PayablesThese amounts represent liabilities forgoods and services provided to the Trustand other amounts, including interest,advance ticket sales and other income inadvance. Payables are recognised initially atfair value, usually based on the transactioncost or face value. Subsequent measurementis at amortised cost using the effectiveinterest method. Short-term payables withno stated interest rate are measured at theoriginal invoice amount where the effect ofdiscounting is immaterial.(ii) Other ProvisionsOther provisions are recognised when: theTrust has a present legal or constructiveobligation as a result of past events; it isprobable that an outflow of resources willbe required to settle the obligation; andthe amount can be reliably estimated.Provisions are measured at the presentvalue of management’s best estimate ofthe expenditure required to settle thepresent obligation at balance sheet date.The discount rate used to determine thepresent value reflects current marketassessments of the time value of moneyand the risk specific to the liability.(j) Joint VenturesThe Trust’s interests in joint ventures aredetermined as joint venture entities andaccounted for using the equity method.The Trust’s share of income, expenses,liabilities and assets of the joint ventureis disclosed in note 19 and the jointventure ceased to operate on 30 September2009. A joint venture entity is whereentities separate from the ventures areestablished to undertake a joint activity.(k) Fundraising and BequestsThe Trust receives donations and managesbequests. The incomes provide forexpenditure in the current year and infuture years. The transactions are reportedwithin the Trust’s financial statement.Amounts unspent in any year are carriedforward for appropriate expenditure infuture years. Details are provided in thenotes to these financial statements.(l) Comparative informationExcept where an Australian AccountingStandard permits or requires otherwise,comparative information is disclosedin respect of the previous period forall amounts reported in the financialstatements.(m) New Accounting Standardsand InterpretationsCertain new accounting standards andinterpretations have been published that arenot mandatory for 30 June 2011 reportingperiods. The following new AccountingStandards and Interpretations have not yetbeen adopted and are not yet effective.- AASB 2007-9 Amendments toAustralian Accounting Standardarising from the review of AASs27,29 & 31 (1 July 2009) relocatescertain requirements from AAS 27,AAS 29 and AAS 31 into existingtopic-based standards and also makesconsequential amendments. TheStandard clarifies that for-profitgovernment departments are outsidethe scope of both AASB 8 OperatingSegments and AASB 114 SegmentReporting and may not always be ableto comply with IFRSs. The Trust is anot-for-profit government department,and does not expect to be impacted bythese revisions.- AASB9 Financial Instruments andAASB 2009-11 Amendments to

81Australian Accounting Standardsarising from AASB 9. AASB9 simplifiesrequirements for the classificationand measurement of financialassets resulting from phase 1 of theIASB’s project to replace AASB139Financial Instruments. The mainimpact of AASB 9 will be that theexisting four category approach tomeasurement of financial assets afterinitial recognition will reduce to twocategories – either amortised cost orfair value. The Trust has not fullyevaluated the potential effect of thisstandard but given the nature of theTrust’s operations this standard is notexpected to have a significant impacton the Trust’s financial statements.- AASB2009-5 covers further amendmentsto Australian Accounting Standardsarising from the annual improvementproject. Some amendments will resultin accounting changes for presentation,recognition or measurement purposes,while other amendments will relate toterminology and editorial changes.- AASB1053 Application of Tiers ofAustralian Accounting Standards.This standard is designed to reducethe disclosure burden and costs ofpreparing audited financial statementsfor many entities that currently applythe full suite of Australian AccountingStandards. These entities (nowcalled ‘Tier 2’ entities) include largeproprietary companies in the for-profitprivate sector, all not-for-profit privatesector entities and the majority ofpublic sector entities. The standardwill impact on the Trust’s FinancialStatements and will be implemented inline with NSW Treasury Guidelines- ED 202R Leases. The proposed changeswill be less fundamental for leasescurrently classified as finance leases.However, significant changes willresult in the measurement of the assetsand liabilities arising from theseleases because of the way the exposuredraft proposes to account for optionsand contingent rentals. In addition,the pattern of income and expenserecognition in the profit or loss willchange significantly. The Trust is anoperating Lessee for 4 properties.2. FINANCIAL RISK MANAGEMENTThe Trust has exposure to the followingrisks from the use of financialinstruments:- credit risk- liquidity risk- market riskThese financial instruments arisedirectly from Sydney Opera House Trust’soperations or are required to finance theTrust’s operations. The Trust does notenter into or trade financial instruments,including derivative financialinstruments, for speculative purposes.This note presents information aboutthe Trust’s exposure to each of the aboverisks, their objectives, policies andprocesses for measuring and managingrisk. Further quantitative and qualitativedisclosures are included as appropriate,throughout the financial statement.The Audit and Risk Committee of theTrust has overall responsibility for theestablishment and oversight of the riskmanagement framework and agreespolicies for managing risks. Compliancewith policies is reviewed by the InternalAuditors and the Audit and RiskCommittee on a continuous basis. Thechair of the Audit and Risk Committeeis an independent member of the Trust,and the committee regularly reports to theTrust on its activities.A regular business risk assessment isundertaken to identify and analyse therisks faced by the Trust, to determineappropriate controls and monitoringmechanisms, and formulate the internalaudit program. Internal Audit undertakesboth regular and ad hoc reviews ofmanagement controls and procedures,the results of which are reported to theAudit and Risk Committee. In additionthe Audit and Risk Committee seeksreports of management on a range of riskmanagement activities.(a) Credit RiskCredit risk is the risk of financial loss tothe Trust if a customer or counterpartyto a financial instrument fails to meetits contractual obligations, and arisesprincipally from the financial assets ofthe Trust, including cash, receivablesand authority deposits held through thenormal course of business. The Trust’smaximum exposure to credit risk isrepresented by the carrying amount of thefinancial assets (net of any allowance forimpairment).(i) Trade and Other ReceivablesAll trade debtors are recognised asamounts receivable at balance date.Collectibility of trade debtors is reviewedon an ongoing basis. Procedures asestablished in the Treasurer’s Directionsare followed to recover outstandingamounts, including letters of demand.Debts which are known to be uncollectibleare written off. The Trust has raisedan allowance for impairment thatrepresents their estimate of incurredlosses in respect of trade and otherreceivables, based on objective evidencethat all amounts due will not be able tobe collected. This evidence includes pastexperience, and current and expectedchanges in economic conditions anddebtor credit ratings. No interest isearned on trade debtors. Sales are madeon 30 day terms.(ii) Other Financial AssetsCredit risk associated with the Trust’sfinancial assets, other than receivables,is managed through setting investmentlimits and limiting investments tocounterparties that have investmentgrade credit ratings from major creditrating agencies. Authority deposits heldwith NSW TCorp are guaranteed bythe State. TCorp deposits are similar tomoney market or bank deposits and canbe placed “at call” or for a fixed term. TheTrust has also placed funds on depositwith major banks, having regard to therating provided by Standard & Poors.Bank deposits are for fixed terms, andthe interest rate payable is negotiatedinitially and is fixed for the term of thedeposit. The interest rate payable on atcall deposits vary. None of these assetsare past due or impaired.The Trust has short term investments in(New South Wales Treasury Corporation’s)TCorp’s Hour-Glass investment facilities.The Trust’s investments are representedby a number of units in a cash facility.The deposits have varying maturitydates. TCorp appoints and monitors fundmanagers and establishes and monitorsthe application of appropriate investmentguidelines.

82SYDNEY OPERA HOUSE TRUSTnotes TO AND FORMING PART OF THE FINANCIAL STATEMENTS(b) Liquidity riskLiquidity risk is the risk that the Trustwill be unable to meet its paymentobligations when they fall due. The Trustcontinuously manages risk throughmonitoring future cash flows andmaturities planning to ensure adequateholding of high quality liquid assets.The Trust holds no loan facilities andduring the current and prior years therewere no instances of bank overdrafts. TheTrust’s exposure to liquidity risk is deemedinsignificant based on prior periods’ dataand current assessment of risk.The liabilities are recognised for amountsdue to be paid in the future for goods orservices received, whether or not invoiced.Amounts owing to suppliers (which areunsecured) are settled in accordance withthe policy set out in Treasurer’s Direction219.01. If trade terms are not specified,payment is made no later than the end ofthe month following the month in whichan invoice or a statement is received.Treasurer’s Direction 219.01 allowsthe Minister to award interest forlate payment.(c) Market riskMarket risk is the risk that the fairvalue or future cash flows of a financialinstrument will fluctuate because ofchanges in market prices, such as foreignexchange rates, interest rates and equityprices. The objective of market riskmanagement is to manage and controlmarket risk exposures within acceptableparameters, while optimising the returns.The Trust’s exposures to market riskis primarily through currency risk onpurchases that are denominated in acurrency other than Australian Dollarsand other price risks associated with themovement in the unit price of the HourGlass Investment facilities. The interestrate risk is not expected to significantlyimpact the operating results and financialposition. The Trust does not enter intocommodity contracts.(d) Currency RiskThe Trust is exposed to currency riskon purchases made in currencies otherthan Australian Dollars. The currenciesin which these transactions are primarilydenominated are Euro, GBP, CAD and USD.The Trust fully hedges any substantialfuture foreign currency purchases whencontracted. The Trust uses forwardexchange contracts to hedge its currencyrisk, with maturity dates on the samedates as the contracted payments.(e) Other price risk –tcorp Hour Glass facilitiesExposure to ‘other price risk’ primarilyarises through the investment in theTCorp Hour Glass Investment facilities,which are held for strategic rather thantrading purposes. The Trust has no directequity investments. The Trust holds unitsin the TCorp Hour-Glass Cash Facilitycomprising of Cash and money marketinstruments of up to 1.5 years.The unit price of each facility is equal tothe total fair value of net assets held bythe facility divided by the total numberof units on issue for that facility. Unitprices are calculated and published daily.NSW TCorp as trustee for the facilitiesis required to act in the best interest ofthe unit holders and to administer thetrusts in accordance with the trust deeds.As trustee, TCorp has appointed externalmanagers to manage the performanceand risks of each facility in accordancewith a mandate agreed by the parties.However, TCorp, acts as manager for partof the Cash Facility. A significant portionof the administration of the facilities isoutsourced to an external custodian.NSW TCorp provides sensitivity analysisinformation for each of the Investmentfacilities, using historically basedvolatility information collected over aten year period, quoted at two standarddeviations (i.e. 95% probability). TheTCorp Hour-Glass Investment facilities(other than the Hour Glass cash facility,which is included as cash) are designatedat fair value through profit or lossand therefore any change in unit priceimpacts directly on profit (rather thanequity). A reasonably possible change isbased on the percentage change in unitprice (as advised by TCorp) multiplied bythe redemption value as at 30 June eachyear for each facility (balance from Hour-Glass statement).

84SYDNEY OPERA HOUSE TRUSTnotes TO AND FORMING PART OF THE FINANCIAL STATEMENTS(c) MaintenanceComputer hardware maintenance 41 124System and network maintenance 468 437Building and equipmentrepairs and maintenance 19,068 17,93919,577 18,500Plus: Personnel services maintenance charge 6,126 6,525(d) Depreciation, amortisation and make good25,703 25,025DepreciationBuilding and building services - 6,889Plant and equipment 14,203 9,57614,203 16,465AmortisationIntangible assets 349 406Amortisation of leasehold improvements 722 931,071 499pROvisionLease Make Good expense 39 44Change in Accounting Estimates2011 2010$’000 $’00015,313 17,008During 2011 the estimated total useful lives of certain items ofBuilding Services were revised. The net effect of the changes inthe current financial year was a decrease in depreciation expenseof $2.107m with no impact on future years.5. TRUSTEES’ REMUNERATIONNo emoluments were paid to the Trustees during the year. TheTrustees resolved to cease being remunerated from 1 January2007. Part of Trustee duties involve attending Sydney OperaHouse Trust events. (2010: Nil)6. CASH AND CASH EQUIVALENTSCash at bank and on hand 4,595 6,447Hour-Glass cash facility 2,056 189Short term deposits 43,000 42,000NSW Treasury Corporationshort term investments 117 116Cash and cash equivalent assets recognised in the Balance Sheetare reconciled at the end of the year to the Cash Flow Statementas follows:Cash and cash equivalents 49,768 48,752Refer note 17 for details regarding interest rate risk and asensitivity analysis for financial assets and liabilities.7. TRADE AND OTHER RECEIVABLESTrade receivables 1,394 1,628Allowance for impairment of receivables (47) (85)Accrued Income 851 1,402Other receivables 1,000 7883,198 3,733Refer note 17 for details regarding exposure to credit andcurrency risk and impairment losses related to trade and otherreceivables.8. PrepaymentsPrepaid superannuation 1,895 2,181Prepaid expenses 2,289 2,246Prepaid Superannuation2011 2010$’000 $’0004,184 4,427The funding position at 30 June 2011 in respect of the threedefined benefits schemes related to personnel services received,namely the State Authorities Superannuation Scheme (SASS), theState Superannuation Scheme (SSS) and the State AuthoritiesNon Contributory Superannuation Scheme (SANCS) has beenadvised by Pillar Administration:Estimated ReservEpREpaidaCCOunt Funds Accrued Liability Contributions2011 2010 2011 2010 2011 2010$’000 $’000 $’000 $’000 $’000 $’000SASS 7,087 6,498 7,074 6,476 13 22SSS 48,884 46,394 47,010 44,256 1,874 2,138SANCS 1,596 1,488 1,588 1,467 8 2157,567 54,380 55,672 52,199 1,895 2,18149,768 48,752

859. DERIVatiVES USED FOR HEDGINGForeign Currency Risk ManagementThe Trust undertakes certain transactions denominated inforeign currencies, hence exposures to exchange rate fluctuationsarise. Exchange rate exposures are managed within approvedpolicy parameters utilising forward foreign exchange contracts tomanage risk.Basis adjustments are made to the carrying amounts ofnon-financial hedged items when the anticipated purchasetransaction takes place.The following table details the forward foreign currency hedgecontracts outstanding as at reporting date:fOREign Currency Forward Rate (liability) Fair Value (asset)fORward Contracts $’000 $’0002011 2010 2011 2010Euro 968 2,084 921 1,766GBP 82 95 77 90USD 370 226 358 217CAD 19 - 17 -Total 1,439 2,405 1,373 2,073The Sydney Opera House Trust entered into contracts for thepurchase of various currencies which expire within 7 monthsafter year end. The Trust enters into forward foreign exchangecontracts to cover foreign currency payments due on futureperformances.As at reporting date the aggregate amount of unrealised loss onforward foreign exchange contracts relating to anticipated futuretransactions is $66k (2010: $332k). In the current year, theseunrealised losses have been deferred in the hedging reserve tothe extent the hedge is effective.11. PROPERTY, PLANT AND EQUIPMENTLand2011 2010$’000 $’000At fair value 111,000 111,000Land – at fair value 111,000 111,000Building and building servicesGross carrying amount 1,847,078 1,919,441Less: accumulated depreciationand impairment (330) (290)Buildings and building services– at fair value 1,846,748 1,919,151Land and buildings – at fair value 1,957,748 2,030,151Plant and equipmentGross carrying amount 214,758 122,484Less: accumulated depreciationand impairment (66,964) (67,196)Plant and equipment – at fair value 147,794 55,288Collections – works of art – at fair value 5,158 5,156Work in progress – at fair value 14,954 13,870Property, plant and equipment– at fair value 2,125,654 2,104,46510. INVENTORY – Held for Distribution2011 2010$’000 $’000Finished goods – at cost adjusted for obsolescence 95 112Total inventory 95 112

86SYDNEY OPERA HOUSE TRUSTnotes TO AND FORMING PART OF THE FINANCIAL STATEMENTS11. PROPERTY, PLANT AND EQUIPMENT (Continued)ReconciliationReconciliation of the fair value of property, plant and equipment is set out below:2011 land and Plant and Work inBuilding equipment progress Collection TOTal$’000 $’000 $’000 $’000 $’000Fair value at start of year 2,030,151 55,288 13,870 5,156 2,104,465Additions 4,771 1,100 8,489 - 14,360Disposals and write offs - (54) (51) 2 (103)Reclassification (77,135) 84,489 (7,354) - -Revaluation - 21,896 - - 21,896Make good (39) - - - (39)Depreciation - (14,925) - - (14,925)Fair value at year end 1,957,748 147,794 14,954 5,158 2,125,654The comparative reconciliation for the year ended 30 June 2010 is set out below:2010 land and Plant and Work inBuilding equipment progress Collection TOTal$’000 $’000 $’000 $’000 $’000Fair value at start of year 1,670,227 23,338 62,208 5,124 1,760,897Additions 6 1,048 12,158 - 13,212Disposals and write offs (4) (300) (2,306) (3) (2,613)Reclassification 16,827 40,871 (58,190) - (492)Revaluation 350,028 - - 35 350,063Make good (44) - - - (44)Depreciation (6,889) (9,669) - - (16,558)Fair value at year end 2,030,151 55,288 13,870 5,156 2,104,465

8712. INTANGIBLE ASSETSSoftwareAt cost (gross carrying amount) 3,328 3,347Less: accumulated amortisationand impairment (2,904) (2,574)Net carrying amount 424 773Reconciliation2011 2010$’000 $’000Reconciliation of the fair value of Intangibles is set out below:Intangibles - Fair value at start of year 773 687Reclassification - 492Amortisation (349) (406)Intangibles - Fair value at end of year 424 77315. PAYABLES - Personnel ServicesCURRENTAnnual leave and leave loading 3,420 3,325Long service leave - current 5,990 5,271Redundancy 1,218 516Accrued salaries and wages 1,426 1,206Fringe benefit tax payable 92 94PAYG withholding payable 1 8NON-CURRENT2011 2010$’000 $’00012,147 10,420Long service leave - non current 1,152 1,1281,152 1,12813. TRADE AND OTHER PAYABLESTrade creditors 3,875 3,530Accrued expenses 6,403 2,858Other payables 229 14910,507 6,537Refer note 17 for details regarding exposure to currency andliquidity risk related to trade and other payables.14. DEFERRED REVENUEAdvance ticket sales 6,985 7,395Hirers’ deposits 358 267Income in advance 2,035 2,7199,378 10,38116. PROVISIONSCURRENTLease make good provision 230 152Total Current Provisions 230 152NON-CURRENTLease make good provision 130 261Total Non-Current Provisions 130 261Total Provisions 360 413ReconciliationsReconciliations of the fair value ofprovisions is set out below:Carrying amount at the start of the year 413 403Additional provision (released)/recognised (53) 10Carrying amount at the end of the year 360 413Under the lease agreements the Trust is required to reinstatethe leased premises to the condition they were in at thecommencement date.

88SYDNEY OPERA HOUSE TRUSTnotes TO AND FORMING PART OF THE FINANCIAL STATEMENTS17. FINANCIAL INSTRUMENTSSydney Opera House Trust’s principal financial instrumentsare outlined below. These financial instruments arise directlyfrom operations or are required to finance the operations.Sydney Opera House Trust does not enter into or trade financialinstruments, including derivative financial instruments, forspeculative purposes.The Trust’s main risks arising from financial instruments areoutlined below, together with objectives, policies and processesfor measuring and managing risk. Further quantitative andqualitative disclosures are included throughout these financialstatements.The Audit and Risk Committee has overall responsibility for theestablishment and oversight of risk management and reviewsand agrees policies for managing each of these risks. Riskmanagement policies are established to identify and analyse therisks faced, to set risk limits and controls and to monitor risks.Compliance with policies is reviewed by the internal auditorson a continuous basis.FinancialInstrumentCategoriesFinancialAssets 1Cash & cashequivalentsTrade & otherreceivablesDerivatives usedfor hedgingFinancialLiabilities 2Trade &other payablesDerivativefinancialinstrumentsNote Category CarryingAmount2011CarryingAmount2010$’000 $’0006 N/A 49,768 48,7527 Loans &receivables (atamortised cost)9 Designatedand effectivehedginginstrument13 Financialliabilities (atamortised cost)9 Designated andeffective hedginginstrument3,198 3,7331,373 2,07310,507 6,5371,439 2,405Notes1. 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).a. Credit Risk2011 2010NOTE $’000 $’000Exposure to credit riskThe carrying amount of the Trust’s financial assets representsthe maximum credit exposure. The Trust’s maximum exposure tocredit risk at reporting date was:Cash & cash equivalents 6 49,768 48,752Trade & other receivables 7 3,198 3,733Forward exchange contractsused for hedging 9 1,373 2,07354,339 54,558Cash & cash equivalentsCash comprises cash on hand and bank balances withCommonwealth Bank. Cash is recorded at nominal values for cashon hand and cash held in bank accounts. Interest is earned ondaily bank balances. The interest rate at year-end was 3.75% forthe CBA Management Account (3.50% in 2010) and 4.75% for theBusiness Online Saver (4.50% in 2010). The TCorp Hour Glasscash facility is discussed in note 17 (c) below.The Trust has placed funds on deposit with TCorp, NAB, Westpac,St. George and ANZ. The deposits at balance date were earningan average interest rate of 6.14% (6.06% in 2010), while over theyear the average interest rate was 6.04% (5.94% in 2010).Trade & Other ReceivablesTrade and Other receivables include trade receivables, otherreceivables and accrued income, yet to be invoiced.The Trust’s maximum exposure to credit risk for tradereceivables at the reporting date by business segment was:Carrying Amount2011 2010NOTE $’000 $’000Tourism activities 172 198Sponsorship 161 374Venue hire & related services 545 139Commercial partners 413 443Other 142 2021,433 1,356

89Impairment LossesThe aging of the Trust’s trade receivables at reporting date was:2011 TOTal Not Consideredimpaired Impaired$’000 $’000 $’000Not past due 1,233 1,233 -< 3 months past due 221 191 303 - 6 months past due 7 - 7> 6 months past due 19 9 101,480 1,433 472010 TOTal Not Consideredimpaired Impaired$’000 $’000 $’000Not past due 1,318 1,318 -< 3 months past due 33 - 333 - 6 months past due 40 36 4> 6 months past due 50 2 481,441 1,356 85The movement in the allowance for impairment in respect oftrade receivables during the year was as follows:2011 2010$’000 $’000Opening Balance (85) (85)Less: Written off 38 -Balance at 30 June (47) (85)Based on historic default rates, the Trust believes that noimpairment allowance is necessary in respect of trade receivablesnot past due.The allowance account in respect of trade receivables is usedto record impairment losses unless the Trust is satisfied thatno recovery of the amount owing is possible; at that point theamount is considered irrecoverable and is written off against thefinancial asset directly.b. Liquidity RiskLiquidity risk is the risk that the Sydney Opera House Trustwill be unable to meet its payment obligations when they falldue. The Trust continuously manages risk through monitoringfuture cash flows and maturities planning to ensure adequateholding of high quality liquid assets. The objective is to maintaina balance between continuity of funding and flexibility throughthe use of advances.The following are contractual maturities of financial liabilities:2011 Carrying Contractual 6 months 6 to 12amount cash flows or less monthsNon-derivativefinancial liabilities$’000 $’000 $’000 $’000Trade and other payables 10,507 (10,507) (10,507) -Derivative financialliabilitiesForward exchangecontracts used for hedging:Outflow 1,439 1,439 1,424 15Inflow (1,439) (1,439) (1,424) (15)10,507 (10,507) (10,507) -2010 Carrying Contractual 6 months 6 to 12amount cash flows or less monthsNon-derivativefinancial liabilities$’000 $’000 $’000 $’000Trade and other payables 6,537 (6,537) (6,537) -Derivative financialliabilitiesForward exchangecontracts used for hedging:Outflow (2,405) (2,405) (2,405) -Inflow 2,405 2,405 2,405 -6,537 (6,537) (6,537) -The following table indicates the periods in which the cashflows associated with derivatives that are cash flow hedges areexpected to occur, and the effect on profit or loss.2011 Carrying Contractual 6 months 6 to 12amount cash flows or less monthsForeign Exchange contracts:$’000 $’000 $’000 $’000Assets 1,373 1,439 1,424 15Liabilities (1,439) (1,439) (1,424) (15)(66) - - -2010 Carrying Contractual 6 months 6 to 12amount cash flows or less monthsForeign Exchange contracts:$’000 $’000 $’000 $’000Assets 2,073 2,405 2,405 -Liabilities (2,405) (2,405) (2,405) -(332) - - -

90SYDNEY OPERA HOUSE TRUSTnotes TO AND FORMING PART OF THE FINANCIAL STATEMENTSc. Market RiskThe Trust’s exposure to market risk is primarily throughcurrency risk on purchases that are denominated in a currencyother than Australian Dollars and other price risks associatedwith the movement in the unit price of the Hour GlassInvestment facilities.The Trust’s exposure to interest rate risk (other than thatimpacting the TCorp Hour Glass Cash facility price, as set outbelow) is limited to cash at bank. The impact of a 1% changein interest rate for cash at bank is set out below:Change inImpact oniNTEREst RaTE pROfit/Loss2011 2010$’000 $’000Cash at Bank +/- 1% 46 65Other price risk – TCorp Hour Glass facilities.Exposure to ‘other price risk’ primarily arises through theinvestment in the TCorp Hour Glass Investment Facilities, whichare held for strategic rather than trading purposes. The Trusthas no direct equity investments. The Trust holds units in thefollowing Hour Glass investment trusts:Change inImpact onunit price Profit/Lossfacility investment sECTOR 2011 2010& horizON $’000 $’000Hour GlassCash facilityCash, moneymarketinstrumentsup to 1.5 yrs +/- 1% 21 2There is no impact on equity in relation to the cash facility. Thereturn on the Hour Glass cash facility for the year was 5.44%(4.19% in 2010).d. Currency RiskExposure to currency riskThe Trust’s exposure to foreign currency risk at balance date wasas follows, based on notional amounts:2011 Euro GBP USD CAD$’000 $’000 $’000 $’000Trade & other payables 3 - 10 -Forward exchange contracts * 968 82 370 192011 Euro GBP USD CAD$’000 $’000 $’000 $’000Trade & other payables - 12 170 -Forward exchange contracts * 2,084 95 226 -Net exposure 2,084 107 396 -Sensitivity analysisA 10 percent strengthening of the Australian dollar against thefollowing currencies at 30 June would have increased/(decreased)equity and profit or loss by the amounts shown below. Thisanalysis assumes that all other variables remain constant. Theanalysis was performed on the same basis for 2010.2011 2010Equity Profit Equity ProfitOR lossOR loss$’000 $’000 $’000 $’000Euro 88 - 189 -GBP 7 - 9 1USD 34 1 21 15CAD 2 - - -131 1 219 16A 10 percent weakening of the Australian dollar against thefollowing currencies at 30 June would have increased/(decreased)equity and profit or loss by the amounts shown below. Thisanalysis assumes that all other variables remain constant. Theanalysis was performed on the same basis for 2010.2011 2010Equity Profit Equity ProfitOR lossOR loss$’000 $’000 $’000 $’000Euro (108) - (231) -GBP (9) - (11) (1)USD (41) (1) (25) (19)CAD (2) - - -(160) (1) (267) (20)Net exposure 971 82 380 19* The forward exchange contracts relate to future forecast payments.

91e. Fair ValueFair value versus carrying amountFinancial instruments are generally recognised at cost. Theamortised cost of financial instruments recognised in the balancesheet approximates the fair value, because of the short-termnature of many of the financial instruments. The fair valueof financial assets and liabilities, together with the carryingamounts shown in the balance sheet, are as follows:2011 2010Carrying Fair Carrying Fairamount Value Amount Value$’000 $’000 $’000 $’000Trade & other receivables 3,198 3,198 3,733 3,733Cash & cash equivalents 49,768 49,768 48,752 48,752Forward exchange contractsused for hedging:- Assets 1,373 1,373 2,073 2,073- Liabilities (1,439) (1,439) (2,405) (2,405)Trade & other payables (10,507) (10,507) (6,537) (6,537)42,393 42,393 45,616 45,616(f) Fair value recognised in the statement of financial positionThe Trust uses the following hierarchy for disclosing the fairvalue of financial instruments by valuation technique:- Level 1 - Derived from quoted prices in active markets foridentical assets or liabilities.- Level 2 - Derived from inputs other than quoted prices thatare observable directly or indirectly.- Level 3 - Derived from valuation techniques that includeinputs for the asset or liability not based on observablemarket data (unobservable inputs).2011lEvel 1 Level 2 Level 3 TOTal$’000 $’000 $’000 $’000Financial assets at fair valueCash assets 4,595 - - 4,595Short term deposits 43,000 - - 43,000TCorp Hour-Glass Invt.Facility - 2,173 - 2,173Trade & other receivables 3,198 - - 3,198Derivatives receivable 1,373 - - 1,37318. TRUST FUNDSa. Annual Giving Program (Fundraising Appeal)The Sydney Opera House Annual Giving Program was establishedto raise funds for the following activities:- Outstanding Live Performance – Bringing the world’s bestperformers to our stages,- Youth and Education Programs – Developing programs foryoung people and families,- Community and Access Projects – Ensuring accessibleprograms and price points for all our events,- Preservation of Utzon’s vision – Supporting the ongoingvitality of Sydney Opera House as the creative and culturalflagship of Australia.Restricted gifts are also accepted in certain circumstances -generally when the gift is substantial and is given to fund a newinitiative.The Trust launched its Annual Giving Fund in March 2007 andis a perpetual fund.Restricted Unrestricted TOTal2011 2010 2011 2010 2011 2010$’000 $’000 $’000 $’000 $’000 $’000Gross proceeds fromfundraising appeals 328 38 509 373 837 411Interest received on proceeds 9 11 11 11 20 22Costs of fundraising - - (227) (245) (227) (245)Net surplus fromfundraising 337 49 293 139 630 188Application of funds (34) (95) (139) (206) (173) (301)Balance (from)/toaccumulated funds 303 (46) 154 (67) 457 (113)The following ratios are provided in relation to the cost offundraising:2011 2010Cost of fundraising as a percentageof funds raised (excluding interest) 27% 60%Net surplus as a percentageof funds raised (excluding interest) 73% 40%The cost of fundraising as a percentage of funds raised (excludinginterest) over the life to date of the fund is 42.6% (2010: 49.0%).52,166 2,173 - 54,339Financial liabilities at fair valueTrade & other payables 10,507 - - 10,507Derivatives payables 1,439 - - 1,43911,946 - - 11,946There were no transfers between level 1 and 2 during the periodended 30 June 2011.

92SYDNEY OPERA HOUSE TRUSTnotes TO AND FORMING PART OF THE FINANCIAL STATEMENTSb. Foster BequestThe Trust Deed relating to this bequest provides that incomederived from investment of the funds may be applied to an awardfor study in fields relating to the training for, and performancesof, the art of opera.The transactions relating to the Foster Bequest included withinthe Sydney Opera House Trust’s financial statement were:2011 2010$’000 $’000Interest income 6 4Distribution (5) (5)Surplus/(Loss) 1 (1)19. INTEREST IN JOINT VENTURESThe Trust held an interest in a joint venture which ceasedto operate on 30 September 2009. The joint venture had theprincipal activity of operation of souvenir merchandise shops.Ownership InterestName of Joint Venture 2011 2010Sydney Opera House Retail Joint Venture - 75%2011 2010Share of Income and Expense of Joint Entities $’000 $’000Trust share of income - 737Trust share of expense - (616)Trust share of profit - 121Movement in Investment in Joint VenturesCarrying amount of investmentat beginning of financial year - 221Share of profit - 121Distribution from joint venture entities - (341)Undistributed profits as at year end - (1)Carrying amount of investment at theend of financial year - -Share of Assets and Liabilities of Joint Venture EntitiesCurrent assetsCash - 3Current liabilities - (2)Net assets - 1Inventories are stated at the lower of cost and net realisablevalue. The cost is calculated using the first-in-first-out basis.

9320. MOVEMENTS IN EQUITY2011 2010$’000 $’000Changes in aCCumulated fundsBalance at 1 July 231,280 212,500Revaluation movements on disposal of assets 3,714 33,168Deficit (5,007) (14,388)Balance 30 June 229,987 231,280The unspent balance of the Annual Giving Program (refer note 18(a) was $789k ($332kfor 2010) of which $496k ($192k for 2010) is restricted to specific objectives. Theunspent balance of the Foster Bequest (refer note 18(b)) was $117k ($117k for 2010).Changes in Asset Revaluation and Hedge Reserveasset Revaluation Reserve Hedge Reserve TOTal2011 2010 2011 2010 2011 2010$’000 $’000 $’000 $’000 $’000 $’000Balance 1 July 1,902,973 1,586,078 (332) (143) 1,902,641 1,585,935Recognised (3,714) (33,168) 332 143 (3,382) (33,025)Revaluation 21,896 350,063 - - 21,896 350,063Hedge reserve - - (66) (332) (66) (332)Balance 30 June 1,921,155 1,902,973 (66) (332) 1,921,089 1,902,641The Hedge Reserve represents the unrealised losses on forward foreign exchangecontracts. The Asset Revaluation Reserve represents net increments arising on therevaluation of non-current physical assets.21. COMMITMENTS(a) Other expenditure commitmentsGoods and services contracted for at 30 June but not recognised as liabilities are asfollows:2011 2010$’000 $’000Payable:Within one year 5,675 5,344Later than one year and not later than five years 4,657 7,653Later than five years 2,976 5,886Total including GST 13,308 18,883Goods and services contracted for at year end are of a general business nature. Thecommitments include input tax credits of $1,178k recoverable from the AustralianTaxation Office ($1,716k for 2010).

94SYDNEY OPERA HOUSE TRUSTnotes TO AND FORMING PART OF THE FINANCIAL STATEMENTS(b) Capital commitmentsCapital expenditures contracted for at 30 June but not recognisedas liabilities are as follows:2011 2010$’000 $’000Payable:Within one year 4,108 2,706Later than one year andnot later than five years 1,569 -Later than five years - -Total including GST 5,677 2,706Capital commitments contracted for at year end relate to buildingdevelopment projects. The commitments include input tax creditsof $512k recoverable from the Australian Taxation Office ($243kfor 2010).25. NOTES TO THE STATEMENT OF CASH FLOWSReconciliation of surplus to net cash flows from operatingactivities:2011 2010$’000 $’000Deficit for the year (5,007) (14,388)Depreciation, amortisation and make good 15,313 17,008Capital sponsorship (340) (427)Net (profit)/loss on sale of plantand equipment and assets written off (4) 2,593Increase/(decrease) in payables 3,307 (378)Decrease/(increase) in receivables 523 (1,439)Decrease/(increase) in inventories 18 (31)Net cash flow from operating activities 13,810 2,938(c) LeasesLeases contracted for at 30 June but not recognised as liabilitiesare as follows:2011 2010$’000 $’000Payable:Within one year 383 684Later than one year andnot later than five years 81 464Later than five years - -Total including GST 464 1,148The commitments include input tax credits of $42k recoverablefrom the Australian Taxation Office ($104k for 2010).22. CONTINGENT LIABILITIESThere are no contingent liabilities. (Nil at 30 June 2010).23. PAYMENTS TO CONSULTANTSIn the year ending 30 June 2011, consultants were paid a totalof $473k ($512k in 2010).24. AFTER Balance DATE EVENTSThere are no after balance date events. (Nil at 30 June 2010).END OF AUDITEDFINANCIALstatements

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98GOVERNMENT REPORTINGACCOUNT PAYMENT PERFORMANCE INDICATORSThe schedule of accounts payable for the four quarters of the financial year and theamounts involved are as follows:Aged analysis at the end of each quarterQuarterCurrent (i.e.within duedate)Less than30 daysoverdue30 to 60 daysoverdue60 to 90 daysoverdueMore than90 daysoverdue$’000 $’000 $’000 $’000 $’000September 4,680 0 0 0 0December 3,421 75 0 0 0March 6,332 68 1 0 0June 11,911 55 15 0 0Accounts paid on time within each quarterQuarter Total Accounts Paid on Time Total AmountPaidTarget % Actual % $’000 $’000September 92 100 4,680 4,680December 92 98 3,421 3,496March 92 99 6,332 6,401June 92 99 11,911 11,981The number of accounts paid on time averaged over the year was 99% (99% in2009/10). A new process technology system has been introduced to improve efficiency,including the introduction of weekly multiple payment runs. There was no interest paidon creditor accounts during the 2010/11 financial year.CODE OF CONDUCTThe Code of Conduct is designed to ensure the actions and decisions of all staff areconsistent with the vision, goals and standards of Sydney Opera House. The Code assistsstaff to apply the key principles and ethical values upheld by Sydney Opera House.Key areas include individual performance and accountability; customer service; ethicalstandards; fair and equitable behaviour; safety and security; records and information;making public comment; outside employment; child protection.The Code is provided to staff upon employment, via the intranet (Intouch), and is alsoavailable on the Sydney Opera House website for the information of stakeholders andthe community. The Code will be reviewed and reissued in 2011/12 to ensure contentis current and to reinforce the importance of the Code in the everyday work practicesof all staff.Sydney Opera House Trustees have a separate Trustee Code of Conduct thatoutlines standards of expected behaviour. In addition to the staff Code of Conductit encompasses, accountability for public expenditure and decision making; use ofpublic resources; use of official information; official spokesperson for the Trust; giftsand benefits; disclosure of interests; recognising and managing conflicts of interest;reporting suspect corrupt conduct; and relevant legislation. The Code was updated toinclude seven core performance requirements and was endorsed by the Trust in April2011. The Conservation Council, which has external members and specialists, also hasa separate Code of Conduct. The Code provides further guidelines on the values andbehaviours expected of all Council members.CONSULTANTSIn accordance with NSW Governmentguidelines, projects for which consultantsreceived more than $50,000 are listedindividually. Those that involvedpayments of $50,000 or less are groupedunder a total figure.- Professional Advantage – IPOSConsultation $54,900.- Arup – Fire, StructuralConsulting $113,725.- Creative concepts for Tourismexperiences $184,126.Thirteen consultancies of $50,000 orless cost a total of $120,210. The natureof these projects were – InformationTechnology (2), Theatre and Events (2),Management Services (2), CommercialPartners (1), Venue Partners and Safety(4), and SOH Presents (2).CREDIT CARD USENo irregularities in the use of corporatecredit cards were recorded during the year.I certify that, to the best of my knowledgeand belief credit card use for SydneyOpera House has been in accordance withPremier’s Memoranda and Treasurer’sDirections.Richard EvansChief ExecutiveCUSTOMER EXPERIENCESydney Opera House takes people ona journey from the ordinary to theextraordinary – amplifying experiencesand inspiring imaginations. Sydney OperaHouse aspires to be an internationalbenchmark for the highest standards ofcustomer service in an arts environment.We are proud to be a customer-focusedworkplace and passionate about creatingan extraordinary experience for everyoneat Sydney Opera House – includingvisitors, artists and staff.

99Customer First CommitmentCustomer First is our house-widecustomer service commitment.In all our endeavours, we are committedto placing the needs and views of ourcustomers first.1. Our reputationService first and foremost. We will beknown for exceptional service by everyonewho visits Sydney Opera House andeveryone who works here.2. Our cusTOmersEveryone who comes into contact with us isa customer. We understand and embrace theidea that our customers are critical to oursuccess and will be at the heart of all of oureffort, energy and creativity. We are proudof the diversity of our customers, whichis reflected in our programs, products andservices. We will display the same behavioursin all our interactions, whether to customers,colleagues, contractors or suppliers.3. Our styleWe will make customers feel warmlywelcomed and strive to ensure that visitingSydney Opera House is a vibrant, compellingand memorable experience that exceedsexpectations. We will offer a courteous,helpful, informed and personalised responseto our customers. We will seek and valueour customers’ feedback and support eachother in responding to their needs.4. Our spiritSydney Opera House is an exciting placeto visit and a workplace to be proud of.We will convey a sense of warmth andpassion for Sydney Opera House in all ourinteractions with our customers and withone another.5. Our profileWe are more than employees of SydneyOpera House – we are all its ambassadorsand are part of its personality. We willacknowledge this identity by always takingpride in our presentation, our services, ourattitudes and our behaviour. We will makesure Sydney Opera House is a clean, safe,sustainable and enjoyable precinct.6. Our teamWe will work together, support each otherand take personal responsibility to ensurethat the customer experience is alwaysseamless and consistently excellent. Wewill bring our knowledge and expertiseto each interaction, offering responsive,effective and exceptional service toachieve the best possible outcome. Serviceat Sydney Opera House means everyone,everywhere, every time making everycustomer feel special.Customer Service TeamsThe Host Team are vital front-linecustomer service staff dedicated toproviding a warm, welcoming andinformative service at two crucialcustomer service areas: the Stage Doorand the Information Desk in the Box Officefoyer. The Host Team engages with visitorsto raise awareness of the wide range ofperformances, experiences, products andservices on offer at Sydney Opera House.In February 2011, the security functionat Stage Door was transitioned to a fullcustomer service function operated by theHost Team, providing a more consistentcustomer service environment for visitors,artists and staff.Theatre Management and Front of Houseteams continue to provide customerservice to patrons attending performances.These teams are ambassadors for SydneyOpera House in all interactions withinternal and external customers, visitorsand patrons by warmly greeting andacknowledging them, actively listeningand understanding their needs andhandling challenging situations in apositive and courteous manner.The Protocol and Hospitality Officeroversees the management andcoordination of visits by high levelofficials and guests of governmentprograms, liaising with the initiatinggovernment departments and agencies(federal, state and local) and workingwith security agencies. More than 100visits were undertaken this year withVIPs attending performances, events,receptions or taking tours tailored totheir particular needs. A joint initiativewith the NSW State Office of Departmentof Foreign Affairs and Trade invitedCareer Consuls and Consuls-Generalto a private tour and the opportunity tomeet the Chief Executive. This initiativeincreased awareness of Sydney OperaHouse programs and services amongstforeign missions while promoting thediversity and quality of presentationsat Sydney Opera House. In April 2011the Protocol and Hospitality Officerrole was modified to reflect broadercommunity responsibilities.‘WE ARE PROUD OFTHE DIVERSITY OF OURcustomers, WHICH ISREFLECTED IN OUR PROGRAMS,products AND SERVICES.’

100GOVERNMENT REPORTINGSydney Opera House Courtesy Shuttle BusThis complimentary bus, which transports customers between Circular Quay and SydneyOpera House, has established itself as an essential service for many elderly and lessmobile patrons. This year it carried in excess of 16,300 passengers.Courtesy Shuttle Bus Passengers 2007 to 2011Customer ResearchSydney Opera House led a joint databaseresearch project this year aiming toprovide a better understanding of theshared Sydney performing arts market.Working with Opera Australia, SydneySymphony, The Australian Ballet,Australian Chamber Orchestra, BellShakespeare, Sydney Symphony andSydney Theatre Company, informationfrom databases across all companies wasused to build a profile of customers andmap the key links between companiesand genres.By collaborating with resident andsupported companies, a comprehensiveunderstanding of the individual and sharedcustomer base can be formed and will beused to inform future shared data uses,audience development initiatives and jointcultural community promotions. Outcomesof the research project will be finalised inearly 2011/12.Next year Sydney Opera House willundertake a Youth Audiences Review usinga range of research methods, includingdatabase research on schools and familybuying patterns, history, ticket prices andproduct type. Research findings will beused to inform programming and marketingapproaches for Kids at the House, BabiesProms and House:Ed presentations, as wellas associated education initiatives such asDigital Classrooms. This important researchwill provide Sydney Opera House withan in-depth understanding of all youthaudience segments, ensuring programmingand communication strategies continueto address and adapt to the culturaland educational needs of this importantcustomer group.Customer Service Feedback16,30018,00017,00015,00013,00010/11 09/10 08/09 07/08 06/07In line with our Customer FeedbackPolicy, Sydney Opera House aims toachieve excellence in customer serviceand business performance througheffective management of customerfeedback. Sydney Opera House welcomesand values complaints, compliments andsuggestions as positive tools for changeand improvement.All customer feedback and responsesare recorded and managed as CustomerService Issues in the Tessitura customerrelationship management system as asingle repository for customer feedback.

101Online Customer Satisfaction Survey and ResultsThis survey is designed to measure the quality of services provided. Customers wereasked to rate their satisfaction from 1 (not satisfied) to 10 (extremely satisfied). Inthe past 12 months 2,233 visitors provided a rating of their experience, a significantincrease over previous years (684 in 2009/10, 359 in 2008/09 and 361 in 2007/08).Artistic quality/excellence was a new category from 2009/10 and measures satisfactionin the areas of artistic excellence, sound quality, lighting, set and costume design.Overall satisfaction with visit remained at 83% this year (83% in 2009/10 and 81%in 2008/09).10/11 09/10 08/09 07/08Overall satisfaction with visit 83% 83% 81% 78%Site presentation 87% 87% 84% 82%Artistic quality/excellence 90% 88% - -Performance support services 83% 84% 85% 80%Wilson car park 67% 67% 62% 65%Dining 72% 82% 74% 67%Tours 82% 80% 77% 83%Ticketing 84% 82% 80% 82%Overall Unsolicited Feedback 2006 to 2011In 2010/11 166 compliments were received compared to 132 in 2009/10, an increase of 20%.In 2010/11 a total of 744 complaints were received compared to 631 in 2009/10,representing an increase of 15%. A number of complaints related to ticketing issuesexperienced with The Cure concert (97) and concerns over website overload issues andcustomers missing out on tickets.Type of Feedback 10/11 09/10 08/09 07/08 06/07Negative 744 631 661 266 305Positive 166 132 83 54 57Unsolicited Feedback by Category for 2010/11This information is broken down in the table below to represent the type of feedbackreceived in each major area. The Event/Performance category reflects feedback over a rangeof different performances for the year.Category Positive NegativeAudience behaviour 0 19Box Office counter fee 0 52Front of house 60 10Marketing 0 25Wilson car park 0 20Event/Performance 25 139Policies and procedures 1 22Pricing 0 4Seating 0 24Security 0 0Site and venues 2 43Retail and food 1 26Ticketing services 42 174Tourism 15 18Website 0 134Other 20 34Total 166 744Presenter SatisfactionMeasurement SurveysA detailed annual review was undertakenagain this year with participation bySydney Symphony, Opera Australia,The Australian Ballet, Sydney TheatreCompany and Bell Shakespeare.Feedback was sought on the eventdelivery process, technical services, frontof house operations, building facilities,safety, catering, marketing services andother services provided. The survey rankssatisfaction from 1 (total dissatisfaction)to 7 (total satisfaction, no room forimprovement). The survey is completedby the presenting companies with afollow-up meeting to agree on actions.The Sydney Opera House team reconvenessix months after this meeting to monitorprogress and ensure continuous serviceimprovement.All participating companies activelyengaged in the process with a highlevel of detail under review. Overall,scores from each company improved onthe previous year. Areas that continuedto score consistently well with everycompany (6 out of 7 or higher) wereaccount management, first aid, invoicingand settlement, Recording Studio,Theatre Bars and Host Team. BuildingDevelopment and Maintenance improvedtheir overall ranking and Service Centrestaff received their first ever 7 ranking.The Emergency Planning and ResponseGroup increased their score and are nowamongst the top tier. One pleasing aspectwas the recognition of a much moreintegrated and cooperative environmentwithin the theatre technical teams. Areasidentified for improvement includemarketing services and dressing roomaccess, which will be managed throughtargeted meetings and activities withparticipating companies to addressspecific feedback.Irregular and one-off hirers werealso invited to participate in onlineversions of the survey. As with previousexperience, feedback received from thissurvey was overwhelmingly positive.

102GOVERNMENT REPORTINGDISABILITY ACTION PLANThe three-year Sydney Opera HouseAccess Strategic Plan 2009/12 wasendorsed by the Trust in June 2009. Itincorporates the planning outcomes setout in the Guidelines for Disability ActionPlanning by NSW Government Agencies.The Plan consists of 48 access strategieswith the goal of increasing theparticipation of people with disabilities(as customers, staff and businesspartners) by providing equal access toSydney Opera House facilities, services,performances and experiences.The full Sydney Opera House AccessStrategic Plan 2009/12 is available on theSydney Opera House website and has beenlodged with the Department of Ageing,Disability and Home Care.Highlights 2010/11 (Access Plan Year 2)- Sign-language (Auslan) tours ofSydney Opera House commenced andoffered twice monthly.- Sydney Opera House, in collaborationwith Vision Australia and OperaAustralia, offered the first audiodescribedopera at Sydney Opera Housefor Pirates of Penzance in November2010, followed by Barber of Sevillein March 2011 and La bohème inAugust 2011.- SOH Presents House:Ed performancesbegan inclusive theatre programmingfor young audiences with disabilities.> Patch Theatre Company’s Me andMy Shadow was both autismfriendlyand sign-interpreted withan introductory pre-theatre sensorysession. Over 80 participantsfrom both the Autism SpectrumAssociation and Royal Deafand Blind School attended theperformance at Sydney Opera Housefor the first time.> 40 students who were blind andvision impaired attended Lah-Lah’sBig Live Band in the Concert Hallfollowed by an inclusive Q&Asession and tactile tour of the bandsmusical instruments.> Scotland’s Puppet State TheatreCompany’s The Man Who PlantedTrees provided a pre-session tactilesession with cast and crew for blindand vision impaired students.- sydneyoperahouse.com was auditedagainst new Web Content AccessibilityGuidelines (WCAG) 2.0 requirements.The last review was conducted in 2007against WCAG Version 1.0. Since thenthe website has undergone variousupgrades and re-designs, and thereforeit was important changes wereassessed against the new guidelines.Compliance with the required WCAGguidelines Level A could not be claimeddue to failure to meet nine Level ASuccess Criteria, however an actionplan to remediate these issues withinthe next 12 months has been agreed.Developers have been engaged toaddress three issues, which will becompleted next year. More issues willbe addressed as part of the event pageand transaction path project currentlyin very early design stage. Patrons areable to access services and assistancevia telephone or face-to-face at theonsite Box Office until issues havebeen resolved.- Accessibility awareness sessions wereoffered as part of the regular staffOrientation program. Tailored front ofhouse accessibility sessions were alsoprovided to Front of House and HostTeam staff.- Annual Sydney Opera HouseAccess Awards were held as part ofcelebrations for International Day ofPeople with Disabilities on 3 December2010. The Awards acknowledged thework of staff and external partnerswho had contributed to Sydney OperaHouse’s access achievements over theyear. Presided over by the AccessibilityAmbassador Louise Sauvage OAM,14 awards were distributed to groupsor individuals.- A captioned customer accessibilityinformation video featuringAccessibility Ambassador LouiseSauvage OAM was produced for theSydney Opera House website.- Sydney Opera House became a silvermember of the Australian DisabilityNetwork. Membership will supportSydney Opera House to meet itsAccess Plan initiatives to increaseemployment opportunities for peoplewith disabilities at Sydney OperaHouse and improve workplace supportto existing staff with disabilities.Initiatives planned for 2011/12 include:- Mental Health and WorkforceWellbeing Training session formanagers during Mental Health Month,October 2011.- Four week work experience programfor final year university studentwith disabilities at Sydney OperaHouse, in partnership with theAustralian Disability Network’sStepping Into Program.- Comprehensive program of targetedaccessible House:Ed performances andpre-performance experiences offeredto young people with disabilities tocontinue throughout 2012.- Consultation with internal andexternal stakeholders will commenceto develop the next three yearAccess Strategic Plan, which will beimplemented for 2012/15.ELECTRONIC SERVICE DELIVERYCorporate WebsiteVisitation to the corporate website,sydneyoperahouse.com reached 3.6 millionthis year, 2.1 million of which wereunique visitors. The focus on improvingservices for customers through thewebsite has continued this year througha range of initiatives. The homepage wasrefreshed and customers are now ablealso able to purchase gift membership ofthe Insiders Membership program online.The Play video portal was relaunched,allowing visitors to access more content.Further development is now underway toenhance the transaction path and eventrelated pages.App DevelopmentThe first App as part of Vivid LIVE wasdeveloped, enabling customers to viewthe illumination of the sails and accessinformation on the program. Furtherdevelopment is now under way to releasea ticket purchase App next year.

103Staff IntranetThe intranet was improved with thefollowing initiatives to reinforceOccupational Health and Safety practices,enhance information sharing and increaseorganisational efficiency:- online incident and hazard reportingsystem;- access to roster and associated eventinformation for technical crews (MyRoster);- enhanced in-house event informationsystem (What’s on Today); and- launch of an accessible repositoryfor a variety of departmental andcross organisational real time reportsand data.E-ProcurementA new e-procurement system waslaunched to enhance procurementprocesses, increase value for money andimprove cash flow management.Network ExpansionFurther enhancing access for staff andusers of the venues, the corporate networkand free internet wireless networks wereexpanded into all dressing rooms, insidetheatre spaces and the Western Foyers.ENERGY MANAGEMENTSydney Opera House is committed toenvironmental sustainability, includingenergy management. The Energy SavingsAction Plan continued to be implementedand a number of energy managementinitiatives were completed in 2010/11:- new energy efficient pumps and anupgraded seawater cooling componenthave improved the air conditioningsystem energy consumption;- over 500 existing exit lights aroundthe building and step lights in theWestern theatres have been replacedwith low energy LED lights;- additional movement sensors wereinstalled and trials continued forlow energy lighting throughout thetheatres, foyers and patron accessareas;- an improved electricity metering andmonitoring system was implementedand eight additional meters installed;- participated in Earth Hour 2011 and its theme to go ‘Beyond the Hour’ by keepinglights off all night and conducting an internal energy efficiency campaign directed ateducation and modifying behaviours;- a National Australian Built Environment Rating System (NABERS) audit wasconducted on the Customs House tenancy, achieving a four star rating; and- 6% GreenPower was purchased and from 1 March 2011 Origin sponsored anadditional 4% GreenPower to bring the total to 10%. This will continue through toAugust 2012.In addition, broader environmental highlights include:- achieved Bronze Partner recognition status through participation in the NSWGovernment’s Sustainability Advantage program;- incorporated environmental sustainability training and education in staff inductionprograms;- developed a framework to manage environmental risk and legal compliance;- developed a sustainability action plan for the Vehicle Access and Pedestrian Safetyproject to incorporate ecologically sustainable design principles;- appointed a temporary part-time project manager in May 2011 to assist in designinga sustainable event management system and apply the new draft internationalstandard ISO20121 to SOH Presents events;- completed a carbon footprint calculation of Vivid LIVE 2011;- developed a carbon footprint measurement and analysis tool for SOH Presents eventsas part of the Origin partnership;- carbon offsets were also purchased by Origin for Vivid LIVE 2011; and- continued to implement the Water Savings Action Plan.Electricity, Gas and Water Use StatisticsElectricity use at Sydney Opera House decreased from last year by 5% throughimplementing energy efficiency upgrades.Electricity Use (MWh)10/11 09/10 08/09 07/08 06/07Sydney Opera House 17,825 18,688 17,707 18,730 19,056Offsite leases(office & storage)281 273 277 209 164Total 18,106 18,961 17,984 18,939 19,220Gas (GJ)Sydney Opera House 1,961 1,539 2,416 2,371 2,377Water (ML)Sydney Opera House 70 59 54 58 66Gas figures for 2010/11 are an estimate due to a malfunctioning meter which shows asignificant decrease in gas consumption that may not be correct. The 2009/10 figureis also likely incorrect due to this issue. The gas meter fault has been reported. Wateruse has increased due to an undetected leak in a pipe in a disused chlorine tank,contributing to significant increases in water usage. The pipe leak has been repairedand improved water metering and monitoring is scoped for implementation in 2011/12to help identify excessive usage issues.

104GOVERNMENT REPORTINGCarbon FootprintSydney Opera House reduced its carbon footprint by 6% on the 2009/10 measurement.The 2010/11 result is 18,851 metric tonnes of carbon dioxide equivalents and includesoffice paper which is an additional emissions source not counted in 2009/10. Emissionshave been calculated for the full fuel cycle in accordance with Department of ClimateChange and Energy Efficiency National Greenhouse Accounts (NGA) Factors July 2011and the Environmental Protection Authority Victoria.This year Sydney Opera House had the completeness of emissions sources, accuracy androbustness of data, key assumptions, emissions factors, calculations and methodologiesverified against the Greenhouse Gas Protocol developed by the World Business Councilfor Sustainable Development (WBCSD/WRI 2001) and ISO 14064:3 by qualified thirdparty auditors Net Balance. Sydney Opera House’s carbon footprint will continue tobe measured annually and progress tracked in reducing greenhouse gas emissions andenergy use.Sydney Opera House Greenhouse Gas Emissions 2009 to 2011Tonnes CO 2equivalentSource 2010/2011 2009/2010Scope 1 – Direct EmissionsNatural gas 1 126 91Fleet vehicles diesel 8 4Refrigerants 398 398Scope 2 – ElectricityElectricity from buildings (Sydney OperaHouse, tenancies and offsite leases)19,193 20,288GreenPower 2 (1,729) (1,205)Net emissions from electricity 17,463 19,083Scope 3 – Indirect EmissionsWaste 3 837 482Office paper 19 Not countedTotal 18,851 20,0571Gas increase due to gas meter malfunction and therefore 2009/10 and 2010/11 figures are likely incorrect.22009/10 at 6% GreenPower and 2010/11 6% July to February and 10% March to June.3Waste increase due to municipal solid waste not being counted in 2009/10.Sydney Opera House also counted emissions from Vivid LIVE 2011 with a total of 1,609metric tonnes of carbon dioxide equivalents as a result of the festival. Emission sourcescounted included flights, electricity, catering, waste, accommodation, natural gas, groundtransport, tickets, print collateral and advertising. More information on Sydney OperaHouse corporate and Vivid LIVE carbon footprints will be available on the Greening theHouse pages on the Sydney Opera House website from September 2011.Next year, Sydney Opera House aims to achieve a 10% reduction in electricityconsumption on the 2000/01 baseline and undertake the following energymanagement initiatives:- projects supported by the NSW Government’s Building Retrofit Program, includinga lighting controls upgrade for Central Passage, Drama Theatre and Playhouseauditoriums as well as Concert Hall and Opera Theatre foyers and toilets, and a trialof energy efficient lighting solutions in the external perimeter lights of the SydneyOpera House precinct;- commence an energy efficient lighting upgrade in Central Passage as well as thePlayhouse and Drama Theatre;- achieve energy efficiency through theimplementation of a sustainable eventmanagement system;- improve the NABERS energy ratingfor Customs House tenancy; and- conduct a NABERS energy ratingfor the new 71 Macquarie Street,Sydney tenancy.EQUAL EMPLOYMENT OPPORTUNITY (EEO)Sydney Opera House is committed tomaintaining equality in the workforceby upholding a workplace culture thatdisplays fair practice and behaviour,and ensuring that all people are valued,respected and have opportunitiesto develop their full potential. EEOinitiatives include:- establishment of new targets forIndigenous employment, workexperience and apprenticeshipactivities as part of the first SydneyOpera House Reconciliation Action Plan;- continued roll-out of Marker BusinessExcellence Project initiatives followingfeedback from staff from the secondround online survey and focus groupsconducted in 2009/10;- continued focus and adoption ofpersonal staff development throughcareer coaching;- continued delivery of the organisationOrientation program for new staff andspecific role induction programs thataddress EEO principles and practices;- increased focus on educating staffabout prevention of bullying andharassment in the workplace viatargeted workshops;- continuation of the online performancereview system, allowing all staff24 hour access to data entry forms;- enhancement of site safety inductionfor staff and external contractorsthrough new resources to complementthe program; and- continued access for staff to pursueexternal professional developmentprograms, including Master ofArts Management modules providedby the Australian Institute ofManagement, facilities management,first aid, contracts management andtechnical training.

105EEO initiatives planned for 2011/12 include:- implementation of work experience and school based apprenticeships program forAboriginal and Torres Strait Islander students;- increase in Aboriginal and Torres Strait Islander identified positions for recruitmentdrives and use of Indigenous recruitment networks;- continued delivery of workshops targeting prevention of bullying and harassment,supported by new policy and procedures; and- continuation and development of the Marker Business Excellence Project to furtherengage with staff and integrate their ideas and feedback.Table A. Trends in the Representation of EEO Groups% of Total StaffEEO GroupBenchmarkor Target2011 2010 2009 2008Women 50% 47% 47% 45% 48%Aboriginal people and2.6% 0.5% 0.5% 0.0% 0.0%Torres Strait Islanders 1People whose first language wasnot English19% 14% 13% 12% 14%People with a disability N/A 3% 4% 4% 5%People with a disability requiringwork-related adjustment1Includes casual staff for 2011 and 2010 only.Table B. Trends in the Distribution of EEO GroupsDistribution IndexEEO Group1.5% 0.0% 0.0% 0.3% 0.6%Benchmarkor Target2011 2010 2009 2008Women 100 98 103 101 97Aboriginal people andTorres Strait IslandersPeople whose first language wasnot English100 n/a n/a n/a n/a100 90 72 79 78People with a disability 100 n/a n/a n/a n/aPeople with a disability requiringwork-related adjustment100 n/a n/a n/a n/aNote: Staff numbers as at 30 June 2011. Information provided by the Workforce Profile Unit, Department ofPremier and Cabinet. The Distribution Index is automatically calculated by the software provided by ODEOPE. TheDistribution Index is not calculated where EEO group or non-EEO group numbers are less than 20 (denoted by n/a).FIRE SAFETY COMPLIANCEResponsibility for fire safety compliance rests with the Director, Building Developmentand Maintenance. On 7 June 2011, the building’s annual Fire Safety Statement wasrenewed in accordance with the Environmental Planning and Assessment Regulation2000 – Division 5, Clause 175 and 178.In 2010/11 the program of upgrades to fire systems continued. Stage 2 of the firehydrant and hose reel upgrade has reached 80% completion, with an expectedcompletion date of September 2011.GOVERNMENT INFormation AND PUBLICaccess (GIPA)On 1 July 2010 the NSW Governmentimplemented the new GovernmentInformation (Public Access) Act 2009(GIPA). The impact of GIPA on SydneyOpera House is minimal. No major issueshave arisen during the year in complyingwith the GIPA. No applications werereceived during the reporting year.InformationRequests10/11 09/10 08/09 07/08New requests 0 1 4 0Brought0 0 0 0forwardTotal to beprocessed0 0 0 0Completed 0 1 3 0Transferred 0 0 0 0outWithdrawn 0 0 1 0Total0 1 3 0processedUnfinished(carriedforward)Statement of Affairs0 0 0 0Functions and structureSydney Opera House is operated andmaintained for the Government ofNew South Wales by the Sydney OperaHouse Trust, which is constituted as abody corporate under the Sydney OperaHouse Trust Act 1961. The Trust ischarged with:- the administration, care, control,management and maintenance of thebuilding, brand and site;- the management and administrationof Sydney Opera House as a performingarts and conference centre;- the promotion of artistic tasteand achievement in any branchof the musical, operatic, dramatic,terpsichorean, visual or auditoryarts; and- scientific research into, and theencouragement of new and improvedforms of entertainment and methodsof presentations.

106GOVERNMENT REPORTINGSydney Opera House theatres, halls,reception rooms, foyers and surroundingareas are hired out to performing artscompanies and other organisations fora wide range of purposes, includingperformances, exhibitions, conventions,seminars, lectures and receptions.In addition, the Trust undertakes anumber of entrepreneurial activitiesto complement the conventional rangeof attractions presented by residentcompanies and other entrepreneurs.The Sydney Opera House Trust has10 members. Trustees are appointed bythe Governor on the nomination of theMinister for the Arts and their threeyear terms are timed to start on alternateyears. If otherwise qualified, Trustees areeligible for reappointment and may serveno more than three consecutive terms.The Chief Executive of the Sydney OperaHouse Trust is the General Manager, whois supported by a team of five Directors.More information about the structureand functions of Sydney Opera Housecan be found on page 58 or websitesydneyoperahouse.com.Public participation in policy formulationThe Trustees represent the public inthe management and functioning of theSydney Opera House.Documents made available to the publicSydney Opera House is proactive aboutreleasing information to the public andhas a wide variety of information anddocuments available on the websitesydneyoperahouse.com or by contactingthe Government Relations Department.Documents available free of charge include:- Corporate Vision and Goals- Artistic Vision- Sydney Opera House Annual Report- Utzon Design Principles- Conservation Management Plan- The Management Plan for the SydneyOpera House- Sydney Opera House World HeritageNomination- Environmental Sustainability Plan- Reconciliation Action Plan- Access Strategic Plan 2009/12- Sydney Opera House Access Guide- Sydney Opera House Theatre AccessBrochure- Sydney Opera House Policies> Artworks Management> Charitable Assistance> Charitable Collections> Child Protection> Code of Conduct> Commitment to Our Customers> Credit Control and DebtorManagement> Customer Feedback> Environmental Sustainability> Gifts and Benefits> Giving Corporate Donations> Illumination of the Sails> Lost Property> Movement of Vehicles on Site> OH&S Policy Statement> OH&S Risk Management> People with Disabilitiesand Older People> Permission to Film atSydney Opera House> Privacy> Procurement> Protected Disclosures Reporting> Smoking, Alcohol and Other Drugs> Sponsorship.To comply with the new GIPA legislationSydney Opera House added additionalinformation to the website this year,including:- information on how members of thepublic can access information onSydney Opera House;- information tabled in Parliament aboutand on behalf of the agency;- a Disclosure Log of information thathas been released under GIPA; and- a Register of Government Contracts(includes leases and grants over$150,000).Sydney Opera House also holdsinformation on files and in computersystems 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 administrativerecords concerned with the day-todaymanagement of Sydney OperaHouse. These cover matters such asasset management, purchasing, travel,personnel management, financialmanagement, information technology andtelecommunications, legal matters andplanning documents.Information access requestsIf you would like access to any of thedocuments, apart from the free of chargedocuments, you will need to make arequest under GIPA for access.Requests for access to documents heldby the Trust must be made by writtenapplication accompanied by a fee of $30and addressed to:Right to Information OfficerSydney Opera HouseGPO Box 4274Sydney NSW 2001Enquiries may be directed to the Right toInformation Officer between the hours of10am and 4pm, Monday to Friday. Contactdetails are listed below.Telephone: (02) 9250 7488Fax: (02) 9250 7844Email: GIPA@sydneyoperahouse.comHERITAGE MANAGEMENTThe cultural and architecturalsignificance of Sydney Opera House isrecognised with its inclusion on theWorld Heritage List, National HeritageList, and State Heritage Register. Asrequired every six years, a periodicreport was prepared on Sydney OperaHouse’s heritage management activitiesfor inclusion in a national report onAustralia’s World Heritage properties.The national report will be tabled at theUNESCO World Heritage Committeemeeting in June 2012. Sydney OperaHouse has performed well in the criticalareas of maintaining the authenticity andintegrity of the World Heritage values.Work has continued throughout theyear on development of the ConservationManagement Plan 4th Edition, theprincipal guide and policy document forheritage and conservation management.This will be published once all statutoryrequirements have been fulfilled (p.48).The Conservation Council is a Trustadvisory committee and provides

107specialist advice on issues of heritagemanagement, conservation andpreservation (p.59).Planning and heritage approvals weresecured for the Vehicle Access andPedestrian Safety project during 2010and construction commenced in February2011. The new underground road andloading dock will remove heavy vehicletraffic from the Forecourt and Broadwalks,significantly enhancing the heritage valuesand safe operation of the site. The projectis targeted for completion in 2013/14.INDIGENOUSSydney Opera House supportsIndigenous arts and Indigenousemployment in the performing artsand entertainment industry.Reconciliation Action PlanSydney Opera House launched its firstReconciliation Action Plan (RAP) on30 May 2011. The RAP builds on existingprograms, such as the Message SticksFestival and Indigenous TraineeshipProgram, to introduce a number oftargets that aim to close the gap betweenAboriginal and Torres Strait Islanderpeople and fellow Australians. The RAPwas developed in consultation withReconciliation Australia and a range ofAboriginal and Torres Strait Islanderstakeholders both within and externalto the organisation. An internal RAPWorking Group including Indigenousand non-Indigenous reconciliationambassadors from all areas of theorganisation has been established toimplement and monitor actions.The RAP sets actions and targets acrosskey focus areas:- building relationships;- expanding and promotingartistic content;- audience engagement andparticipation;- education and employmentpathways; and- cultural awareness and protocols.The first meeting of the RAP WorkingGroup was held in June 2011, with workcommencing on a number of initiatives.Updates against the targets set out in theRAP will be reported on in 2011/12.Message Sticks IndigenousFilm Festival 2010The 12th Message Sticks Festival tookplace at the Sydney Opera House in thePlayhouse, The Studio and Utzon Room.The Indigenous Film program was curatedby Darren Dale and Rachel Perkins ofBlackfella Films and was presented inassociation with Blackfella Films andScreen Australia from 12-15 May 2011.It included feature films, documentariesand short films from Australia and theUSA. The festival opened with the debutfeature by filmmaker Bec Cole, HereI Am and included Inuit filmmakerAndrew Okpeaha MacLean’s On the Iceas a co-presentation with the SydneyFilm Festival. Other film highlightsincluded feature documentary Grab byBilly Luther, the premier of the fourthinstallment of Shifting Shelter by IvanSen and a celebration of the 21 years ofthe series Nganampa Awernekenhe. A‘pitching’ session was held for filmmakersin partnership with the Australian Film,Television and Radio School.The festival also included a forum onIndigenous storytelling across artformswith Steven Page, Wesley Enoch, HettiePerkins and Andrew Okpeaha MacLean,chaired by Rachel Perkins.Film screenings were attended by over2,500 patrons and many included questionand answer sessions with directors.Additional screenings for schools wereheld as part of the House:Ed program.This year, Message Sticks expandedto include two performing artspresentations: I See – a Babies Promsshow developed by NAISDA and presentedas part of the House:Ed and Kids atthe House programs; and actor andsinger Ursula Yovich performing herautobiographical cabaret Magpie Bluesin The Studio over three nights.Indigenous Work Placement ProgramThe Sydney Opera House IndigenousWork Placement Program developed fromthe 1999 Dreaming of a Better FutureConference. The program has created anavenue for young Indigenous people toenter the arts industry via a 12 monthtraineeship in the theatre technicalfields; lighting, staging or sound. Ithas since evolved into a three monthplacement program for Indigenousgraduates in any business field offered.To date, 17 individuals have completedthe traineeship program and since 2009Sydney Opera House has endeavoured toprovide graduates short term employmentopportunities through a three monthplacement program. Challenges incontinuing this program arose this yeardue to the lack of potential candidatesas the graduates are usually approachedby organisations for work placementsduring the undergraduate years or whilestill at school.To ensure that education and employmentpathways continue to be provided, in2010/11 Sydney Opera House has focusedon setting targets for an IndigenousSchool Based Apprenticeships Program aspart of Sydney Opera House ReconciliationAction Plan. This program will beimplemented in 2011/12 and will aim toengage with Year 10 Indigenous studentsfor placements between 12 to 24 months.‘THE ACCESS STRATEGIC PLANconsists OF 48 STRATEGIESWITH THE GOAL OF INCREASINGTHE PARTICIPATION OF PEOPLEWITH DISABILITIES.’

108GOVERNMENT REPORTINGINSURANCESydney Opera House insurance coverage is provided by the NSW Treasury ManagedFund, a self-insurance scheme administered by GIO (which covers property, publicliability and motor vehicle) and by Allianz (which covers workers’ compensation).The property policy protects Sydney Opera House assets and the properties for whichit holds long-term leases.During the year Sydney Opera House had three property claims totalling $139,900.A table showing the total cost of premiums excluding GST, arriving at the cost peremployee over the past five years, is set out below.10/11$09/10$08/09$07/08$Motor vehicle 2,880 2,620 0 0 006/07$Property 579,600 707,890 662,440 661,490 406,700Public liability 372,780 381,220 382,770 370,940 342,230Workers’ comp. 924,280 928,570 702,970 842,390 1,411,974Miscellaneous 9,600 7,210 5,460 1,880 0total COST 1,889,140 2,027,510 1,753,640 1,876,700 2,160,904Total Employees 781 741 716 719 703COST PER EMPLOYEE 2,419 2,736 2,449 2,610 3,074INVESTMENT PERFORMANCE MEASUREInvestments are placed with NSW Treasury Corporation or banks at interest ratesequivalent to, or greater than, the relevant benchmark Hourglass Investment.LAND TITLE HOLDINGSSummary of Land HoldingsOwnership of Sydney Opera House and its land is vested in the Minister administeringthe Sydney Opera House Trust Act 1961 (the Minister for the Arts) on behalf of theNSW Government. The Sydney Opera House Trust, which is constituted as a bodycorporate under the Sydney Opera House Trust Act 1961, is responsible for the operationand maintenance of Sydney Opera House and its land. The site area is 3.82527 hectaresand is located at the northern end of Circular Quay East, Bennelong Point, and as at30 June 2011 was valued at $111,000,000.LEGALThe Sydney Opera House Trust By-law was remade on 1 September 2010 in accordancewith the Subordinate Legislation Act 1989. The process involved internal and externalconsultation with stakeholders including the public, resident companies, Sydney OperaHouse Trust commercial partners and relevant government departments and agencies.Based on the submissions received, the Parliamentary Counsel’s Office finalised theSydney Opera House Trust By-law, which was approved by the Minister for the Arts andthe Governor.The Statute Law (Miscellaneous Provisions) Act 2010 amended the Sydney Opera HouseTrust Act 1961 (“the Act”) commencing 9 July 2010. Section 11A (4) of the Act wasamended to provide that a resolution approved under subsection (1) is, subject to theby-laws [replacing “regulations”]. Section 28 of the Act was amended to provide that aby-law has no effect unless approved by the Governor, removing the need for the SydneyOpera House Trust to seal every by-law itmakes with a common seal.An order under the Public SectorEmployment and Management Act 2002established a new Principal Departmentof Trade and Investment, RegionalInfrastructure and Services (DTIRIS)on 1 April 2011. Communities NSW wasabolished on the same date and the SydneyOpera House Trust, along with four otherNSW cultural institutions, was transferredas a division to the newly created Ministryfor Tourism, Major Events, Hospitality andthe Arts under DTIRIS.MULTICULTURAL POLICIES ANDSERVICES PLANIn support of the NSW MulticulturalPolicies and Services Plan, opportunitieswere created for artists, audiences,and visitors from a range of culturalbackgrounds to engage with SydneyOpera House. Performances with a strongmulticultural theme were presented acrossa variety of artforms including music,dance, theatre and film.The music and theatre offeringincluded both large and small scalepresentations across the venues. Amongstthe highlights were:- Gaff Aff 17 to 24 October 2010 –Swiss performance duo Zimmermann& de Perrot created a world thatrevolves quite literally on a turntable.Enthralled by the minutiae of everydaylife, their productions combine music,dance and circus with humour,originality and a striking visual style.- Roby Lakatos 16 to 18 December2010 – equally comfortable performingclassical, jazz, and his nativeHungarian folk idiom, Lakatos is amusician who defies definition.- Afro Celt Sound System 14 to 15 May2011 – Afro Celt Sound System cametogether through Simon Emmersoncollaborating with James McNally,Martin Russell and Irish vocalist IarlaO’Lionaird.- PINA 17 April 2011 – a 3D cinematicexperience by Wim Wendersdedicated to the extraordinary moderndance icon Pina Bausch, a Germanchoreographer whose incredibleimagination and vision helped exposemodern dance across the globe andacross multiple artistic platforms.

109- A Gospel Celebration 25 April 2011– revered living legends of gospeland blues The Blind Boys of Alabamajoin rhythm and blues and soul iconAaron Neville with soul-diva MavisStaples and her band to complete apower-house line-up for a uniqueperformance in the Concert Hall.- Cafe Rebetika! 3 to 8 May 2011 – apassionate and uplifting theatreproduction told against the backdropof 1930s urban Greek slums that mapsthe rise of rebetika, the ’Greek blues’.- Magpie Blues: Ursula Yovich 13 to15 May 2011 – a soulful one-womancabaret show presented as part of theMessage Sticks Festival. This movingmusical account of growing up in theNorthern Territory with a mother fromArnhem Land and a Serbian fatherfeatures a mix of Yovich’s own newsongs and musical influences from herpast, directed by Wesley Enoch.- Random 16 to 22 May 2011 – a onewoman play by the black Britishwriter Debbie Tucker Green. Writtenentirely in imperfect verse withCaribbean accent.- Superbien Lighting of Sails 27 Mayto 5 June 2011 – a multi-disciplined,multi-talented art and designcollective from France. They becamethe centrepiece during the Vivid LIVE2011 festival transforming the SydneyOpera House sails into 3D animationwith their sumptuous environments ofanimation.- Odd Future 1 to 3 June 2011 – makingtheir Australian debut at the VividLIVE festival, Odd Future are a10-strong LA hip-hop collective ofrappers, producers, filmmakers anddesigners led by the African-Americanurban artist Tyler The Creator.- Sonny Rollins 2 June 2011 – thisGrammy award-winning African-American tenor saxophonist is widelyrecognised as one of the 20th century’smost important musicians.- Hypnotic Brass Ensemble 4 June 2011– this hip-hop driven nine-piece brassAfrican-American band from Chicagowere a highlight of the Vivid LIVE2011 festival.- Havana Rakatan 6 to 19 June 2011 –Salsa, mambo, jazz, bolero, son,cha-cha-cha and rumba all camealive in a dazzling dance displayof Cuban passion.The Sydney Opera House danceprogram Spring Dance, continuedto create opportunities for new andestablished artists:- Echoa 11 to 19 July 2010 – anelectrifying performance of dance andpercussion from France.- Los Van Van 14 to 15 August 2010 –the iconic and quintessential sound ofCuba ignited in the Concert Hall withtheir hot fusion of Cuban rhythms.- Bare Soundz 29 August to 6September 2010 – only in his 30s,African-American Savion Glover iswidely hailed as America’s greatestliving tap dancer.- Transports Exceptionnels 6 to 13September 2010 – a short but movingfree performance on the Forecourt,French performer Philippe Priassotook on a dance partner with adifference: a giant earthmover.- Singular Sensation 13 September 2010– marked the welcome Australian debutof Israeli choreographer Yasmeen Godder.- Sutra 5 to 30 September 2010 –17 Chinese warrior monks and oneextraordinary Belgian contemporarydancer-choreographer.- Asphalte 20 to 26 September 2010– this riveting production wascreated with five dancers whoPierre Rigal plucked from theobscurity of the streets of Paris.Sydney Opera House and the St JamesEthics Centre presented the Festival ofDangerous Ideas:- If You Want Peace Forget Justice2 October 2010 – discussion rangedacross some of the thorniest issues andmost intractable conflicts throughoutthe world - Ireland, Timor, Cyprus, theMiddle East.- Why the Religious Will Inherit theEarth 3 October 2010 – drawingon extensive demographic research,and considering questions ofmulticulturalism and terrorism, EricKaufmann examined the implicationsof the decline in liberal secularismas religious conservatism rises – andwhat this means for the future ofwestern modernity.- No One is Above the Law 3 October2010 – Geoffrey Robertson mappeda vision of what for despots and warcriminals around the world is the mostdangerous idea of all - that no one isabove the law.- What We Can Learn from Terrorists3 October 2010 – a writer, filmmakerand occasional broadcaster, TariqAli drew a parallel with the currentgeopolitical situation and thatof the Western world in the late19th century.- After The Flotilla 3 October 2010– prominent Australian foreigncorrespondent, Paul McGeoughquestioned whether recent events havechanged control of the conflict story inthe Middle East and what this couldmean for Israel.Other significant events during theyear with notable multicultural contentincluded:- Ayaan Hirsi Ali 27 July 2010 –Dutch Somali feminist, activist, writerand politician.- Pavan Sukhdev Talk 3 August 2010– head of the UN Green EconomyInitiative, Sukhdev explained whysaving nature saves money, and whatAustralia needs to do to balance theenvironmental books.- When His Watch Stopped 20 to28 August 2010 – presented aspart of Kids at the House program,this program was performed byKorea’s world-renowned SadariTheatre Company.- David Suzuki Talk 24 October 2010– Canadian-born Japanese Suzuki isone of the world’s leading authoritieson climate change, sustainability, andclean energy, and talked about his bookThe Legacy.Services and information to meet the needsof visitors and customers from diversecultural backgrounds continue to beprovided through public tours in Japanese,Korean, Mandarin, French and German.In addition, website pages, informationbrochures and other printed collateral areproduced in all tour languages.Next year Sydney Opera House willcontinue to:- provide tours in English, Japanese,Korean and Mandarin, French andGerman;- communicate via a range of translatedmaterial and interpreters; and- present a number of opportunities toa range of artists, audiences and thecommunity through events, servicesand consultation.

110GOVERNMENT REPORTINGOCCUPATIONAL HEALTH AND SAFETY (OH&S)Restructure of the OH&S departmentresulted in a dedicated multi-disciplinarySafety Team, reporting to the DirectorVenue Partners and Safety. Previously ade-centralised function had seen safetyspecialists based in four portfolios.As a result of the new safety structure,initiatives and strategies can be dividedinto three groupings:Workplace Health and SafetyA key objective of the Sydney OperaHouse Safety Strategy is to improveprevention of occupational injury anddisease and to reduce the frequency andseverity of risks to people’s health andsafety. This year highlights include:- upgrade of the online incident andhazard reporting system, resultingin an integrated online correctiveaction system;- upgrade of OH&S performancereporting to the Sydney Opera Houseexecutive and the Trust;- new procedures for OH&S RiskManagement, Manual HandlingProcedures and Guidelines, andIncident Reporting and InvestigationProcedures;- roll-out of numerous manual handlinginitiatives, including 37 staffattending manual handling training,engagement of a leading Australianergonomist David Capel to providetechnical advice concerning a numberof hazardous manual tasks and thefinalisation of plans and approval ofredesign of a work area in the OperaTheatre that has been linked to anumber of muscular-skeletal injuries;- introduction of new height safetyinstallations and equipment in Operaand Drama Theatres;- introduction of a system to capturesafety risk reduction suggestions fortheatre and events workers. Thesesuggestions are now documented andfollowed up;- development of Induction Bookletsto complement Sydney Opera HouseSite Safety Inductions and are nowdistributed to all new workers atSydney Opera House. A separateinduction flyer has been developedfor performers; and- focus during Safety Week 2010 onpromoting workplace safety inspectionsand safety in the theatre environment.Fun activities including a Safety WeekBBQ and Quiz were very popular.Safety obligations and compliance areshared by Sydney Opera House withcommercial partners, contractors andresident companies. Safety highlightsin this area include:- a Shared Safety ResponsibilitiesWorkshop held with Sydney OperaHouse and Opera Australia supervisors;- new resident company contracts tostrengthen OH&S expectations;- internal audits of four contractorOH&S Management systems (United,State Auto, Clean Event, and Hastie)were undertaken; and- 16 managers from resident companiesand commercial partners attended theon-site national harmonisation OH&Slegislation briefing.In 2010/11 the number of IncidentReports that were staff related decreasedfrom 282 to 245. The number of newworkers’ compensation claims lodgeddecreased from 48 to 42, this being thelowest figure in the last six years.Reducing the Impact of InjuryThe Health Centre onsite is staffed byregistered Occupational Health Nursesseven days a week and provides aprofessional first aid service for SydneyOpera House staff, resident and visitingcompany members, patrons and visitors.This year, nurses provided first aid to860 ill or injured patrons, visitorsand workers. Of the 8.2 million visitorsto Sydney Opera House annually,177 injuries and 256 illnesses wereattended to by the Health Centre this year.In 2010/11 the internal Pre-EmploymentHealth Assessment methodologywas reviewed. Independent reviewresults were positive, with minorrecommendations for improvementprovided. A bi-annual review of theInjury Management Policy and Returnto Work Program occurred.Health Promotion and WellbeingHealth promotion and wellbeingstrategies support an engaged, motivatedand healthy workforce. The followinginitiatives are highlighted for 2010/11:- 186 immunisations were administeredthis year in the annual InfluenzaVaccination and Awarenessprogram, a slight increase from180 immunisations in 2009/10;- Sydney Opera House continuedto offer complimentary Yoga andPilates classes four days per weekto staff; and- targeted health promotions includedHeart Week, Diabetes Awareness andMental Health.AuditA follow up internal audit was undertakenby Deloitte Touche Tohmatsu in April2011. Deloitte identified that of theoriginal 19 management actions, a smallnumber remain partially open, relatingto four OHSIM Improvement Standards.The audit assessment generated sixrecommendations for improvement,replacing previous recommendationsfrom the 2009 report. There were noadditional recommendations arisingfrom the requirements of OHSIMImprovement Standards 2 and 4, whichwere also included as a component ofthis assessment. Audit issues remainingopen relate to the following OHSIMImprovement Standards, all of which havea low residual risk rating.- Planning Processes (rec. 1).- Consultation (rec. 2).- Information, Instruction and Training(rec. 3, 4 and 5).- Incident Reporting, Investigationand Review (rec. 6).

111Incident Reports (Staff Related) 2006 to 201105/06 06/07 07/08 08/09 09/10 10/11245282221229252253YearIncident Reports(staff related)10/11 24509/10 28208/09 22107/08 22906/07 25205/06 253New Workers’ Compensation Cases lodged 2006 to 2011 *05/06 06/07 07/08 08/09 09/10 10/11424844454657Year New Workers’CompensationCases lodged *10/11 4209/10 4808/09 4407/08 4506/07 4605/06 57* Includes all workers’ compensation cases including provisional liability (including no cost claims).A new set of quarterly benchmarking and reporting measures have been implementedaround Lost Time Injury Disease (LTID) rates to better reflect work related losttime injuries.Lost Time Injury Disease Incident and Frequency Rates 2008 to 201108/09 09/10 10/112653.052857.4525.452.56Yearltid^IncidentRateltid#FrequencyRate10/11 52.56 25.409/10 57.45 2808/09 53.05 26LTID# Frequency RateLTID^ Incident Rate^ Lost Time Injury Disease (LTID) Incident Rate is the number of work related lost time injuries (1 day or more) per1,000 employees.# LTID Frequency Rate is the number of work related lost time injuries (1 day or more) per million hours worked.

112GOVERNMENT REPORTINGOVERSEAS TRAVELSydney Opera House staff undertake interstate and overseas travel for business reasonsincluding sourcing performing arts product, touring programs and representing SydneyOpera House at key industry forums. Overseas travel approved by the Chief ExecutiveOfficer, Sport Recreation and Communities and undertaken during the reporting yearis listed below:Name Country Dates PurposeRachel HealyDirector,Performing ArtsRichard EvansChief ExecutiveOfficerKen McSwainBusiness SolutionsManagerPeter NelsonBusiness AnalystLyndsey LongOnline MarketingManagerClaire SpencerFinancialControllerVirginia HyamHead ofContemporaryCultureNaomi MartinManager,Sustainability andEnergyBob MoffatManager, FacilitiesGreg McTaggartDirector, BuildingDevelopment andMaintenanceEurope & UK 2–12 July 2010 To progress proposal from MontreuxJazz Festival to establish affiliatedfestival with Sydney Opera House andvisit aligned performing arts centres.Japan 14–19 Sep 2010 To attend the Association of AsianPacific Performing Arts Centres.New Zealand 14–16 July 2010 To attend OZPAC (AustralasianPerforming Arts Centres) CEO’s twiceyearly meeting.Japan 14–18 Sep 2010 To attend the Association of AsianPacific Performing Arts Centres.USA & FranceUSASingaporeBeijing, China31 Oct–8 Nov201028 April–4 May201131 May–4 June201121–24 June2011To attend residential course for arts/non-profit CEO’s at University ofMichigan Ross Business School andattend Forum d’Avignon.To attend Performing Arts CentresConsortium Spring conference.To accept invitation to deliver thekeynote speech at the LIVE 2011conference.To accept invitation to speak at the 2011World Theatre Summit at the NationalCentre for the Performing Arts.USA 3–26 Aug 2010 To participate in Tessitura Learning andCommunity Conference.USA 6–15 Aug 2010 To participate in Tessitura Learning andCommunity Conference.USA 8–13 Aug 2010 To participate in Tessitura Learning andCommunity Conference.USA 8–12 Aug 2010 To attend Tessitura Conference andTessitura Network Board Meeting.UK 21–31 Aug 2010 To attend a series of productions atthe Edinburgh Fringe Festival to beconsidered for programming.USA & Malaysia 5–20 Nov 2010 To meet with agents in New York andKuala Lumpur as part of programmingplanning for 2011.UK 13–15 Sep 2010 To attend the One Day PlasaShow workshop presentations onsustainability.New Zealand 7–8 Oct 2010 To attend the OzPAC FacilitiesManagement Group meeting.New Zealand 7–8 Oct 2010 To attend the OzPAC FacilitiesManagement Group meeting.Dubai, UAE 15–20 May 2011 To speak at World FacilitiesManagement Conference.

113Name Country Dates PurposeWendy MartinHead of Theatreand DanceSarah DuthieSales AccountManagerDerrin BrownProductionManagerBridgette VanLeuvenHead of Educationand Performancesfor Young PeopleJonathan BielskiExecutive ProducerBen MarshallProducerEurope, China& USA19 Oct–11Nov2010To attend theatre performances inEurope and USA under considerationfor programming planning and to acceptinvitation from China’s Ministry ofCulture to be part of official delegationof Australian arts leaders’ tour of China.Canada & USA 1–17 Nov 2010 To attend Tourism NSW Best ofAustralia North America trade events.Indonesia 21–23 Nov 2010 To attend Javanese Opera performanceto study the technical requirementsfor the production being presented atSydney Opera House on 18 December2010.Bologna, Italy& London, U.K.UK, Denmark& SwedenAuckland,New ZealandUK, France,Holland,Belgium & USA1–9 March 2011 To attend Visioni di futuro festival inBologna, Italy and meet with producersof family programs at Barbican Centreand Southbank Centre in London.7–30 May 2011 To attend annual Imaginate festivalof performing arts for children andyoung people in Edinburgh to 15 May.Attend annual ASSITEJ (InternationalAssociation of Theatre for Young Peopleand Children) Congress and PerformingArts Festival in Copenhagen and Malmö.14–19 March201130 April–17 May2011To attend the International ProducersShowcase hosted by Creative NewZealand and meet with New Zealandbased performing arts organisations.To attend performances at BrightonFestival in the UK and MusicNOW inCincinnati and meet with key overseasbased artists, agents, managers andarts organisation programmers.PRIVacy MANAGEMENTThe Sydney Opera House Privacy Management Plan includes:- descriptions of the key categories of personal information held by Sydney Opera House;- procedures for facilitating the public’s right to access information held on them; and- procedures for privacy complaints and internal reviews.Details of how Sydney Opera House protects the privacy of its customers includingvisitors to its website are available at sydneyoperahouse.com. To obtain copies of SydneyOpera House’s latest Customer Privacy Statement, Privacy Management Plan, PrivacyPolicy and/or to make enquiries about privacy issues, contact:Privacy Contact OfficerSydney Opera House, GPO Box 4274, SYDNEY NSW 2001Telephone: (02) 9250 7111Email: privacy@sydneyoperahouse.comThere were no privacy reviews conducted and no formal privacy complaints werereceived during the year. A number of customers chose to opt out of receiving directmarketing material from Sydney Opera House.RISK MANAGEMENTAudits(also refer Governance page 58).The Sydney Opera House Audit and RiskCommittee assists the Trust in fulfillingits responsibilities in relation to financialreporting, risk management, complianceand the audit function.Performance and compliance audits werecarried out by Deloitte Touche Tohmatsuon a variety of business processes andsystems for the 2010/11 period. Theobjective of the audits was to evaluatethe design and operating effectiveness ofinternal controls established and to makerecommendations for improvement. Thefollowing audits occurred as part of the2010/11 Internal Audit Plan for SydneyOpera House.- Newslink Occupation Agreement,August 2010 – evaluation of themanagement of the OccupationAgreement – Shops BOF1 and LC05,Sydney Opera House with NewslinkPty Ltd. Part of the audit assessmentincluded accuracy of payments madeto Sydney Opera House by Newslinkunder the Agreement. The scope tookin transactions during the period1 October 2009 to 30 June 2010.Four audit issues were identified with10 associated recommendations. Allrecommendations are being actioned inaccordance with target completion dates.- Human Resources Management,November 2010 – evaluation ofselected procedures associated withhuman resources management. Thescope took in transactions during theperiod 1 July 2009 and 5 September2010 and covered rostering, employeeleave and higher duties and overtime.Four audit issues were identified withsix associated recommendations. Allrecommendations were implemented,closing off all issues raised.- Payroll Management, January 2011– evaluation of selected proceduresassociated with payroll management.The scope was limited to transactionsduring the period 1 July 2009 to24 October 2010 and covered keycontrols in the areas of commencementof new employees, termination ofnew employees, payroll Masterfilechanges, payroll related General LedgerReconciliations and payroll processing

114GOVERNMENT REPORTINGand disbursement. Two audit issueswere identified with three associatedrecommendations. All recommendationswere implemented, closing off allissues raised.- Vehicle Access and Pedestrian Safety(VAPS) project Management, April2011 – evaluation of the managementof the VAPS project. The scope took intransactions during the period 1 July2010 to 13 March 2011 and coveredproject planning, project schedulingand project monitoring and reporting.Three minor areas for improvementwere identified with four associatedrecommendations. All recommendationshave been actioned and will be closedoff by the agreed dates.Internal Audit and Risk ManagementStatement for the 2010/11 Financial Yearfor the Sydney Opera HouseThe Sydney Opera House Trust is of theopinion that Sydney Opera House hasinternal audit and risk managementprocesses in place that are, in all materialrespects, compliant with the corerequirements set out in Treasury CircularNSW TC 09/08 Internal Audit and RiskManagement Policy.The Sydney Opera House Trust is ofthe opinion that the Audit and RiskCommittee for Sydney Opera House isconstituted and operates in accordancewith the independence and governancerequirements of Treasury Circular NSWTC 09/08. The Chair and Members of theAudit and Risk Committee are:- Catherine Brenner–Chair(Term: 13 May 2009–Present,Chair 1 January 2010–Present)- Kim Williams–Member(Term: 1 January 2005–Present)- Sue Nattrass– Member(Term: 1 January 2007–Present)- Renata Kaldor–Member (Term: 7 July2010–Present)These processes provide a level ofassurance that enables the seniormanagement of Sydney Opera House tounderstand, manage and satisfactorilycontrol risk exposures.In accordance with a resolution of theSydney Opera House Trust.Kim Williams AMChairman, Sydney Opera House Trust21 September 2011Business ContinuityThis year all business streams were engaged to obtain a better understanding of criticalbusiness functions. Utilising a variety of new disruption scenarios the process hasbegun building resilience into the supply chain for all functions that are time critical.This includes safety, ticketing and event production. Key staff have been identified thatwill form strategic, tactical and operational teams and exercises designed to embed thebusiness continuity processes to be implemented.Sydney Opera House is committed to the safety of guests and staff. Engagement withwardens has occurred across the business with hands on training that includes use ofthe fire extinguishers and the Emergency Warning Information System. Training hasalso focused on communication and leadership during an emergency to reduce confusionand ensure a safe evacuation.SENIOR EXECUTIVE SERVICEThere are four senior executive service positions at Sydney Opera House. Two positionsare filled by women.SES Level 10/11 09/10 08/092 - 2 (2 female) 2 (2 female * )3 2 (2 female) 2 (2 female) 4 (3 female * )4 1 2 (1 female) 1 (1 female)6^ 1 1 1* Includes maternity leave coverage of two positions.^ This position is actually graded SES 5, Mr Evans was granted an additional grade to SES 6 on a personal basisfrom appointment.As at 30 June 2011 the Chief Executive of Sydney Opera House was Richard Evans.Performance StatementRichard EvansChief Executive Officer, SES Level 6Appointment at Level 6 commenced on 29 January 2008Total remuneration package: $332,239paThe Director-General has expressed satisfaction with Mr Evans’ performance of hisresponsibilities.Mr Evans worked to the delivery of the Sydney Opera House business plan and budgetendorsed by the Trust on 7 July 2010. Key activities and achievements are outlined inthis report.The Sydney Opera House is an Australian icon and remains the flagship performing artsvenue in Sydney, as well as a signature Sydney landmark. Its reputation and standingis maintained through the efforts of the management team and the client arts companiesthat perform there.

115WAGE AND SALARY MOVEMENTSA 4% wage increase was granted to staff covered by the Crown Employees (PublicService Conditions of Employment) Award 2002 effective from the first pay periodcommencing on and after 1 July 2010.A 3.4% increase was granted to staff covered by the Sydney Opera House EnterpriseAgreement 2010 effective from the first pay period commencing on and after 1 July 2010.A 4% wage increase applied to Senior Executive Service staff effective from the firstpay period commencing on or after 1 October 2010 as per the Statutory and OtherOffices Remuneration Act 1975.WASTE AND RECYCLING MANAGEMENTSydney Opera House has been working to reduce waste and improve waste and recyclingmanagement. Initiatives implemented in 2010/11 include:- battery and e-waste recycling including cables, mobile phones and other smalle-waste items;- polystyrene compacting and recycling;- continued donation of unwanted large goods to Reverse Garbage for re-use;- continued recycling of old banners into bags for use as prizes and give-aways atGreening the House events; and- a prototype recycling bin was trialled in the Western Foyers. Although this wasdeemed not suitable and a new bin system is being designed as a result.‘WE WILL STRIVE TO ENSUREthat VISITING SYDNEYOPERA HOUSE IS A VIBRANT,compelling AND MEMORABLEEXPERIENCE for all.’Monitoring and ReportingA waste audit was undertaken over a 24 hour period in December 2010 which identifiedthat 45% of the precinct’s waste is being recycled; however this 24 hour period was notrepresentative of an average day. The data collected by Cleanevent (cleaning and wastecontractor) on a daily basis and reported monthly provides a more accurate reflection ofrecycling outcomes. Through the introduction of new recycling streams a 2% increase inrecycling has been achieved.Year 2010/11 2009/10Stream Tonnes Percentage Tonnes PercentageRecycling 238 27% 212 25%General waste 637 73% 627 75%Total 875 100% 839 100%Next year, Sydney Opera House proposes to:- introduce co-mingled recycling in all areas including foyers and the Forecourt;- investigate further options for food recycling;- improve recycling control and accuracy of monthly reporting provided by the wasteand cleaning contractor; and- continue to improve communication with commercial partners and develop signageto increase recycling outcomes and reduce co-mingled recycling contamination.

116imagination lives insidePERFORMANCE LISTpresenter/ productionperformancesTOTal AttendanceYoung Audiences perfspresenter/ productionperformancesTOTal AttendanceYoung Audiences perfsDanceBangarra Dance TheatreOf earth & sky 34 16,090 -Bjelke-Petersen School of Physical CultureNational Seniors Final 2010 1 2,680 -Sydney EisteddfodSydney Eisteddfod 4 3,106 -Sydney Opera HouseDance on Film- Footloose 1 900 -- Happy Feet 1 900 -- The Red Shoes 1 250 -Echoa 10 3,682 10Faker 6 790 -Havana Rakatan 14 14,354 -In Glass 6 1,230 -Pierre Rigal - Ashphalte 6 1,808 -Political Mother 5 1,926 -Savion Glover - Bare Soundz 6 2,814 -Screen Live - Pina 1 1,309 -Singular Sensation 5 662 -Sutra 4 4,776 -Transports Exceptionnels 7 5,800 -Wrong Skin 12 3,815 -The Australian BalletBritish Liaisons 22 24,482 -Dancing Athletes Education programme 1 1,340 -Edge of Night 20 25,769 -Introduction to the Ballet: After the Rain 1 1,050 -Madame Butterfly 22 31,590 -Saturdays at Five 4 251 -The Nutcracker 23 33,014 -The McDonald CollegeAn Evening of Classical Ballet 1 1,328Dance Total 218 185,716 10MusicAndrew McKinnon Concert PresentationsJohann Strauss Ensemble 1 1,019 -Aria AwardsARIA Awards 1 5,484 -Arrebato EnsembleArrebato Ensemble 1 320 -Artist Network AustraliaJohn Williamson with theSydney Symphony OrchestraCelebrating 40 Years 2 2,727 -Asquith Girls High SchoolArts North Primary Choral Festival 1 1,941 -ATA Allstar ArtistsA Night in Budapest & Vienna 4 610 -Ausfeng Event ProductionsChinese Folk Orchestra Concert 2 4,640 -Australian Chamber OrchestraBarefoot Fiddler 1 1,678 -Glittering Frost 1 1,649 -Kreutzer Sonata 1 1,745 -Listen to This - The Rest is Noise 1 1,573 -Teddy Tahu Rhodes 1 1,492 -Viennese Masters 1 1,874 -Australian Chinese Performing Arts AssociationFour Chinese Classical Tales 1 2,130 -

presenter/ productionperformancesTOTal AttendanceYoung Audiences perfspresenter/ productionperformancesTOTal AttendanceYoung Audiences perfs117Australian Girls ChoirAustralian Girls Choir 2 3,357 -Australian Singing CompetitionAustralian Singing Competition 1 684 -Australian Youth OrchestraAustralian Youth Orchestra 1 2,203 -Baraka SanaVishwa Mohan Bhatt 2 345 -Chugg EntertainmentRufus Wainwright 1 2,049 -CionisisMario Panteliadis 1 559 -Flinders QuartetFlinders Quartet 1 121 -Gondwana ChoirsVoices of Celebration 1 1,998 -Harmony InternationalHarmony Festival 1 210 -International Music ConceptsThe Church - 30th Anniversary Concert 1 2,095 -KambalaKambala Music Festival 1 2,200 -Kinder MusicBeyond The Seas 1 130 -Kiriaki KoubaroulisKyriakos Kalaitzidis 1 200 -Koenner, Sattelmaier, Bensmann & Kehling GbRKöln Chamber Orchestra 1 821 -La Parrillada ProductionsEva Ayllon - A Dream Come True 1 1,258 -Live Nation AustraliaSting Symphonicity Tour 4 13,626 -Michael Coppel PresentsChick Corea - Return To Forever 1 1,981 -Gotan Project 1 2,036 -Herbie Hancock 2 3,585 -Simply Red Farewell 2 6,898 -MLC SchoolMLC School Concert 1 2,200 -Music Council of AustraliaFreedman Jazz 1 301 -NSW Department of Education & TrainingPrimary Choral Festival 5 9,422 -NSW Dept of Education - GranvilleOur Spectacular 1 2,600 -Office of the Board of StudiesEncore 2 5,263 -Encore Awards 1 700 -Opera AustraliaNew Year’s Eve Gala 1 2,486 -Opera Australia’s Great Christmas Caper 6 7,696 -Queensland Flood Benefit Concert 1 1,493 -Singing for Love 1 1,417 -Regional Arts Western SydneyPulse - Western Sydney Music Festival 1 1,931 -Ryde District SchoolsRyde Schools Music Festival 1 2,100 -Seed ProductionYouTube Symphony Orchestra 5 2,514 -YouTube Symphony Orchestra Grand Finale 1 1,625 -Sophie Serafino ManagementSophie Serafino 1 180 -SpiritworksLet It Be 4 8,224 -St Sava Serbian Orthodox CollegeRaise the Roof 1 188 -Staton Music SchoolTapestries 1 122 -Suzuki Talent Education Association of AustraliaSuzuki Piano Recitals 15 1,327 -Suzuki Talent Graduation Concert 1 1,378 -Sydney Festival (with Sydney Opera House)Sufjan Stevens 2 4,317 -Sydney Omega EnsembleSextets in the City 1 89 -Sydney Omega Ensemble - Take Two 1 147 -Top of the Pops 1 194 -Sydney Opera House12 Cellists 1 2,139 -2Many DJs Presents 1 800 -A Gospel Celebration 2 4,533 -Afro Celt Sound System 1 1,127 -Amanda Palmer Goes Down Under 1 1,649 -Architecture in Helsinki 1 1,377 -Bat For Lashes 3 4,612 -Belle & Sebastian 1 2,272 -Berlin Philharmonic Orchestra 4 10,469 -Blonde Redhead 1 1,004 -Cafe Rebetika! 6 2,373 -Cat Power 1 2,252 -Cecilia Bartoli 2 3,989 -Chris Cunningham 2 2,546 -Club Kooky Presents 1 919 -CocoRosie 1 1,896 -Cut Copy 1 1,669 -Dee Dee Bridgewater 1 1,629 -Dom 1 390 -House Cabaret- Clare Bowditch 3 893 -- Dick and Christa Hughes 2 699 -- Elana Stone and Friends 1 349 -- He Drank Too Many Cigarettes 2 608 -- Perry Keys and Friends 2 514 -- Saligia (Tim Rogers) 4 826 -- Steve Ross Sings 3 590 -Hypnotic Brass Ensemble 1 1,406 -I See 34 4,682 34I Wanna be a Mermaid 33 6,312 33Jack De Johnette Film Project 1 1,348 -Katie Noonan - Sumptuous 1 1,214 -Kurt Elling 1 1,376 -La Van Van 1 1,455 -Lah-Lah’s Big Live Band 5 5,094 5Late Night Lounge 7 2,258 -Mad Racket Presents 1 800 -Magpie Blues 3 648 -Martha Wainwright 1 2,210 -Modular Presents Leave ThemAll Behind Club Night 1 800 -Music Book 24 6,143 24Music For Tutus 45 9,290 45Odd Future 3 1,798 -Roby Laktos 1 1,663 -Sneaky Sundays Presents 1 309 -Sonny Rolins 1 1,926 -Spiritualized: Ladies and GentlemenWe Are Floating in Space 2 2,747 -Tame Impala 1 1,408 -The Avalanches DJs Present 1 777 -The Axis of Awesome 5 1,468 -The Crystal Ark 1 330 -The Cure 2 4,214 -The Three Kings 33 8,456 33The Ultimate Rock and Roll Jam Session 14 4,652 -The Ziggy Stardust meetsTiny Tim Songbook 4 839 -Unkle 1 2,267 -

118presenter/ productionperformancesTOTal AttendanceYoung Audiences perfspresenter/ productionperformancesTOTal AttendanceYoung Audiences perfsUtzon Music Series- Aria Co 1 130 -- Brodsky Quartet 1 200 -- Ironwood 1 116 -- Marshal McGuire and Karin Schaupp 1 209 -- Marshall McGuire & Friends 1 196 -- Orava Quartet & Stephen King 1 200 -- Strelitzia Trio 1 200 -- Thomas Ades 1 165 -- Young Perfomer of the Year 1 139 -WU LYF 2 811 -Yo Gabba Gabba! 6 10,619 -Sydney Opera House(with Australian Pops Orchestra)Not New Year’s Eve 3 6,525 -Sydney Opera House (with Chugg Entertainment)Jimmy Buffett & The Coral Reefer Band 2 4,546 -Sydney PhilharmoniaA Christmas Celebration 1 1,216 -Berlioz Te Deum 2 3,356 -It’s all about Rhythm 2 2,961 -Messiah 3 5,049 -Missa Solemnis 1 1,490 -St John Passion 1 1,983 -Sydney Region Music FestivalSydney Region Music Festival 1 2,301 -Sydney SymphonyArabian Nights 4 9,440 -Bartok’s Concerto: Symphonic Spotlight 3 5,880 -Beethoven 5: Fate Knocks 4 9,781 -Best of Bernstein 2 4,280 -Distant Worlds: Music from Final Fantasy 2 4,435 -Divine Dances 2 4,196 -Edo conducts Beethoven: The Voice of Ecstacy 3 6,525 -George Benson with the Sydney Symphony 3 7,729 -Gilbert and Sullivan 2 3,267 -James Morrison - Trumpet Blast 2 4,891 -James Morrison at the Movies 2 4,129 -Kenny Rogers and the SSO 2 5,192 -Lang Lang in Recital 1 2,601 -Lang Lang plays Rachmaninoff 2 5,229 -Lang Lang plays Tchaikovsky 1 2,609 -Lang Lang Public Masterclass 1 1,400 -Last Night of the Proms 2 5,028 -Lovers and Enigmas 1 2,263 -Mahler 10: Love and Death 2 4,369 -Mahler 3: Joyful Summer Voices 3 7,286 -Mahler 4: Celestial Visons 3 7,232 -Mahler 6: Hammerblow of Fate 3 6,544 -Mahler 7: Night Music 3 6,533 -Mahler 9: Another World 3 6,109 -Midori Plays Classics 2 3,907 -Mozart and Haydn - Tea and Symphony 1 2,053 -Passions of the Soul 4 9,268 -Peer Gynt: Ashkenazy Conducts 3 6,801 -Pictures at an Exhibition: An Artist’s Inspiration 1 2,088 -Rachmaninoff’s 2nd Piano Concerto 4 9,076 -Rhapsody in Blue 2 5,140 -Romantic Rapture 3 6,503 -Russian Rococo - Tea & Symphony 1 2,352 -Showstoppers (Best of Broadway) 2 3,737 -Sibelius 2: Into the Light 1 1,972 -Sydney Symphony Europe TourFarewell Performance 1 2,124 -Tchaikovsky Spectacular 3 7,662 -Tchaikovsky’s First Piano Concerto 3 6,579 -Tea and Symphony 1 2,061 -The Fellowship of the Ring 3 6,050 -The Last Romantic: Rachmaninoff’s3rd Piano Concerto 4 9,203 -Tim Minchin vs the Sydney Symphony 4 10,261 -Trumpets will Sound 1 1,899 -Two Great Symphonists 2 4,671 -Uncompromising Masterpieces 3 6,609 -The Australian Music PrizeAustralian Music Prize 1 200 -The Harbour Agency SydneyDavid Campbell: The Broadway Show 1 2,132 -Tim Woods EntertainmentLooking Through a Glass Onion 14 4,676 -Sir James Galway 1 1,735 -Tinalley String QuartetTinalley String Quartet 1 163 -United World Concert ToursSydney Youth Musicale 1 1,800 -United World concert 1 1,100 -Wayang Orang Indonesia PusakaAde ‘ Wonder’ Irawan 1 190 -World Projects South PacificAustralian International Music Festival 2 1,019 -XYZ NetworksMax Sessions with Marcia Hines 1 250 -Music Total 542 555,807 174OperaAustralian Opera Auditions CommitteeHighlights of Opera 1 863 -Opera AustraliaA Little Night Music 10 12,338 -Carmen 23 32,511 -Dame Joan Sutherland Memorial Service 1 2,154 -Der Rosenkavalier 9 9,165 -La fanciulla del West 9 9,282 -Great Opera Hits 3 1,165 -La sonnambula 10 10,682 -Madame Butterfly 17 23,479 -Partenope 7 7,292 -Rigoletto 15 15,921 -Sunday Concert 8 3,630 -The Barber of Seville 18 19,182 -The Marriage of Figaro 22 24,479 -The Pirates of Penzance 29 34,725 -OptusWayang Orang 1 2,000 -Sydney EisteddfodOperatic Aria Finals 1 249 -Sydney FestivalGiacomo Variations 4 8,420 -Opera Total 188 217,537 -TheatreA-List EntertainmentFiona O’Loughlin 2 702 -Kitty Flanagan 7 2,726 -Raymond Crowe 5 1,449 -Australian Broadcasting Corporation - ABC TVFestival of Dangerous Ideas - Q & ALive from Sydney Opera House 1 210 -Bell Shakespeare CompanyFaustus ** 1 380 -Just Macbeth * 37 12,962 -Much Ado About Nothing 40 18,427 -Twelfth Night 38 13,015 -

presenter/ productionperformancesTOTal AttendanceYoung Audiences perfspresenter/ productionperformancesTOTal AttendanceYoung Audiences perfs119Duet EntertainmentBilly Connolly 6 12,729 -Fairfax MediaRene Redzepi Talk 1 1,388 -Kay & McLean ProductionsHaunted 21 3,635 -Waiting for Godot 8 4,256 -Live Performance AustraliaHelpmann Awards 1 1,314 -Lunchbox Theatrical ProductionsRick Stein’s Food Odyssey: Live on Stage 1 1,996 -Nataraj Cultural CentreSpirit of India 1 273 -National Rugby League LimitedThe Footy Show 1 5,348 -Pacific Bluewater EquityMel Miller’s Big Fat Comedy Show 1 279 -Royal Thai Consulate-GeneralJoe Louis - Live in Sydney 2 500 -Sydney Festival (with Sydney Opera House)Super Night Shot 6 1,462 -Sydney Opera HouseBriefs 10 2,837 -Charlie & Lola’s Best Bestest Play 77 24,740 77Drag XXXmas 4 1,387 -Festival of Dangerous Ideas- Alan Dershowitz & Geoffrey Robertson:The sins of the fathers 1 2,232 -- Andrew Leigh: Canberra is the best cityin Australia 1 172 -- Anne Manne: Are children worth it? 1 459 -- Christian Lander: Stuff White People Like 1 1,433 -- Clive Hamilton: We are all climate changedeniers 1 308 -- Cordelia Fine: Delusions of gender 1 321 -- David Marr: Art does not make us better people 1 370 -- Eric Kauffman: Why the religious willinherit the earth 1 584 -- Geoffrey Robertson: No-one is above the law 1 392 -- Good ideas = Bad politics 1 392 -- Hugh Mackay: The pursuit ofhappiness is making us miserable 1 525 -- IQ2 Debate: If you want peace forget justice 1 928 -- John Quiggin: Zombie economics 1 303 -- Jon Keane: Fossil fuels are bad for democracy 1 206 -- Lenore Skenazy: Is freedom too dangerousfor kids? 1 647 -- Marcus Westbury: What’s so specialabout Opera? 1 117 -- P.W. Singer: Wired for war 1 532 -- Paul McGeough: After the flotilla: controllingthe narrative in Israel and Palestine 1 763 -- Rebecca Huntly: Australian husbandsare the worst in the world 1 199 -- Right is the new left 1 389 -- Ross Gittens: Curing Affluenza 1 392 -- Soapbox 1 96 -- Steve Biddulph: Are all men fakes? 1 320 -- Tariq Ali: What we can learn from terrorists 1 1,268 -- World Cafe 1 178 -GAFF AFF 6 1,302 -GRAPHIC- Discussion Panel: Focus on Fantagraphics 1 279 -- Akira with Regurgitator 1 1,365 -- An Evening with Kevin Smith 2 3,114 -- Australian Animation 1 201 -- Discussion Panel: Story Boarding for Film 1 177 -- Discussion Panel: The Evolution of an Idea 1 335 -- Fear(s) of the Dark 1 121 -- Marvel Then and Now 1 256 -- Neil Gaimen: The Truth is a Cavein the Black Mountain 1 2,095 -- Spirited Away 1 187 -- The Arrival 1 381 -- Tokyo Express 1 249 -Hansel & Gretel 11 1,094 11House Cabaret- Eddie Perfect: Songs from the Middle 1 297 -- I’m Every Woman 6 1,927 -Le Grand Cirque - Adrenalin 19 34,842 -Little Big Shots 14 3,158 14Love Loss and What I Wore 54 19,104 -Me and My Shadow 22 6,044 22Message Sticks Indigenous Film Festival 12 3,031 4Moth 8 1,128 8Nearly Lear 8 680 8Panic 7 1,268 -Random 8 1,054 8Saltbush - Children’s Cheering Carpet 20 2,369 20Sammy J and Randy - Ricketts Lane 8 1,439 -Screen Live- Brilliant Journeys 1 151 -- Phillip Johnson: The George Melies Project 1 245 -- The Water Magician 1 371 -- Wizard of Oz 1 249 -Soap 32 17,053 -SOH Talks- Armistead Maupin 1 1,050 -- Ayaan Hirsi Ali 1 333 -- David Suzuki 1 2,137 -- Israel & Palestine in the New Middle East 1 367 -- Joseph Stiglitz 1 322 -- Joss Whedan 1 2,143 -- Matt Ridley: The Rational Optimist 1 179 -- Pavan Sukhdev 1 392 -- Stephen Fry 2 5,382 -- Terry Pratchett 1 2,700 -Songs From Above ** 2 78 2The Animals and the Children Took tothe Streets (1927) 14 2,101 -The Man in Black 2 4,296 -The Man Who Planted Trees 18 2,857 18The Shape of a Girl * 1 64 1The Wau Wau Sisters 8 2,111 -Ursula Martinez - My Stories Your Email 7 1,405 -When His Watch Stopped 6 1,248 6Sydney Opera House(with Melbourne Comedy Festival)Nina Conti 13 3,768 -Sydney Opera House (with Token Events)Josh Thomas 13 4,740 -Sydney Peace FoundationSydney Peace Prize Lecture 1 1,292 -Sydney Theatre CompanyIn The Next Room, or the vibrator play 59 27,243 -Our Town 50 23,266 -Terminus 32 12,343 -The Grenade 42 17,334 -Sydney Writers’ FestivalAn Evening with Ingrid Betancourt 1 1,119 -Tim Woods EntertainmentFiona O’Loughlin 3 823 -One Man Lord of the Rings 12 3,524 -That Was the Year That Was 2 1,845 -Vibe AustraliaThe Deadly Awards 1 1,896 -Theatre Total 847 359,465 199Grand Total 1,795 1,318,525 383*Balance of season in FY10**Balance of season in FY12

120imagination lives insideDONOR ACKNOWLEDGEMENTTo continue to create, present andproduce world-class work acrossall artforms, to provide the bestfacilities for artists and audiences,to develop our education andcommunity programs and offer freepublic programs we rely on thegenerosity of our donors. Withouttheir critical support, Sydney OperaHouse would not be able to maintainits position as the creative andcultural flagship of our region.We are grateful for the gifts receivedfrom our donors. To find out how yourgift can make a difference, contact ourPhilanthropy team on 02 9250 7077or visit sydneyoperahouse.com/giveMAJOR GIFTSHonour ($150,000+)AnonymousBenefactor ($100,000+)GoogleMr Fred Street AM & Mrs Dorothy StreetThe Wolanski FamilyPatron ($25,000+)Stephen & Julie FitzgeraldANNUAL GIVING PROGRAMChairman’s Leadership Circle($10,000-$24,999)Mr Robert Albert AO& Mrs Libby AlbertAMP Foundation LimitedThe Balnaves FoundationSanchia & Guillaume BrahimiPhillip & Catherine BrennerDr Peter C Farrell AMDavid Fite & Danita LowesCharitable FundThe Greatorex FoundationJohn & Frances InghamAndrew Kaldor & Renata Kaldor AOLadies Committee of the SydneyOpera House Appeal FundNaomi Milgrom AO& John Kaldor AMRebel Penfold-Russell OAMMr John B Reid AO& Mrs Lynn Rainbow ReidMaurice & Heilan RenshawCount Charles Said-VassalloSidewalkMs Margaret Sixel& Dr George Miller AOMr Joseph Skrzynski AOSandra Smorgon& Barry Smorgon OAMRalph & Helen WatersPeter Weiss AMKim Williams AMAnonymous (1)Tribute($5,000-$9,999)Chris & Gina GrubbColleen & Robert LeeceThe Martin Family in memoryof Lloyd Martin AMAcclaim($1,000-$4,999)Annette AdairColleen & David AntawChristine & Maurice AtkinsonSamantha BagchiPaulette BaileySJ BellBeverley & Phil BirnbaumJillian Broadbent AOJ BrokmanIan BuchananEmily ChangMrs Catherine CunioVictoria Doidge & John McGheeRichard Evans & Vanessa DuscioMr Ernest FajwulRyissa FogartyMr Matt GarrettMelanie & Mark GianoutsosMichelle HiltonThos HodgsonDr Michael & Mrs Penny HunterMs J KottLife’s OpportunitiesLinden Group Pty LtdMr & Mrs Andrew LuRuth & Bob MagidDennis & Gerda MaisterSheila J McKeeMr & Mrs Barry and Sally MerrettMr & Mrs P E OomensJulia & Fred PucciMr Leo SchofieldCarolyn Stewart-SmithLeonie SzaboVictoria TaylorLydia & Norman TaylorBertram & Ila VanrenenDr A WaldmanPaul & Ilona WenhamEvan Williams AMIain & Judy WyattAnonymous (3)Circle of Friends($2-$999)Daniel AouadMs Irene ArgyrosIan ArkinsRobert BaillieL M BairdMr & Mrs Gerard & Anita BakkersAndrew & Charmayne BanksLe BaronColin BaskervilleClaus BayerDr Victor Bear & Mrs Adele BearAlice BeauchampP & L BendreyJane BeniacMrs Audrey BevanRona BhattacharyaMinnie Kent BiggsMrs Barbara A BirdShelley BishopJack BlousteinPat BolgerBrian BorbeMargaret BorgenichtMs G.L. BorgerCaroline BosMadelene BousejeanMargaret BradberyMs Janet BroadyDavid BrookKaren BrummerR. Brunton-Simmonds

121Kay BuckeridgeAnita BuhnerMrs Geraldine E BullMrs M BurbageMary BurchellNeil BurnsKeith & Carlos ByrneMrs ElizabethByron-McAlisterYves CalmetteCambridge Society of NSWAngelo & Mary CandalepasGarry CarmichaelJohn H CaseyPeter CassidyChris ChamberlinPavel Chytil M.D.Ann ClearyJohn ClementsMs Sharon ClynickMarianne CochraneMr & Mrs V.H CohenMrs Cynthia ColemanRobin CominoP M ConderStan ConnerNatalie CookeMr & Mrs S.C CooperAnne CumminsLinda CurnowSujeeta DangolDickens HouseNancy DickmanMr L DillonMrs Elizabeth DonatiDr & Mrs Frank DoughtyMrs ChristineN Drake-BrockmanRaymond DudgeonShane DunleyLynne DunnDr & Mrs B DuttaMichelle EagerMaadi EinfeldEJKW FuturesBriana ErtaninKen EvansMs Joan FawcettLisa FazzolariMs Lorraine FewsterDr Jennifer Fiore-ChapmanMr Andrew J FisherFiona FloydJune FolwellDr Marion Freedman-LobelEric GaleAli Garcia MendezBeverley GarlickMr Jia GeShirley GeMrs J L GibsonJonathan GlatthaarWilliam GloverMs Sally L GloverMonica GöbelMs Brenda GoldschmidtOn behalf of H.G GoldsteinRobert B GreenMs Theresa GreenEthel A GreggPauline Griffin AMJennifer GrossSophia GuestPriscilla GuestRoy HaberleyLouise HamshereDr John HanscombMs Ardyce HarrisDonald HarrisG.W HarrisonMrs Siss HartnettMr Brian HarveyBarbara HassanAudrey HawkinsRobina HealeyDiana HeathDr Peter HendryMelinda HerndonGwen HigginsLouise HirdJennifer HoareDanielle HoareauMs Janelle HodgsonMrs Dolores HollandElizabeth HopsonKaren HorneMrs Margaret HuntRebekah HunterSusan IngramDuncan IrvingAlejandra IzurietaBenjamin JamesPeter JenkinMrs Evelyne JonesMs Kathleen JonesNicola JonesLaura JonesVeronica KastelanMargaret KeoghDr Dasia& Mr Bernard KezelmanNicole KhedooriPei KhooRobyn KingKalyana KollaKaliopi KorrasTania KrausJessica KubeJennifer LaingTania LambleSarah LawrenceMrs Jennifer R Lean-ForePatricia LeckieTeresa LeeLilibeth LegaspiFrances M LettDianne & Dorothy LewisKieran LewisMr Trevor LobbA A LohanMr Peter Lowry OAM& Dr Carolyn Lowry OAMTim LudlowLisa MachMrs Katrina MakhoulLynne MancusoMr & Mrs A B Maple-BrownMiss Geraldine MariënTyler MarksMr Damien MarquezCarina MartinPeta MartinMr Otto & Mrs Agnes MatraiRobert MaxMrs Ilana McCorquodaleMr Andrew McDonaldPamela McGawPhyllis McGeeTom & Beryl McKayMr & Mrs J McKibbinMrs Barbara McNulty OBENicole & Seán McPeakeDiane McQueen JPMedium Density Pty LtdDr Graeme MendelsohnMs Beverley MetcalfeKaren MichaelMrs Frances MilatMs Joan MillardMs Patricia E MillerDavid MillsTony MitevskiDavid MogfordBeryl MolloyMrs Elizabeth MontgomeryMs Patricia D MooreKaren MoranMrs Rose MorganteMr Elston MurphyMr Ron& Mrs Margaret MurrayMr Kristen John MyersBrian Nebenzahl OAM RFD& Jocelyn NebenzahlRoy NeumannMs Elaine NewbyMs Giovanna NgLorraine NichollsW NichollsSusan J NocomEdward NuffieldMr Gavin NussDr M O’ConnorShilo OlivieriWei Yee OngOpera LunediKieran O’TooleAnne OwensMary PaceS.A. Butler PaintersA Wilmers & R PalMark PanarelloViji Paul ParackalRaymond PatersonS PearceNoah PerezMs Helen PetersenMr Evan PetrelisMrs Narelle PhippsD E PiddMrs Di PiggottJayden Wayne PillingMs Norma PlummerJohn and Judith PolgarKeri PrattRosalie Pratt AMProject SevinElizabeth PryceAmelia PrykeD PulmanoCesar PunDr Alex RadchikMrs Ada M RandellNA Reading & MC StaffordSuzie ReidMrs Patricia ReidRosario RemediosNing RenClaire RichardsEva RinaldiLouis RoachDr Marilyn RobMrs Sandra RobberdsBarbara RouxMr Gordon RoweS RowlandCraig RowlandMrs Elizabeth A RussellMrs R. RutherfordElizabeth SakkerGloria SalibaAlbert SalinasDr Erica& Dr Dominique SalinoDr. Yorianta SasaerilaMrs Su-Lin ScheideggerDr Anne SchlebaumLillian & Ralph SchubertSusan ScobiePenelope Seidler AMMrs Celia SemitcolosCarolyn Sevilla-EndiapeAllan ShawDr Evan B. SiegelMonty SilverIn loving memory of MdmSim Ngor Lang& Mr Sng Boon KuiDeborah SingermanSmylie FamilyMrs Pam SneddenLindsay SoadyMr Charles SolomonM SowellRichard SpencerMr Michael SperberMark StapletonJeremy SteeleJerome & Ludmila SternMrs Wenancja StrugarekMs Ju Ju SundinJ & K SurmanMark TaylorGillian ThompsonChristine ThomsonDerek ToJulia & Christine TorresanGeraldine and Vito TorresanKatrina Hsiu-Mei TsengHon. Philip A Twigg QCMr & Mrs S.C UnderhillMrs Anne UtteridgeMarilyn ValliSabina van der Linden& Kjeld HansenDick & An van Leer-de BoerSicco van SasVera VargassoffMrs Hermi M VariSarah VellaBrian Vern-BarnettMichael VescioJulia & Raymond VidorDiane WachmanCatherine WaleLois WalkerMs P WeiseDr George & Marta WeylandAnne-Marie WhelanMs Margaret WhitingGeorge M WilkinsSheena WilliamsColin WilliamsonMr Malcolm T WilsonSam WilsonRoslyn WincesterRichard WongMs Val WoodMrs Rita WoodsMs Carolyn WrightMs Camille WuRebecca WylesPeta YatesFrances YoungZajaczkowski FamilyDr Anna ZieglerAnonymous (1,751)Current at 30 June 2011

122CONTACT 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 and Drama Theatre andThe Studio.Telephone: 61 2 9250 7777Facsimile: 61 2 9241 6410Email: bookings@sydneyoperahouse.comMail: Box Office, Sydney Opera House,PO Box R239, Royal Exchange Sydney,NSW 1225 AustraliaBookings for performances and events canalso be made online at sydneyoperahouse.comContact CentreOpen for telephone bookings and enquiries9.00am to 8.30pm Monday to Saturdayand 10:00am to 6:00pm Sundays.Telephone: 61 2 9250 7777Facsimile: 61 2 9241 6410Web: sydneyoperahouse.comEmail: bookings@sydneyoperahouse.comMail: Contact Centre, Sydney OperaHouse, PO Box R239, Royal ExchangeSydney, NSW 1225 AustraliaGuided ToursThe one hour Sydney Opera House Tourin English operates between 9:00am and5:00pm daily (except Christmas Day andGood Friday). The tour is also available inGerman and French three times a week.Asian Language Tours are run daily inMandarin, Japanese and Korean at regularintervals. There is also an exclusiveBackstage Tour run daily at 7:00am.Tours can be purchased from the Tours desklocated in the main Box Office Foyer oronline via the Sydney Opera House website.Telephone: 61 2 9250 7250Facsimile: 61 2 9250 7096Web: sydneyoperahouse.comEmail: tourism@sydneyoperahouse.comCar ParkingWilson Parking operates a car parkat Sydney Opera House which is openfrom 6.00am to 1.00am, seven days aweek. Entry to the car park is via theSydney Opera House end of MacquarieStreet, Sydney.Telephone: 1800 PARKING(1800 727 5464)National Relay ServiceFree service for customers who are deafor who have a hearing impairment.TTY users phone 13 36 77 then ask for:- 9250 7777 to book a performance- 9250 7250 to book an access tour- 9250 7185 for accessible parking.Speak and Listen (speech-TO-speech relay) usersphone 1300 555 727 then ask for:- 9250 7777 to book a performance- 9250 7250 to book an access tour- 9250 7185 for accessible parking.Internet relay users connect to the NRS(www.relayservice.com.au) and then ask for:- 9250 7777 to book a performance- 9250 7250 to book an access tour- 9250 7185 for accessible parking.Administration and General EnquiriesGeneral enquiries can be made 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.com orsoh.nsw.gov.auAnnual Report Project TeamCarolyn Stewart-Smith, Penny Rowland,Zehan Marissa Putri, Shelley Stephens,Rebecca Taylor, Barbara Learmonth andChris Wynton.DesignSydney Opera House in collaborationwith Three Blocks Left Design.Paper StockKnight Smooth - White is FSC ® certified,sourcing pulp from managed plantationand responsible forests. The fibre used toproduce Knight is elemental chlorine free.The Sydney Opera House Annual Report2010/11 is available on the internet atsydneyoperahouse.com. The total costs forproduction of the annual report includingdesign, copywriting, additional photography,print format copies and internet versionwas $37,838 including GST.Trade MarksSydney Opera House is the owner of thefollowing registered trade marks.kids at the househouse:edmessage stickssydney opera house live performance every day

123MapBRADFIELD HWYSYDNEYOPERAHOUSEOBSERVATORYPARKROYALBOTANICALGARDENSGEORGE STMACQUARIE STCAHILL EXPWYCIRCULAR QUAYTRAIN STATIONPhotography /Image CreditsCover: Sydney Opera House ArchiveJack Atleyp 44 Sydney Opera Housep 49 Sydney Opera House Vehicle Accessand Pedestrian Safety projectp 51 Sydney Opera Housep 67 Vehicle Access and PedestrianSafety projectp 71 Sydney Opera Housep 97 Housemates WallDaniel Boudp 2 Martha Wainwrightp 22 Vivid LIVE –Azari & IIIAdam Cravenp 9 Richard Evans (CEO)p 61 The Trustp 63 The Exec TeamMax Dupainp 11 Sydney Opera House ConstructionJames MorganTitle page: Goal 3 Vibrant and SustainableSite - Lighting The Sails, Vivid LIVE 2011 -Superbien’s La Maculap 15 ARIA Awardsp 22 Spring Dance (Sutra)p 39 Open Day (Opera Theatre NorthernFoyer)p 41 Spring Dance (Dance on Film -Footloose)p 67 Vivid LIVE - Lighting the SailsPrudence Uptonp 5 Vivid Live - Architecture in Helsinkip 21 Summer at the House – Soapp 22 Havana Rakatanp 22 Vivid LIVE – Architecture in Helsinkip 22 Vivid LIVE – Bat For Lashesp 24 Festival Of Dangerous Ideasp 37 Babies Proms – Four Seasonsp 67 Vivid LIVE - Sufjan Stevens(Image courtesy of Sydney Festival)p 67 Vivid LIVE – Bat for LashesBRIDGE STJamie WilliamsTitle page: Goal 2 Community engagementand access - Sydney Opera House Tourp 47 Sydney Opera House Tourp 53 Backstage Tourp 56 Sydney Opera Housep 67 Asian Language Tourp 67 Sydney Opera House TourWILKp 34 Insider Membership (Dancer DimityAzoury: Courtesy of The AustralianBallet)Otherp 5 Monika Rittershaus (Sydney OperaHouse Presents Berlin PhilharmonicOrchestra and Sir Simon Rattle)p 5 George Burns (Oprah’s UltimateAustralian Adventure)p 7 Jim Rolon (Kim Williams AM-Chairman)p 18 Sydney Opera House PresentsCat Powerp 22 Ian Bird (Sydney Opera HousePresents Spring Dance - Sutra)p 22 Ken Leanfore (CocoRosie)p 22 Summer at the House -Charlie & Lola’s Best Bestest Playp 22 Sydney Opera House Presents theBerlin Philharmonic OrchestraP 27 Andy Solo (Image courtesy ofBangarra Dance Theatre - Riley,of earth & sky)P 28 Branco Gaica (Image courtesy of OperaAustralia – Carmen)P 28 Brendan Read (Sydney SymphonyOrchestra Double Basses)p 28 Image Courtesy of Sydney TheatreCompany - In The Next Room,or the vibrator playp 31 Jess Bialek (Image Courtesy ofThe Australian Ballet - Artists of Afterthe Rain)p 55 Sydney Opera House Archivep 67 Andy Solo (Image courtesy of BangarraDance Theatre - Artefact, of earth& sky)

124INDEXAccess 4,6,8,9,10,35,36,37,40,48,50,59,64Account payment performance 98Acoustics 59Aims 10,12-14Annual giving 120-121APN Outdoor 7,IBCAsian language tours 11Audio description 8,26,40Audit and Risk Committee 9,58-59,60Audits 52,59,113-114Australasian Reporting Award 14,57Australian Aerospace IBCAustralian Chamber Orchestra 100,116Australian Radio Network (ARN) IBCAvant Card IBCBabies Proms 19,25,100,107Balance sheet 75Bangarra Dance Theatre 30,64,116Baulderstone IBCBell Shakespeare Company 29,62,100,101,118Berlin Philharmonic 4,8,12,19,20,25Blue Star Print Group IBCBox office 46,99,102,122Brand 105,IBCBudget 58,59,95Building Committee 9,59,60,61,62Building condition indices 45Building works 4,6,8,11,45,48,50,59,67Business continuity 9,14,45,52,114Café Sydney IBCCarbon footprint 104Car park 101,122Cash flow statement 76Cbeebies BBC IBCCEO award 14,64CEO message 8-9Chairman’s message 7-8Challenges 6,25,36,38,40,46,48,50,52,64Chandon IBCCharter 58Cleanevent IBCCode of conduct 14,58,59,64,98Communication 59,62Commercial revenue sources 69Commissions 19,20,25,29,30Committees 9,58,59,61,62Community support 4,6,7,8,10,30,35,36,37Concert Hall 11,20,25,29,30,52,59Conservation 11,25,48Conservation Council 59,60,61,62,107Conservation plan 11,14,48Consultants 98Consumer response 101-102Contact centre 122Contact information 122Contemporary culture 23Corporate social responsibility 32-40,125Courtesy Shuttle Bus 40,100Credit card use 98Customer experience/service 5,8,35,40,41,45,62,64,65,98Customer feedback 100-101Customer research 100D&b audiotechnik IBCDance 20,23,25,29,30,116Deutsche Bank IBCDigital 6,38,62,100Disability access 40,102,105Disability Action Plan 102Donors 7,37,40,120-121Drama Theatre 8,13,23,45,48,52,59Education 4,6,7,12,19,20,23,25,36,37,38,50Electronic service delivery 102Eminent Architects Panel 14Employee survey 65Energy management 45,48,50,103Enterprise agreement 5,9,14,57,59,64,115Environment 7,9,14,25,36,45,50,51,67,103,104Equal employment opportunity 104-105Events NSW 66,IBCExecutive management 59,62-63Festival of Dangerous Ideas 23,109,118,119Financial overview 66-69Financial statements 70-95Fire safety compliance 105Food and beverage 4,10,11,14,45,46,48,63,66,67,69,101Forecourt 23,25,48Four Seasons Hotel IBCFoxtel 7,IBCFundraising 59,64,66,69Grants 36,45,66,67Graphic festival 4,8,12,19,23,35,38Greenhouse gas emissions 104Goals 8,9,10Google 120,IBCGovernance 7,57-65Government information and public access 105Guarantee of service 98Guided tours 8,10,11,13,35,36,46,109,122Guillaume at Bennelong 46Hastie Services IBCHelpmann Awards 4,8,12,19,20,23,25,62Heritage management 10,11,36,44,48,59,106Highlights 4-5History 11Host Team 40,99,101,102Hours of operation 122House:Ed 23,36,40,46,100,102,107,122Human resources 64-65Hungerford Hill IBCIncome statement 73Independent auditor’s report 72Indigenous 7,23,25,30,36,60,64,104,105,107Information technology 6,38,62Insurance 108Investment performance measure 108JC Decaux 7,IBCJust for laughs festival 12Key performance indicators 12-14Key targets and priorities 12-14Kids at the House 4,8,23,35,38,40,100,107,109,122Land title holdings 108Lavazza IBCLegal 63,108Lighting 36,45,50Major works 4,6,8,11,13,45,48,50,59,67Mallesons Stephen Jaques IBCMap 123Marketing 59,62Market research 10,46,58Message Sticks 23,25,36,107,109,122Moon IBCMulticultural policies and services plan 108Music 8,19,20,23,25,26,29,30,38,116National Australia Bank (NAB) IBCNational Heritage Listing 11NewDemocracy IBCNSC Group IBCObjectives 7,9,10,12-14,52,57,58Occupational health and safety 9,14,52,59,65,103,106,110Online 9,10,19,23,35,36,38,40,52,64Opera 26,118Opera Australia 6,7,8,10,19,26,35,38,40,45,52,118Opera Bar 46Opera Kitchen 4,8,13,45,46,59Opera Theatre 6,11,13,20,29,48,52,59Organisation structure 59Origin 7,103,IBCOverseas travel 112People and Culture 57,64-65Performance list 116-119Performance trends 18,25Performing arts 6,7,8,9,10,11,16-31,22,23,36,46,58,59,65,66Photography 123Playhouse 25,104,107Presenter survey 12,101Privacy management 113Public program 20,23,120Range Rover 7,IBCReconciliation Action Plan 4,6,8,11,35,36,104,106,107Recording Studio 8,11,35Recycling 50,115Research 10,46,58,100Resident companies 6,7,10,19,25,29,30,52,58,63,65Retail 10,13,45,46,48,63,69,101Reward and recognition 64Rider Levett Bucknell IBCRisk management 25,45,52,57,58,59,60,113,114SBS 7,IBCSecurity 45,52,99,101,106Senior executive service 62-63,114Sennheiser IBCSignwave Newtown IBCSOH Presents 6,8,12,19,20-25,66,68,69,116,117,119Sony 7,IBCSources of funding 69Spring Dance 23Sponsorship 7,IBCStaff 5,7,9,10,35,36,40,52,57,64,65Staff numbers 65State heritage listing 11Statement of changes in equity 74Strategic building plan 58Strategic plan 6,8,9,58,59Sydney Festival 30,61,117,118,119Sydney Opera House By-law 2010 108Sydney Opera House Trust Act 1961 7,58,105,108Sydney Philharmonia Choirs 30,118Sydney’s Child IBCSydney Symphony 6,10,26,29,30,62,118Sydney Theatre Company 6,10,29,60,119Ten year performance trends 18Tequila IBCThai Airways IBCTheatre 25,29,30,36,40,60,62,64,118The Australian Ballet 6,10,23,29,62,116The Electric Canvas IBCThe Essential Tour 11,36The Studio 11,23,30The Sydney Morning Herald 7,IBCThe Wolanski Family 120Three Drunk Monkeys IBCTicketing 62,101,114Total asset management 45,48,67Tourism 4,6,7,8,10,11,12336,45,46,62,98,101,122Trade marks 122Traineeships 36,64Training and development 5,35,40,59,64,65,103,110,114Trustee code of conduct 58Trustees 58-61UGL Services IBCUtzon Design Principles 11,106Utzon, Jørn 10,11,56Utzon Music Series 118Utzon Room 11,107Vehicle Access and Pedestrian Safety project 4,6,8,11,13,45,48,50,59Viocorp IBCVision 10Vivid Live 4,8,12,19,20,38,46,50Wage and salary movements 64,115Waste and recycling 50,51,115Website 38,63,98,101,102,122Wilson Parking IBCWorkers compensation 52,108,110,111Workplace giving 58,64World heritage listing 11Yamaha IBCYear ahead 6,12-14,25,36,38,40,46,48,50,52,65Young audiences 4,8,12,20,25,40,102YouTube 13,IBCNote: audited financial statements appear onpages 73 to 94.Financial information elsewhere in this reportis unaudited.Definitions:PerformancesAll performances open to the public (ticketedand non-ticketed), film screenings, previews,large scale rehearsals with audiences. Excludesperformances by SOH touring productions.ActivitiesAll performances as outlined in definitionabove plus other activities where attendancesare recorded. These activities can includeceremonies, conferences, exhibitions, forums,lectures, presentations, small scale rehearsals withaudiences, secondary performances, speech days,workshops, launches and media calls. Excludesperformances by SOH touring productions.

122CONTACT 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 and Drama Theatre andThe Studio.Telephone: 61 2 9250 7777Facsimile: 61 2 9241 6410Email: bookings@sydneyoperahouse.comMail: Box Office, Sydney Opera House,PO Box R239, Royal Exchange Sydney,NSW 1225 AustraliaBookings for performances and events canalso be made online at sydneyoperahouse.comContact CentreOpen for telephone bookings and enquiries9.00am to 8.30pm Monday to Saturdayand 10:00am to 6:00pm Sundays.Telephone: 61 2 9250 7777Facsimile: 61 2 9241 6410Web: sydneyoperahouse.comEmail: bookings@sydneyoperahouse.comMail: Contact Centre, Sydney OperaHouse, PO Box R239, Royal ExchangeSydney, NSW 1225 AustraliaGuided ToursThe one hour Sydney Opera House Tourin English operates between 9:00am and5:00pm daily (except Christmas Day andGood Friday). The tour is also available inGerman and French three times a week.Asian Language Tours are run daily inMandarin, Japanese and Korean at regularintervals. There is also an exclusiveBackstage Tour run daily at 7:00am.Tours can be purchased from the Tours desklocated in the main Box Office Foyer oronline via the Sydney Opera House website.Telephone: 61 2 9250 7250Facsimile: 61 2 9250 7096Web: sydneyoperahouse.comEmail: tourism@sydneyoperahouse.comCar ParkingWilson Parking operates a car parkat Sydney Opera House which is openfrom 6.00am to 1.00am, seven days aweek. Entry to the car park is via theSydney Opera House end of MacquarieStreet, Sydney.Telephone: 1800 PARKING(1800 727 5464)National Relay ServiceFree service for customers who are deafor who have a hearing impairment.TTY users phone 13 36 77 then ask for:- 9250 7777 to book a performance- 9250 7250 to book an access tour- 9250 7185 for accessible parking.Speak and Listen (speech-TO-speech relay) usersphone 1300 555 727 then ask for:- 9250 7777 to book a performance- 9250 7250 to book an access tour- 9250 7185 for accessible parking.Internet relay users connect to the NRS(www.relayservice.com.au) and then ask for:- 9250 7777 to book a performance- 9250 7250 to book an access tour- 9250 7185 for accessible parking.Administration and General EnquiriesGeneral enquiries can be made 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.com orsoh.nsw.gov.auAnnual Report Project TeamCarolyn Stewart-Smith, Penny Rowland,Zehan Marissa Putri, Shelley Stephens,Rebecca Taylor, Barbara Learmonth andChris Wynton.DesignSydney Opera House in collaborationwith Three Blocks Left Design.Paper StockKnight Smooth - White is FSC ® certified,sourcing pulp from managed plantationand responsible forests. The fibre used toproduce Knight is elemental chlorine free.The Sydney Opera House Annual Report2010/11 is available on the internet atsydneyoperahouse.com. The total costs forproduction of the annual report includingdesign, copywriting, additional photography,print format copies and internet versionwas $37,838 including GST.Trade MarksSydney Opera House is the owner of thefollowing registered trade marks.kids at the househouse:edmessage stickssydney opera house live performance every day

A PARTNERSHIP THAT PERFORMSSydney Opera House offers a range of bespoke experiences and exclusive opportunities for strategic engagement. As the highestprofile Australian brand, association offers unrivalled ability to reach target audiences, strengthen corporate social responsibilitycredentials, align corporate objectives and reinforce thought leadership.Sydney Opera House acknowledges our corporate partners.Major PartnersPartnersGovernment PartnersCORPORATE SPONSORSPRODUCTION PartnerPRODUCTION SPONSORSMEDIA PartnersMEDIA SPONSORSINDUSTRY PartnersTo find out how your brand can benefit contact Corporate Partnerships: corporatepartnerships@sydneyoperahouse.com OR + 61 2 9250 7311

IT STANDS BY ITSELF AS ONE OF THEINDISPUTABLE MASTERPIECES OF HUMANCREATIVITY, NOT ONLY IN THE 20TH CENTURYBUT IN THE HISTORY OF HUMANKIND.UNESCO World Heritage Committee(2007 Expert Evaluation Report)sydneyoperahouse.com