1. art and entertainment
2. music
3. music genres
4. opera

Image by Stephanie Do Rozario
OPERA QUEENSLAND’S
ANNUAL REPORT 2014
OPERAQ DOES MORE THAN JUST PERFORM
$6,713,784
$995,139
310,095
2
22
2014 ANNUAL REPORT
THE COMPANY
O
ne of Australia’s major performing arts companies,
OperaQ serves Metropolitan Brisbane and regional/
remote Queensland through the development and
presentation of opera projects that reflect our passion for
Excellence, Community and Adventure.
Three intersecting spheres of engagement are central to
achieving our goals:
• In a range of theatres and venues across Metropolitan
Brisbane we present grand opera of excellence and bold
creative adventures;
• W
e tour extensively throughout Regional Queensland,
creating unique and innovative opportunities for regional
artists and audiences to experience opera; and
• O
peraQ’s Open Stage unit creates first-rate education and
community engagement programs for all ages.
Located in the heart of Brisbane’s South Bank cultural precinct,
OperaQ enjoys creative partnerships with Griffith University
and multiple arts organisations, festivals and presenters across
and beyond Queensland.
OUR MISSION
To reflect,
celebrate and
enrich life in our
communities.
OUR VISION
A boundless
landscape of opera
experiences.
VALUES
CORE GOALS
Leadership
Our work inspires confidence, pride and aspiration.
We set the bar high, producing work of the highest
quality, benchmarking ourselves against the best
in the world, continually challenging ourselves to
progress and evolve.
Stewardship
As opera’s custodian we look to the future
to ensure the art form will flourish.
Adventure
We are imaginative, adaptive and ambitious.
We embrace bold ideas, big and small.
We are not afraid to take risks in exploring new
pathways and territories.
We plan and share creative adventures with
like-minded partners.
Relevance
For the communities we serve,
the experience we provide
is valued and has impact.
Connection to the world
To actively participate in the broader world of ideas.
Connection to our communities
To build and maintain strong, meaningful relationships
with diverse communities across Queensland.
Excellence, Leadership and Innovation
To be recognised for excellence, leadership, artistry
and innovation in all areas of our work.
Powerful Brand and Reputation
To be recognised as Australia’s most adventurous
opera company.
Sustainability and Financial Strength
To ensure we have the people and the resources to
realise our ambitious plans.
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CHAIRMAN’S MESSAGE: TURNING THE CORNER
Realising the 2012-2017
Strategic Plan
The second half of 2014 saw a much improved financial
situation for OperaQ with the production of La bohème
in the Conservatorium Theatre, supported by
Queensland Conservatorium, Griffith University,
and our collaboration with Brisbane Festival and
QPAC in the presentation of The Perfect American.
These productions continued the critical acclaim the
company has been receiving for its work which included
ABANDON and Rigoletto earlier in the year.
The undoubted highlight however was our tour of
La bohème which produced life changing experiences for
the nearly 400 singers who participated in Project Puccini.
Our incredible search uncovered local talent to become the
choruses for La bohème in eight regional centres from
the Gold Coast to Mount Isa. These wonderful performances
broke all audience records for an OperaQ tour.
In 2014 Opera Queensland began to realise the ambitions
of the change and transformation agenda first outlined
in our 2012 annual report. When I composed my letter
to you last year OperaQ had experienced a perfect
storm of disappointing audience numbers for Otello
and Rigoletto, both high quality productions with great
Australian artists. It was a difficult time for OperaQ
and for that matter international and Australian opera
generally which was experiencing similar events. Later
in the year this prompted the Federal Government’s
National Opera Review and I will comment more about
that later.
Last year I wrote that we needed to face these challenges.
I am pleased to report that OperaQ has responded to
these challenges superbly, not only in turning around
the financial performance but doing this with a world
first community based initiative in Project Puccini and
an Australian first with our collaboration for The Perfect
American. Equally importantly, we also invested in the
future of opera with a return to primary school touring
through FiZZ! – a production developed in collaboration
with shake and stir theatre co with the support of
Energex. I am proud to report that FiZZ! was enjoyed by
more than 10,000 Queensland school children.
These events clearly reflect the company’s fundamental
commitment to deliver exceptional Opera for audiences
through metropolitan, regional, and community
engagement programs.
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There were many other examples in 2014 but Project
Puccini / La bohème championed our passion for
collaboration and proved that by working together with
others we can improve both the quality and the audience
reach of our productions. We thank our eight regional
performing arts centres for co-presenting the tour with
OperaQ and for their commitment and support. We
also thank the Graeme Wood Foundation, the John
Villiers Trust and the Queensland Government’s Playing
Queensland Fund, for the significant financial support
that made Project Puccini possible.
Our final ‘performances’ for the year were another
great collaboration, this time between the Queensland
Symphony Orchestra, the Opera Queensland Chorus,
the OperaQ G20 Community Chorus and the magicians
from Electric Canvas. As a part of the State’s Cultural
Program for the G20 leaders meeting, the son et
lumière presentation The Changing Face of Brisbane
transformed the facade of Brisbane’s Treasury Hotel.
The thousands who experienced these free events
witnessed a great example of how our 400 year art
form has been sustained by its continuing capacity to
generate powerful contemporary statements.
As a consequence of the hard work of the OperaQ
team and the enthusiastic support of our many partners
we have achieved the best financial outcome for the
company since 2007, albeit whilst still reporting a small loss.
2014 ANNUAL REPORT
CHAIRMAN’S MESSAGE: TURNING THE CORNER continued
Our patrons, supporters and the OperaQ Board were
vital contributors in making this turnaround possible.
Through our philanthropic and corporate support and
the initial efforts of our 2014/15 annual appeal we raised
over $950,000 in 2014. This achievement has enabled the
company to benefit in 2015 from additional ‘leverage’
funding provided by the State government, an outcome
we hope to repeat in 2015 to benefit 2016.
We are very pleased with this achievement, and believe
OperaQ has turned a corner, but we know there is
still much to be done to ensure we maintain that new
direction. For 2015 we have planned a program very
much informed by our financial performance of recent
years and, although early days, we are on course for
a modest profit. A consequence of this has been a
reduction in the number of our main stage productions,
a situation we are working to address for future seasons,
but at the same time undertaking a range of new
initiatives to broaden the company’s audience base.
Already this year we have been thrilled by the response
to the first leg of our regional tour of The Adventures
of Figaro, designed for smaller regional centres; to our
Cloud Song opera ‘experience’ in Fortitude Valley’s
Cloudland; and to our community workshops associated
with La traviata and Candide. At the time of writing we
are about to launch our $25 ticket offer for La traviata
for 2000 balcony seats in the Lyric Theatre, specifically
designed for ‘first-timers’ to experience why this Verdi
masterpiece is the most performed opera in the world.
We are enthusiastically creating as many pathways as
possible to introduce new audiences to what we all know
can be a lifetime passion.
We anticipate our future plans will be impacted by the
Commonwealth Government’s National Opera Review
which is examining “the artistic vibrancy, engagement
with audiences and financial positions of Opera Australia,
State Opera of South Australia, West Australian Opera
and Opera Queensland”.
OperaQ welcomed the review and has wholeheartedly
supported its progress. To date the Review panel has
met with the four companies and other interested parties
including the State governments, venues and orchestras
as well as undertaking public consultation in each state.
As you will see from the financial information in this
report, the major portion of OperaQ’s government
support comes from the Queensland government.
On the other hand the major portion of the
Commonwealth government’s support for opera in
Australia is allocated to Opera Australia. We are now
awaiting the release of a Discussion Paper which we
expect will provide a number of options as to the
potential direction of the final report of the Review Panel.
We believe the Discussion Paper will be widely
distributed and that written responses will be welcomed.
We hope the outcome of the Review will see continued
support for the OperaQ transformation journey currently
underway and, more importantly, provide a means
by which the range of opera experiences available to
Queenslanders can be enhanced.
I would like to use this opportunity to pay special tribute
to Nancy Underhill who retired as a director of OperaQ
in April 2015. Nancy had been a director of OperaQ for
over fifteen years and her commitment demonstrated
the passion with which she has loved opera throughout
her life. We will miss Nancy’s contribution around the
board table but are comforted that opera will continue
to benefit from her knowledge and enthusiasm in her
leadership role at the Lisa Gasteen National Opera School.
Finally I would like to thank our key stakeholders, the
Queensland Government, through Arts Queensland,
and Australia Council for their on-going mentoring
and support. Our patrons, sponsors, performers,
performance partners and the OperaQ team have all
made significant contributions and, together with my
colleagues on the OperaQ board, have my gratitude.
I also express my appreciation to the opera lovers of
Queensland: season ticket buyers; occasional purchasers
and community participants who can enjoy this
wonderful art form in so many ways and whose passion
for opera will be the key to its continued success.
Robert Hubbard
Chairman
3
DEFINING THE OPERA LANDSCAPE
ARTISTIC DIRECTOR’S MESSAGE
”
OperaQ’s Open Stage came into its own in 2014,
helping us connect with hundreds of Queenslanders
across the state, and culminating with a spectacular
choral/video event on the Treasury Building as part of
the G20 celebrations.
It’s been quite a year, and I have many more people to
thank than can fit on this page. As always, I thank every
member of the OperaQ team, all passionate in their
commitment to Excellence, Community and Adventure,
and once more I pay tribute to our fantastic Head of
Music and Chorus Master, Narelle French.
2014 was a year of tectonic shifts for the opera world.
Many companies - eyeing the cracks forming under
our own feet - felt a sense of foreboding as the Met’s
industrial relations war played out, San Diego Opera
was saved from the brink and the implications of cuts to
English National Opera’s funding ricocheted around.
Now both the Australian and New Zealand
Governments have had the good sense to call for a
National Review into Opera, ensuring that some sharp
eyes and big brains are now focussed on the future of
this most complex art form.
We believe this is a rare opportunity to design
the future opera landscape in Australia, within the
limitations of our current resources, and to demonstrate
our trust in the resilience of this remarkable art form.
The optimum outcome would be a bold blueprint for a
more sustainable, flexible opera ecosystem in Australia,
truly integrated into - and a genuine reflection of - our
diverse contemporary cultural landscape.
For OperaQ, 2014 was an opportunity to explore
opera’s expanded landscape, and our year’s
centrepiece for compelling reasons was our state-wide
community chorus initiative Project Puccini, developed
around a terrific largely-local cast and an elegant new
production of La bohème. This project has changed the
game for regional touring of opera in Australia.
There were so many highlights throughout 2014,
among them our dramatically powerful and musically
excellent Rigoletto, the QPAC Concert Hall transformed
for Brisbane Festival by Phelim McDermott’s visually
brilliant and epic-scaled international production of
Philip Glass’s The Perfect American, and at the opposite
end of the scale, the huge popularity of our charming
new schools show, FiZZ!
We were even nominated for an Australian Dance Award
for Outstanding Company Achievement for ABANDON,
our collaboration with Dancenorth!
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A few people deserve special mention for their
extraordinary commitment to opera in Queensland:
Our collaborator on The Perfect American Noel
Staunton, whose Brisbane Festivals reflected his
abundant, generous personality, mixing a love of
grand gesture and big global names with his heartfelt
commitment to the creative lives of Australian artists.
Project Puccini’s success was due in very large part to
the tireless efforts of two remarkable men, Mark Taylor
and Jason Barry-Smith (Manager and Creative Director
respectively of Open Stage 2014), who travelled across
Queensland for months attending to every detail of the
project. Jason auditioned 800 people and, as Assistant
Director on La bohème, rehearsed Acts 2 and 3 for
nine different choruses from Brisbane to Mt Isa,
always as gracious and patient as ever, and he is now
officially a legend!
Another great figure in the Opera Queensland
landscape for several decades is Nancy Underhill,
whose contribution to this company’s life has been
remarkable. I’ll greatly miss her sharp observations
and our robust discussions in the boardroom.
As the experience of opera in the 20th century was
vastly different to the experience of the 19th, 18th and
17th centuries, the 21st century experience, if it is to
reflect our time and society, must be different again.
Designed as a celebration of three core values Excellence, Community and Adventure, 2014 was a
year of artistic achievements and claiming new territory
across a wide repertoire spanning several centuries.
Lindy Hume
Artistic Director
2014 ANNUAL REPORT
Image by Stephanie Do Rozario
ABANDON Händel arr. CRABB
A
dynamic fusion of contemporary dance, voice and
instrument, ABANDON enthralled audiences at World
Theatre Festival at Brisbane Powerhouse in February.
Co-created by Lindy Hume, choreographer Raewyn Hill
and virtuoso classical accordionist James Crabb, this
experimental production re-imagined a selection of
works by Georg Friedrich Händel, featuring a cast of 11
all dressed in exquisite Alistair Trung couture.
Abandoning narrative for pure emotion, dancers from
Townsville’s Dancenorth, OperaQ singers and musicians
populated a transformable dream-landscape created
by hundreds of cardboard boxes designed by Bruce
McKinven and lit by Bosco Shaw.
ABANDON received rapturous critical acclaim and was
nominated for a 2014 Australian Dance Award for Most
Outstanding Company Achievement.
ABANDON
21- 23 FEB 2014
POWERHOUSE THEATRE, BRISBANE POWERHOUSE
CREATIVE TEAM
Lindy Hume - Co-creator
Raewyn Hill - Co-creator
James Crabb - Co-creator
Bruce McKinven - Set Designer
Bosco Shaw - Lighting Designer
Costumes from the collection
of Alistair Trung
CAST
Monique Latemore - Singer
Annie Lower - Singer
Elizabeth Lewis - Singer
Christopher Richardson - Singer
Bradley Chatfield - Dancer
France Hervé - Dancer
Erynne Mulholland - Dancer
Alice Hinde - Dancer
Andrew Searle – Dancer
James Crabb – Classical Accordian
Teije Hylkema – Cello
“An enthralling, richly
envisioned and visually
arresting production”
ARTSHUB
Presented by Brisbane Powerhouse, Opera Queensland
and Dancenorth.
5
VERDI – RIGOLETTO
“It’s hard to imagine
a state opera company
putting together a better
cast for Rigoletto.”
Image by Stephanie Do Rozario
THE AUSTRALIAN
O
pera Queensland ignited its bold main stage season with a production of Rigoletto
inspired by the unscrupulous world of former Italian Prime Minister, Silvio Berlusconi.
Some of Australia’s finest singers including Rosario La Spina, London-based rising star
Elena Xanthoudakis and Jud Arthur joined the Opera Queensland Chorus and Queensland
Symphony Orchestra to realise Rigoletto’s thrilling score under the baton of renowned
maestro Johannes Fritzsch. Michael Lewis, a veteran of the title role, still in mighty vocal
form, brought a heartbreaking pathos to this new interpretation of Rigoletto
Verdi’s tale of corrupted power, depravity and betrayal was played out against Richard
Roberts’ spectacular sets. From the Duke’s high gloss palace to the murderous squalor of
the underworld, the audience was immersed in a modern Italy where the all-powerful Duke
of Mantua indulged in party girls and prostitutes in Lindy Hume’s production.
RIGOLETTO
15-29 MARCH 2014 LYRIC THEATRE, QPAC
CREATIVE TEAM
Johannes Fritzsch – Conductor
Lindy Hume – Director
Richard Roberts – Designer
Jason Morphett – Original
Lighting Design
Andrew Meadows – Lighting
Designer
Narelle French – Chorus Master
CAST
Michael Lewis – Rigoletto
Rosario La Spina – Duke of Mantua
Elena Xanthoudakis – Gilda
Jud Arthur – Sparafucile
Dimity Shepherd – Maddalena
Andrew Collis – Monterone
Shaun Brown – Marullo
Virgilio Marino – Borsa
John Antoniou – Count Ceprano
Anne Fulton – Giovanna
Cassandra Seidemann – Countess
Ceprano
Emily Burke – Page
Matthew Broadbent – Herald
Opera Queensland Chorus
Queensland Symphony Orchestra
Rigoletto was presented by arrangement with New Zealand Opera.
6
“A highly theatrical
production where visual
spectacle combined with
emotionally charged scenes
... make this a Rigoletto
to remember.”
THE OPERA CRITIC
2014 ANNUAL REPORT
PUCCINI – LA BOHÈME
“Once again a triumph from
Opera Queensland, which
has had a consistently
brilliant year.”
LIMELIGHT MAGAZINE
“This is an incredibly
accessible production…
it shifts from comedy to
tragedy to epic love story
Image by Stephanie Do Rozario
to period piece; a great
I
introduction to the opera for
those who are looking to dip
their toes for the first time.”
ARTSHUB
n July OperaQ opened its new production of an opera
regarded widely as the world’s most romantic – La bohème,
set on Christmas Eve on the snowy streets of of Paris.
LA BOHÈME
12 JULY - 2 AUGUST 2014 CONSERVATORIUM THEATRE,
GRIFFITH UNIVERSITY SOUTHBANK
Helpmann Award-winning director Craig Ilott and designer
Penny Challen located Puccini’s bohemian love story in 1913,
that final optimistic winter before the dawn of World War 1,
evoking that period with beautiful period costumes and props,
combined with spectacular digital scenery developed
in collaboration with animators from Griffith University’s
College of Arts who rendered evocative hand-drawn
animations of Paris rooftops, Christmas shopping in the Latin
Quarter, fog, snow and even fireworks over the Eiffel Tower!
CREATIVE TEAM
Guy Noble - Conductor
Paul Kildea - Conductor (15 & 17 JULY)
Craig Ilott - Director
Penny Challen - Designer
David Walters - Lighting Designer
Narelle French - Chorus Master
Jason Barry-Smith - Assistant
Director
Andi Spark - Animation Producer
Xin Li, Jimmy Su – Animators
Swimming in colour, this elegant new production featured
a terrific, mostly-local, cast including some of Australia’s
finest, supported by the Opera Queensland Chorus.
CAST
Hyeseoung Kwon/Emily Burke - Mimì
Emily Burke/Annie Lower - Musetta
Bradley Daley/Virgilio Marino Rodolfo
Shaun Brown/Guy Booth - Marcello
Guy Booth/Sam Hartley - Schaunard
Andrew Collis - Colline
Sam Hartley/Shaun Brown - Alcindoro
Bernard Wheaton - Benoit/Parpignol
Matthew Broadbent – Officer
Opera Queensland Chorus
Musicians from Queensland
Symphony Orchestra
Conductor Guy Noble brought to life a gem-like
arrangement by Australian conductor Richard Gill with
musicians from Queensland Symphony Orchestra.
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“...I’ve lost count of how
many people have told
me that this project has
renewed their love of
music, has been the best
experience of their lives, has
given them new confidence,
that they cried their eyes
out, that they had no idea
opera could be so moving,
what singing with their
community has meant to
them, that they’ve learned
so much, how they loved
acting in their costumes,
the discipline of singing
in Italian and with QSO, in
a professional production
with ‘real’ singers”.
Artistic Director,
Lindy Hume
Image by Stephanie Do Rozario
PROJECT PUCCINI
P
member was on track for their debut in a professional
production.
Considered a turning point for touring of opera to regional
Australians, Project Puccini inspired state-wide community
engagement and more than doubled the audience for
OperaQ’s regional tour.
Perhaps one of the most profound aspects of Project Puccini
was its capacity to engage people from all walks of life:
roject Puccini was a world-first initiative that offered
384 Queenslanders across eight regional locations the
opportunity to perform alongside internationally renowned
artists in OperaQ’s brand new touring production of
Puccini’s La bohème.
Following launch of the project in February, nearly 800
auditions were held to select 36 adults and 12 children to
create a chorus in each local community.
Local Chorus Masters and Rehearsal Coordinators in each
centre were contracted to lead these groups through
the intensive 10 week rehearsal process from audition to
performance, in which chorus members learned the music,
stagecraft, production and Italian language skills they
needed to perform in OperaQ’s production.
The bar was set high, but Assistant Director Jason Barry-Smith
travelled across Queensland to ensure that every chorus
8
Project Puccini provided participants with the opportunity
to build their creative skills by observing and working
at close range with professional artists and musicians at
the peak of their career, to weave social networks, and
strengthen ties within and beyond their communities.
“There were choristers aged 7 to 86 from all kinds of
backgrounds, and in some cases whole families, committed
almost three months of their lives to learn their roles in
La bohème; people drove 400km round trips to attend every
rehearsal; people rehearsed in hi-vis clothing because they’d
just walked out of a mine; 384 people committed themselves
to something that for most of them was out of their comfort
zone…and they didn’t give up when the going got tough.”
Assistant Director,
Jason Barry Smith
Image by Stephanie Do Rozario
2014 ANNUAL REPORT
Considered a turning
Project Puccini was
supported by the Queensland
Government’s Playing
Queensland Fund, the Graham
Wood Foundation, the John
Villiers Trust and by local
councils and venues across
Queensland.
It was the subject of a Griffith
University research project
examining the project’s overall
impact on participating
communities, the effect on
individual well-being, level of
connection with the arts and
influence on self-confidence,
social cohesion and connection.
point for touring of
opera to regional
Australians, Project
Puccini inspired statewide community
engagement and more
than doubled the
audience for OperaQ’s
regional tour.
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GLASS – THE PERFECT AMERICAN
“Take a bow, Brisbane
Festival director Noel
Staunton and Opera
Queensland counterpart
Lindy Hume, for bringing
Philip Glass’s 27th opera,
The Perfect American, to
Queensland before it has
even been seen in the US.”
Image by Dan Swinbourne
THE AUSTRALIAN
F
ollowing its world première in Madrid and acclaimed
London season, Opera Queensland in collaboration with
Brisbane Festival and QPAC brought The Perfect American
to Brisbane audiences for its first season in the southern
hemisphere.
The latest opera from the iconic composer Philip Glass,
widely regarded as the most influential music-maker of the
20th Century, The Perfect American enchanted audiences
with the imaginings of Walt Disney in a fictional account of
his final months. Imagery veers wildly from mythical mirages
to apparitions of Abraham Lincoln and Andy Warhol.
Hailed for its spectacular, awe-inspiring design by Dan Potra
and the masterful eye of esteemed international director,
Phelim McDermott, The Perfect American united a
stunning Australian and international cast led by conductor
Gareth Jones (English National Opera).
The Opera Queensland Chorus and Queensland Symphony
Orchestra surpassed themselves in a transformed Concert Hall.
Audiences acclaimed the event-style staging, which created
an unforgettable performance environment for world class
opera artists including British baritone, Christopher Purves
as Walt Disney, Cheryl Barker as Hazel, Douglas McNicol as
Roy Disney, Donald Kaasch as Dantine, Marie McLaughlin
as Lillian Disney and Kanen Breen as Andy Warhol.
Britain’s Improbable Theatre and Brisbane’s own Expressions
Dance Company seamlessly combined forces to create a
unique physical and visual language for the production.
10
THE PERFECT AMERICAN
15-20 SEPTEMBER 2014 CONCERT HALL, QPAC
CREATIVE TEAM
Gareth Jones - Conductor
Phelim McDermott - Director
Dan Potra - Designer
Jon Clark - Lighting Designer
Adrian Plaut - Lighting Design
Realisation
Ben Wright - Choreographer
Narelle French - Chorus Master
Francis Christeller - Assistant
Director & Choreographer
Leo Warner - Video Designer
Jane Michelmore - Associate
Video Designer
CAST
Christopher Purves - Walt Disney
Donald Kaasch - Dantine
Douglas McNicol - Roy Disney
Cheryl Barker - Hazel George
Marie McLaughlin - Lillian Disney
Sarah Crane - Sharon
Jade Moffat - Diane
Rosie Lomas - Lucy/Josh
Zachary James - Abraham Lincoln/
Funeral Employee
Kanen Breen - Andy Warhol
Mattias Lower - Chuck/Doctor
Hayley Sugars - Secretary/Nurse
Queensland Symphony Orchestra
Opera Queensland Chorus
Expressions Dance Company
Improbable Theatre
Presented by Brisbane Festival and Opera Queensland in
association with Queensland Performing Arts Centre and Griffith
University. Commissioned by Teatro Real, Madrid, and the English
National Opera, London. In collaboration with Improbable.
2014 ANNUAL REPORT
Image by Stephanie Do Rozario
GALAS, DINNERS AND EVENTS
A NIGHT IN PARIS
LA BOHÈME
Opera Queensland’s annual Gala Ball and Auction
transported Patrons and supporters to A Night In Paris
filled with exhilarating performances by OperaQ artists
and the opportunity to bid on memorabilia and exclusive
opera experiences.
Corporate partners, Board members, Patrons and their
guests glittered on arrival at the Brisbane Marriott Hotel
for the Opening Night of La bohème where they heard
from conductor and broadcaster, Guy Noble over an
exclusive pre-performance dinner.
Falling snowflakes greeted guests as they entered the
twinkling space set with scenery and props from OperaQ’s
La bohème. Following a five star dinner, inspiring words
from OperaQ’s Artistic Director, Lindy Hume and a jovial
address from The Honourable Ian Walker, Minister for
Science, Information Technology, Innovation and the Arts,
guests danced the night away to jazz standards from The
Lachlan Hawkins Trio.
In one of her final appointments as Governor of
Queensland, Her Excellency Ms Penelope Wensley AC
gave a special address on the highlights of her experience
as Patron of OperaQ. Following a sumptuous three-course
meal, guests were escorted in Silver Service vehicles from
Yellow Cabs to the Opening Night of La bohème at the
Conservatorium Theatre.
In all the evening was a huge success raising muchneeded funds for OperaQ’s artistic, community and
education programs. Special thanks to Brisbane
Convention and Exhibition Centre for their support.
RIGOLETTO
The Opening Night of Rigoletto saw OperaQ entertain
guests at a pre-performance dinner in the presence of
former Governor of Queensland and Opera Queensland
Patron, Her Excellency Ms Penelope Wensley AC at Era Bistro.
Corporate partners, Board members, Patrons and their guests
had the unique opportunity to meet Rigoletto artists before
their Opening Night performance and hear from Artistic
Director, Lindy Hume about her inspiration for the production.
The La bohème Corporate Function held on the terrace
of the Queensland Conservatorium was a huge success.
Bubbles in hand, corporate partners and their guests
were given a unique opportunity to learn more about the
opera, mingle with artists from the production and listen
to OperaQ Artistic Director, Lindy Hume speak about the
timeless relevance of Puccini’s masterpiece.
Mark Taylor – Manager of OperaQ’s Open Stage program
– closed the function with a progress report on Project
Puccini with amusing anecdotes and inspiring stories from
participants across the state.
During the Rigoletto season, OperaQ hosted a corporate
function at the Rooftop Terrace QPAC, overlooking South
Bank and the stunning Brisbane River by night, where
corporate partners and their guests mingled with artists
from the show and heard from renowned bass-baritone,
Andrew Collis, about his experience working with OperaQ.
11
OPERAQ
15
80
16,300
5 schools residences
working with 282
students in 2014
10,600
DOES MORE
THAN JUST
PERFORM
8,000
12
2014 ANNUAL REPORT
Image by Dylan Evans
FiZZ!
FiZZ! pops the big issues facing little people today –
self-confidence, bullying, honesty and friendship. This
modern adaptation is presented against a dynamic multimedia backdrop and performed by three young opera
performers and an on-screen cast of some of the state’s
most experienced artists.
In 2014 Open Stage returned to primary school touring in
South East Queensland with a fresh and imaginative new
production of FiZZ!, a collaboration with shake & stir theatre co,
based on Donizetti’s much loved opera, The Elixir of Love.
10,608 students saw FiZZ! across 36 Queensland primary
schools followed by a short season in the Visy Theatre at
the Brisbane Powerhouse during the September school
holidays. In addition, a complimentary performance at the
Herston Ronald McDonald House delighted seriously ill
children and their families.
FIZZ! was proudly supported by Energex.
FIZZ!
TERMS 3 & 4 GREATER BRISBANE SCHOOLS
CREATIVE TEAM
Ross Balbuziente, Nelle Lee,
Nick Skubij - Directors
Jason Barry-Smith, Narelle
French - Musical Supervisors and
Arrangers
Josh McIntosh - Designer
“I basically went
crazy! i love romance
stories and soda like
FiZZ! as well”
SEINA 4C
CAST
Ashleigh Crane - Adina
Shaun Kohlman - Nemorino
Matthew Hirst - Belcore
Emily Burke - Giannetta (pre-production)
Andrew Collis - Dulcamara
(pre-production)
Jason Barry-Smith - Newsreader
(pre-production)
13
Images by Blue Roo
SONG CIRCLE
“So it’s like I am
not a client here
being looked after,
I am a professional
coming here to
develop my skills.
We are the ones
doubting saying
‘No maybe not,’
and they are the
ones saying ‘Yes
B
lue Roo Theatre Company exists to provide
opportunities for people with a disability to become
actively involved in the performing arts.
A ten-month collaboration between Blue Roo and
OperaQ’s Open Stage team resulted in the creation of
Song Circle, a suite of twelve personal stories laid bare in
original song, based on the words and experiences of the
thirty-seven members of Blue Roo.
2014 was a significant year for Blue Roo Theatre Company
from the highs of the Open Stage program to the tragedy
of losing founding member and friend Jamie Carrigan.
Song Circle also became a touching dedication to the
missing member whom they lost along the way.
you’ll be fine.’
CRISTINA GARCES,
PERFORMER
“It was beautiful.
It came alive.
I enjoyed the jokes.
It was different,
and it spoke
about us.”
BEN HAWTIN,
PERFORMER
14
2014 ANNUAL REPORT
Image by Stephanie Do Rozario
G20 COMMUNITY CHORUS
O
pera Queensland was invited to participate in the G20 Cultural Celebrations
by creating a large-scale community choir event in Brisbane CBD.
The team assembled the OperaQ Community Chorus, a volunteer group of
73 members, who performed over the two weekends prior to the G20 Summit.
The Opera Queensland Chorus and Queensland Symphony Orchestra
recorded a medley of Verdi classics to accompany live performances.
The Changing Face of Brisbane was a spectacular sound and light show
which incorporated choral singing, movement, large scale projections and
video to create a ‘living canvas’ on the façade of the Treasury Hotel, Brisbane.
15
OPEN STAGE
ARTOLOGY REMIX
Through experiential learning in the performing
arts, Artology seeks to develop the creative
potential of young people. In October, Artology
and OperaQ joined forces to present Artology
Remix – a weeklong workshop program involving
33 talented teenagers and five professional artists.
Through physical theatre, music, video and digital
art, the group set out to reinvent Mary Shelley’s
gothic novel, Frankenstein, into a daring new stage
adventure. At the end of the program the group
performed their creation to live audiences over
two shows in the OperaQ Studio.
SCHOOL RESIDENCIES
174 Students in five metropolitan schools worked
with OperaQ’s highly skilled artists in week-long
residencies to discover their creative potential
through voice, movement and drama.
At the end of each residency, students and their
workshop team took to the stage to showcase
their new skills to their peers, families and local
communities.
CHILDERS FESTIVAL
In July, Opera Queensland and the Bundaberg
Regional Council joined forces to bring free
creative singing workshops to local schools
and community groups as part of the annual
Childers Festival.
OperaQ’s Open Stage team of singers, musicians
and directors led the workshop to inspire creative
expression and bring together the Childers
community.
At the completion of the program, participants
performed with the Open Stage team in the newly
reopened Paragon Theatre filled to capacity.
16
2014 ANNUAL REPORT
Image by Stephanie Do Rozario
HIGH NOTES
2014 was another successful year for OperaQ’s High Notes
program, which raises revenue for the company through
the commercial hire of performers for events
and concerts.
More than 7,000 Queenslanders enjoyed performances
by renowned OperaQ artists including Jason Barry-Smith,
Emily Burke, Virgilio Marino and Hayley Sugars.
Highlights included OperaQ’s continued involvement
with Opera in the Vineyard at the Ballandean Estate in
Stanthorpe, with 1,100 tickets being sold for this popular
fundraising outdoor event.
A quartet of singers provided Christmas carols at
Clemenger BBDO’s Christmas in July client party at
Depot in West End.
The year finished on a highlight with Jason Barry-Smith
performing the Australian National Anthem in Brisbane’s
City Hall at a special G20 reception for the Indian Prime
Minister, Narendra Modi, attended by 5,000 guests.
17
BOARD AND GOVERNANCE
Patron
His Excellency, Paul de Jersey
The Governor of Queensland
Chairman
Robert Hubbard
BA (Hons), FCA
Appointed Chairman 17 April 2012
Member of the Audit and Risk
Committee
Treasurer: April 2006 to April 2012
Director since April 2006
Robert was a partner at
PricewaterhouseCoopers for 22 years
until his retirement in March 2013.
Since then Robert has pursued a
career as a non-executive director
from his home on the Sunshine Coast.
Robert believes passionately in the
broader roles that commerce should
play in the community and divides
his time between listed commercial
entities and community based
enterprises. Robert is currently a
director of Bendigo and Adelaide
Bank Limited, Central Petroleum
Limited, Primary Health Care Limited
and Orocobre Limited. Robert is also
a director of MS Research Australia,
JK Tech Pty Ltd (a subsidiary of
The University of Queensland) and
is a member of the Council of the
University of the Sunshine Coast.
Treasurer
Kim Challenor
BComm, BA, CA
Appointed Treasurer 27 June 2012
Chair of the Audit and Risk Committee
Director since June 2012
Kim Challenor is an accountant who has
worked in both Australia and the
United Kingdom over the past 17 years.
Promoted to Partner at Pricewaterhouse
Coopers in 2011, she provides audit
services and accounting advice to
a variety of clients and industries,
including companies listed on the
ASX, private and not-for-profit
organisations. An avid enthusiast
for the arts, Kim has welcomed this
opportunity to be involved with such
a valuable organisation. Having grown
up in regional North Queensland,
the education and touring component
of the company have really resonated
with her passions.
Lady Jane Edwards AM
ONM(Fr) BA, FAICD, FAIM
Director since 1992
Jane (Brumfield) Edwards is a
businesswoman and communications
strategist, with a distinguished career
spanning more than 35 years.
A former Canberra journalist, Jane
is a specialist in issues and reputation
management. She advises senior
executives and community leaders
around Australia on personal profiling
and business-critical issues in the
public arena. Jane founded and owns
the national BBS Communications
Group, is an Adjunct Professor at the
University of Queensland’s school of
Journalism and Communications and
is appointed to numerous government
and business boards. Since 2001, she
has been the Honorary French Consul
for Queensland. She is a member
of the Order of Australia, and holds
the Chevalier de L’Ordre National du
Merite (Knight of the French National
Order of Merit).
Colin Furnival
PhD, FRCS, FRACS, GAICD
Chair – Opera Queensland
Foundation since 1 December 2009
Director since December 2009
Colin Furnival is a former surgeon
and academic who has extensive
experience in a broad range of
professional issues, interfacing with
governments and other agencies. He
has had a strong interest in opera for
many years and is committed to Opera
Queensland’s strategy of presenting
opera in all its forms. His perspective
of opera productions is built on his
experience of performances given by
30 opera companies in 12 countries.
Ieuan Hyde
BA
Director since June 2013
Ieuan Hyde has significant experience
in marketing and business
development across government,
not-for-profit and commercial ventures
and is currently Chief Marketing
Officer at Mater Health Services.
He has a particular interest in brand
management and marketing strategy.
Prior to his appointment at Mater,
Ieuan was Marketing Manager at an
Australian computer game company
and held appointments on major
government projects in Transport,
Families and Health Departments
and was a State Councillor for the
Australian Marketing Institute.
David Janetzki
BEcon, LLB (Hons), A.Mus.A (piano)
Member of the Audit and Risk
Committee
Director since September 2014
David is currently Heritage Bank’s
Head of Legal and Governance.
He has previously worked as an
academic at the University of
Southern Queensland and in senior
business and legal positions for the
Manpower Group in London and
law firm Corrs Chambers Westgarth.
David is currently Deputy Chairman
of the Empire Theatres Foundation
and Chairman of the Southern Downs
Regional Council Audit and Risk
Management Committee. Married to
an opera singer who inspired his love
of classical singing, David grew up
in rural Queensland and continues
to hold an interest in the family
cattle property.
Sally Pitkin
LL.B, LL.M, PhD, FAICD
Director since April 2012
David Siddle
BA (Hons), PhD, FASSA
Member of the Audit and Risk
Committee
Director since September 2014
As an academic psychologist,
David Siddle worked in universities in
England, Canada and Australia.
He became Dean, Postgraduate
Studies at the University of
Queensland in 1993 and Pro-ViceChancellor (Research) at the University
of Sydney in 1997. He served as
Deputy Vice-Chancellor (Research)
at the University of Queensland
from 2001 to 2009 where he was
responsible for the development and
implementation of policy designed to
enhance the university’s performance
in research and research training.
He has served as a Board member for
many Cooperative Research Centres,
was a Director of the Australian
Synchrotron Company and from
2011 to 2014 and served as a member
of the Higher Education Standards
Panel. He is currently Chair of
the National Imaging Facility and
the Chair of Brisbane Diamantina
Health Partners.
Nancy Underhill
BA, M.Phil., PhD
Sally Pitkin is a Company Director and
Lawyer with thirty years corporate
experience. Her current portfolio of
board roles include ASX 200
companies, Federal Government
owned business enterprises, private
companies, regulatory bodies and
non-profit organisations. Sally is the
President of the Queensland Division
of the Australian Institute of Company
Directors, and a Consultant with
Clayton Utz, where she was a Partner
during the 1990s. Her skills in
corporate governance, risk
management, strategy and business
planning, organisational culture
and stakeholder engagement have
been developed from her legal
background, experience as a nonexecutive director and board member
and doctoral research.
Director since August 1999,
Retired 1 April 2015
Nancy Underhill is an author and
academic, lecturing in History before
becoming the Foundation Head of
the Art History Department at the
University of Queensland.
In 2013 she was awarded an
Honorary Doctorate from Griffith
University for her achievement and
service within the Australian and
international visual arts community.
Having served on the Visual Arts
Board Australia Council, the National
Cultural Heritage Commission and
as Chair of Art History Association,
Nancy is a long standing Director
of Opera Queensland. Since its
foundation in 2011 she has worked
with the Lisa Gasteen National Opera
School based at the Queensland
Conservatorium Griffith University.
Opera Queensland thanks Nancy for
her 15 years service to the Board.
The Board safeguards integrity in
financial reporting
The Company held an Annual General Meeting in
May 2014 attended by members of the Company.
In 2014, the Audit & Risk Committee held five
formal meetings to review, monitor and advise
on budget, audit, investment and financial
reporting matters.
The Company’s supporters were acknowledged
throughout the year at Company events and in
our various print and digital publications.
A detailed finance report was presented at each
Board meeting. Additional meetings were also
held to discuss matters of financial impact on
the Company.
In 2014, the Board regularly discussed risks that
had potential impact on the Company at Board
meetings. These discussions are included in the
Minutes of the Meetings.
OPERA QUEENSLAND – CORPORATE GOVERNANCE
Good corporate governance is core to ensuring
the realisation of Opera Queensland’s vision, the
execution of our mission and the achievement of
our five core goals, as outlined in our Strategic
Plan 2012-2017.
In 2014, the Opera Queensland Board
maintained its continued commitment to
good governance practices as recommended
in the Australia Council for the Arts’ Essential
Governance Practices for Arts Organisations
document.
The Board lays solid foundations for
management and oversight
In 2014, the Board continued to review and
monitor the strategic direction of Opera
Queensland as determined in our Strategic Plan
2012-2017.
The Board held eight formal meetings during the
year, with a high level of attendance. Additional
meetings were also held with Executive
Management to consider matters of strategic
importance.
18
The Board is structured to add value
In 2014, the Board comprised nine independent
non-executive directors who provide their time
and services on a voluntary basis.
Together with the General Manager and Artistic
Director who attend the Board meetings in an
ex officio capacity, they have an appropriate
balance of skills, experience and expertise.
The Board promotes ethical and
responsible decision making
The company has in place a company-wide
Code of Conduct which includes a set of values
to be embodied by Company members and
collaborators.
Included in this Code of Conduct is a mechanism
for identifying and managing conflicts of interest
of Board members and employees.
The company’s annual financial statements were
audited by an independent external auditor, who
met with the Directors without management
present. The auditor’s performance was also
reviewed by the Directors.
All reporting requirements for 2014 were met.
The Board promotes diversity
The Board recognises the legitimate
interests of stakeholders
The company is committed to promoting inclusive
practices and understanding. The Company
Code of Conduct recognises the need to respect
individual differences and strive for a truly
inclusive workplace where every person can shine.
In 2014, The Chairman and Executive
management were in regular contact with
the government funding agencies regarding
the operations and strategic direction of the
Company.
The Board recognises and manages risk
The Board is working towards developing a detailed
risk register and risk management plan.
The Board remunerates fairly and
responsibly
In 2014, the Board provided oversight of the
Company’s remuneration and performance
management frameworks.
In 2014, the Company commenced a formal
process for employee performance evaluations
and remuneration reviews.
2014 ANNUAL REPORT
OPERAQ STAFF
OPERAQ STAFF
Artistic Director
Lindy Hume
General Manager
Russell Mitchell
Creative Director – Open Stage
Jason Barry-Smith
Business Manager
Valerie Cole
Production Manager
Murray Free
Head of Music/Chorus Master
Narelle French
Marketing and
Development Manager
Olivia Ientile
Manager – Open Stage
Mark Taylor
Head of Wardrobe
Karen Cochet
Executive Assistant
Rebecca Campbell
(until May 2014)
Administrative Assistant
Christina Daley (from May 2014)
Assistant Accountant
Renée Fletcher
Co-ordinator – Open Stage
and Opera Club
Shona Maher
Marketing Co-ordinator
Jacqueline Metcalfe
(until June 2014)
Marketing Co-ordinator
Stephanie De Rozario
Development Executive
Nicole Woodward
(until November 2014)
Supporter Services and Events
Co-ordinator
Nickie Warton
(from November 2014)
Public Relations and Media
Agency North
Creative Agency
Redsuit Advertising
OPERAQ HONORARY LIFE MEMBERS
James Christiansen OAM | Hon. Prof. Peter Fardoulys AM | Sir Leo Hielscher AC | Ray Jeppesen
Martin Kriewaldt | David Macfarlane OAM | Marilyn Richardson
2014 OPERA CLUB
MEMBERS
Mr David Abbott
and Mrs Anne Abbott,
Mr Colin Barker
and Mrs Hazel Barker,
Mr David Beal
and Mrs Judith Beal,
Mr David Bennion
and Mrs Davi Bennion,
Mrs Janelle Berlese,
Mrs Beverley Biggs,
Ms Lindsey Boileau,
Mr Fabian Bryant
and Mrs Wendy Bryant,
Ian Bunzli,
Ms J P Carrey,
Mrs J A Cassidy,
Mr L Castand and Mr D J Robson,
Mr Charles Cauchi
and Mrs Clare Cauchi,
Mrs Judy Cavanagh,
Mrs K and Mr L Challenor,
Prof Frank Clarke
and Mrs Olga Clarke,
Mr Roger Cragg,
Dr Christa Critchley
and Dr David Siddle,
Mrs Pauline Crowe,
Dr Eloise Dray,
Ms Denise Dunn,
Mrs Narelle De Putron,
B Eastwood,
Lady Jane Edwards AM ONM (Fr),
Mr Brian Fitzwilliam
and Mrs Anne Fitzwilliam,
Mr William Forgan-Smith,
Mr and Mrs Keith Frame,
Ian and Caroline Frazer,
Mr Bertram Frost
and Mrs Judy Frost,
Dr C M Furnival
and Dr I G Furnival,
Mr Nick Gaskell
and Mrs Lindsay Gaskell,
Ms Marilyn George,
Prof Robert Gilbert,
Mrs Jane Ginardi,
Dr John Gough
and Ms Ann Page,
Mr Nanda Gulhane
and Mrs Catherine Gulhane,
Mr Brian Hall
and Mrs Jennifer Hall,
Dr Graeme Hall
and Mrs Cathy Hall,
Ms Carmel Harris,
Ms Sandra Harris,
Mr Sam Harvey
and Mr Noel Harvey,
Miss Elizabeth Hatton,
Mrs Margaret Hayes,
Ms Claire Hickey,
Prof David Ingram
and Mrs Nelly Ingram,
Mrs Marie Isackson,
Mr Peter Jaunais
and Mrs Kay Jaunais,
Dr Nicolie Jenkins
and Mr Sean Crookes,
Gloria Kahlert,
Mr David Kavanagh
and Mrs Lois Kavanagh,
Mr John Keys
and Mrs Susan Keys,
Ms Jillian King,
Dr Maurice King,
Mr Pat King,
Mrs Jenny Krassnig,
Mrs Joy Lavette,
Ms Meg Lawrence,
Mr Gregory Lay,
Mr John Leak
and Mrs Angela Leak,
Mr H Leary,
Prof Andrew Lister
and Mrs Kate Lister,
Miss Carol Ann Lloyd,
Ms Kim Martin,
Miss J Mathers,
Dr E J McArdle
and Mrs K M McArdle,
Mr Ian McLeod
and Mrs Rhyl McLeod,
Mr Wayne Middleton
and Mr Robert Martin,
Dr Desmond B Misso,
Mr Owen Kelly
and Mr Greg Molloy,
Mrs Bettina Morphett-Savage,
Mr Peter Mountney
and Mr Colin Neville,
Mrs Iris Nicolaides,
Miss Lauren Norris
and Miss Alexandre Norris,
Mrs Judith Pembleton
and Ms Christine Lindemann,
Dr Sally Pitkin,
Mrs Julie Polities
and Mr Michael Polities,
Ms Chris Pollard
and Mr Clive Briggs,
Mr Bernard Power,
Mrs L Prieditis,
Ms Catherine Raju,
Mrs Susan Robb,
Mr Don Robertson,
Mr Peter Robertson,
Mr Noel Rose,
Mrs Archina Saulic,
Ms Lynn Schmidt,
Mrs Betty See,
Mrs Joy Sleigh,
Mr Allen Smith
and Mrs Mitzi Smith,
Ms Corinne M Smith
and Miss Tegan V Smith,
Ms Ann Snell,
Mrs Elaine Stanfield,
Ms Arndell Stewart,
Dr Nick Tate
and Mrs Barbara Tate,
Dr Anna Thomas
and Mr Matthew Thomas,
Justice David Thomas
and Mrs Jane Thomas,
Mr H E Thompson,
Mr A Thomson,
Mrs Wendy Till,
Mr John Tinkler
and Mrs Diane Tinkler,
Ms Kay Twig,
Dr Nancy Underhill,
Mrs Betty van Heeswijck,
Dr Sally Vickery
and Mr Greg Vickery,
Mr N R Waters
and Mrs S J Waters,
Miss Margaret West,
I S and H Wilkey,
Ms Andrea Williams,
Mr Ed Williams
and Dr Donna Williams,
Ms Linda Williams,
Mr R Wilson and Mrs P Wilson,
Mr and Mrs Wally
and Gillian Wilton,
Ms Angela Zivkovich,
Anonymous 2
19
OUR PATRONS’ SUPPORT REACHES
FAR BEYOND THE THEATRE
O
peraQ’s artistic and community ambitions, including bold initiatives like our
Open Stage and OperaQ Studio programs, are made possible largely through
the support of these generous and enthusiastic people.
Foundation Patrons $15,000
and above
Mr Philip J Bacon AM,
Emeritus Professor Christa Critchley
and Emeritus Professor David Siddle,
Professor Ian Frazer AC
and Mrs Caroline Frazer†
Leanne Muller and Robert Hubbard
Platinum Patrons $10,000 - $14,999
Dr Nancy Underhill
Gold Patrons $5,000 - $9,999
Peter Fardoulys AM
and Margaret Fardoulys,
Dr John Gough† and Ms Ann Page,
Dr M Jameson†,
Mr John Story
and Mrs Georgina Story,
Trevor and Judith St Baker
Silver Patrons $1,000 - $4,999
David and Judith Beal,
Professor Frank
and Mrs Olga Clarke,
Hon Geoffrey Davies AO
and Mrs Thea Davies§,
Mrs Elva Emmerson†,
Drs C M and I G Furnival†,
Dr Nicholas Girdis CBE
and Mrs Marina Girdis,
Professor Ian R Gough
and Dr Ruth Gough†,
Lindy Hume,
Dr Joan M Lawrence AM,
Dr Peter Livingstone
and Mrs Lurlene Livingstone†,
Dr David McConnel OAM
and Dr Audrey McConnel†,
20
David McEvoy,
Justice Philip McMurdo
and Justice Margaret McMurdo§,
Russell Mitchell,
The Oxenford Family (In loving
memory of Brenda Oxenford),
Mr Ian Paterson,
Dr Sally A Pitkin,
Mr Ray Poon,
Mrs Fairlie Schmelzer,
Mr Bill Siganto AM
and Dr Marie Siganto AM,
Allen Smith and Mitzi Smith,
Dr Ben and Mrs Janette Steinberg,
I S and H Wilkey†,
W H G Wilton,
Mr Rodney Wylie,
Anonymous 4
Bronze Patrons $500 - $999
Dr Philip Aitken,
Ms Julieanne Alroe,
Dr Glenise Berry
and Dr Damien Thomson,
Mrs Beverley Biggs,
Dr John and Mrs Jan Blackford†,
Mr Lucien Castand
and Mr Donald Robson,
Kim and Luke Challenor,
Mr Roger Cragg,
David and Margaret Crombie,
Ms Jean Davis,
Mrs Narelle De Putron,
R and B Eastwood,
Lady Jane Edwards,
Mr Peter Fuller,
Ms Jean Harris,
Professor Robert Gilbert,
Mr Bill Heck OAM
and Mrs Patricia Heck,
Sir Leo Hielscher AC
and Lady Mary Hielscher,
Marie Isackson,
Mr Harry Leary,
Mr Andrew Lister,
Mr Richard Hyne
and Mrs Loretta Bertoldo-Hyne,
Mr David Janetzki,
Mrs Jennette Johnstone,
Dr Michael Martin†,
Dr Edward McArdle†,
Ian and Rhyl McLeod,
Desmond B Misso Esq†,
Mr Matthew & Mrs Lisa Myers,
Mrs Iris Nicolaides OAM,
Miss F V M Pidgeon AM,
Dr and Mrs John Quinn†,
Douglas and Janine Ritchie,
Ms Rose Scheimann,
Professor Jacquie Rand
and Mr Tom Schults,
Dr Terry & Mrs Geraldine Sheahan†,
Mr Henry and Mrs Suzy Smerdon,
Mr Anthony J Spain
and Mrs Catherine M Spain§,
Ms Helen Stehbens,
Mr Mark Taylor and Mr William Sinclair,
Mr John and Mrs Diane Tinkler,
Mr Greg Vickery AM
and Dr Sally Vickery †§,
Dr Donna Williams and Mr Ed Williams,
Mr Robert and Mrs Patricia Wilson,
Anonymous 4
§
The Legal Chapter
†
The Medical Chapter
2014 ANNUAL REPORT
TECHNOLOGY, MARKETING
AND NEW AUDIENCES
2014 was a year of significant improvement in the
way that Opera Queensland uses digital technology
to reach and engage with core supporters and new
audiences. At the forefront of this was the challenge of
providing platforms to recruit, engage, inform and teach
our Project Puccini participants across eight regional
Queensland communities.
To launch Project Puccini, Opera Queensland in
conjunction with Agency North, coordinated Valentine’s
Day themed street activations and media calls in eight
cities simultaneously, using local MPs, mayors and
community leaders.
The theme was to find a new love of singing on
Valentine’s Day. Volunteers hung promotional banners
in eight town centres and handed out hundreds of
promotional cards, wearing #ProjectPuccini t-shirts
and berets.
Agency North distributed a digital media kit including a
video news release, regional media releases, fact sheet
and images. #ProjectPuccini was used across all materials
to encourage social media interaction and OperaQ,
regional partners, ABC and other arts organisations
posted images and videos.
Agency North and Opera Queensland were shortlisted in
three categories at the national CommsCon Awards and
received a highly commended for the best B2C campaign.
The creation of an online learning portal allowed
OperaQ to provide multimedia files to all participants to
assist them in learning the music, language, production
themes and costume requirements for La bohème during
the 10 week rehearsal period before the touring party
arrived in their respective cities.
OperaQ continued to make advancements in digital
advertising and promotion that assisted, along
with contemporary programming and collaborative
partnerships, in significantly growing our new audience
members. In 2014 OperaQ saw a 43% increase in young,
highly educated professionals and students attending
the season.
2014 WEBSITE TRAFFIC www.operaq.com.au
Visits
41,755
Unique visitors
26,784
Page views
105,358
Pages/visit
2.52
Average visit duration
00:02:43
Bounce rate
46.26%
% new visits
62.17%
WEBSITE VISITORS BY LOCATION
INTERNATIONAL
7,012
Launch Outcomes:
•
•
•
•
•
To highlight the unique nature of each regional city
involved in the project and showcase the stories
and passion of participants a number of interactive
content boards were set up using content curation by
Shuttlerock. Featuring more than 1,200 images uploaded
by OperaQ, venue partners, participants and collected
from social media, these Project Puccini content boards
were an important feature of the La bohème/Project
Puccini marketing campaign.
Content Outcomes:
•
•
•
•
•
INTERSTATE
12,244
165 media hits
177,000 Twitter reach
8,000 Facebook reach
125% increase in web traffic
Nearly 800 people registered to audition
1,236 images across 9 content boards
10,187 unique user sessions
60,136 page views
262 shares
O peraQ driving this content through Facebook led to
an average weekly reach increase of 47% to 5,942.
QUEENSLAND
46,579
FACEBOOK REACH AND ENGAGEMENT
2012
2013
% Increase
Facebook Likes
1755
2270
29%
Average Daily Engaged Users
26
37
42%
Average Daily Reach
421
520
24%
2013
2014
% Increase
Net number of customers
3193
3821
19.67%
Attended one event
1899
2052
8.06%
Attended two events
630
715
13.49%
Attended three events
632
586
-7.28%
Average dollar spend per customer
$305.38
$325.61
6.62%
Number of new customers*
1822
2595
42.43%
CUSTOMER DATA
* Customers who did not attend in the previous year
21
THE NUMBERS
An extract from the 2014 Financial Statements
OPERA QUEENSLAND LIMITED STATEMENT OF COMPREHENSIVE INCOME
FOR THE YEAR ENDED 31 DECEMBER 2014
NOTES
2014
2013
$
$
INCOME
OPERA QUEENSLAND LIMITED BALANCE SHEET
AS AT 31 DECEMBER 2014
NOTES
2014
2014
$
$
CURRENT ASSETS
1,939,688
1,270,445
Cash and cash equivalents
7
701,055
611,737
Sponsorships and Donations
Event Income
995,139
777,190
Trade and other receivables
8
309,108
356,106
Other Income
152,147
126,508
Total Current Assets
1,010,163
967,843
Government Income
Queensland government
NON-CURRENT ASSETS
Operational grant
Project funding – tour
Other grant
Opera Conference funding
5
2,447,938
2,404,575
399,954
231,703
100,000
100,000
52,569
51,720
407,289
400,171
CURRENT LIABILITIES
219,060
215,103
Trade and other payables
10
40,000
36,000
Employee benefits
11
199,411
173,552
Other
12
1,502,985
1,361,379
1,819,885
1,742,200
10,709
10,061
10,709
10,061
1,830,594
1,752,261
(94,873)
(34,868)
Property, plant and equipment
9
Total Non-Current Assets
TOTAL ASSETS
725,558
749,550
725,558
749,550
1,735,721
1,717,393
117,489
207,269
Federal government
Operational grant
Opera Conference funding
Local government
TOTAL INCOME
5
6,713,784
5,613,415
EXPENDITURE
Production and Touring
Total Current Liabilities
NON-CURRENT LIABILITIES
4,534,178
3,475,808
Community Programs and
Education
230,647
192,152
Marketing and Business Development
811,371
890,619
Infrastructure and Administration
1,197,593
1,715,344
TOTAL EXPENDITURE
6,773,789
6,273,923
(60,005)
(660,508)
Employee benefits
11
Total Non-Current Liabilities
TOTAL LIABILITIES
NET ASSETS
Represented by:
ACCUMULATED FUNDS
TOTAL COMPREHENSIVE
INCOME
This is an extract from the 2014 audited Financial Statements. The full version of the Financial
Statements can be found on the OperaQ website. The Statement of Comprehensive Income is
to be read in conjunction with the notes to the Financial Statements.
22
Subordinated loan
13
200,000
200,000
Reserves
14
(294,873)
(234,868)
(94,873)
(34,868)
TOTAL ACCUMULATED FUNDS
This is an extract from the 2014 audited Financial Statements. The full version of the
Financial Statements can be found on the OperaQ website. The Balance Sheet is to be
read in conjunction with the notes to the Financial Statements.
2014 ANNUAL REPORT
OPERA QUEENSLAND LIMITED STATEMENT OF CASH FLOWS
FOR THE YEAR ENDED 31 DECEMBER 2014
NOTES
MEDIA COVERAGE
2014
2013
$
$
CASH FLOW FROM
OPERATING ACTIVITIES
Cash receipts from customers
and grantors
Cash paid to suppliers and
employees
6,657,208
5,956,236
(6,580,818)
(5,926,696)
16,957
34,772
93,347
64,312
Interest Received
Net cash from operating
activities
16
CASH FLOW FROM
INVESTING ACTIVITIES
Proceeds from sale of
non-current assets
-
-
Acquisition of plant,
equipment and motor vehicles
(4,029)
-
Net cash from investing
activities
(4,029)
-
Net increase/(decrease) in
cash and cash equivalents
89,318
64,312
Cash and cash equivalents
at 1st January
611,737
547,425
701,055
611,737
Cash and cash equivalents
at 31st December
7
INCOME
9%
■ Box Office
■ QLD Government
■ Federal Government
■ Local Government
■ Philanthropy and Foundations
■ Sponsorship
■ Other Income
22%
8%
1%
9%
45%
Media Coverage Highlights – Project Puccini
• 3 7 TV news stories including ABC News Breakfast, ABC News
24, Channel Nine Brisbane, ABC News Queensland and all
relevant regional stations (Nine, Seven, WIN and Prime)
• M
ore than 250 radio interviews including several on Radio
National Breakfast, 612 ABC Breakfast and ABC Classic FM
• M
ore than 50 large articles accompanied by photographs
including International Arts Manager, The Australian and
The Courier-Mail
• 11 front page stories including Canvas in The Courier-Mail
and multiple front pages in Maryborough Herald, Queensland
Times, Daily Mercury, Fraser Coast Chronicle, North West Star
• C
onsistent profiling of participants at auditions, during
rehearsals and in the lead-up to performances.
Media Coverage Highlights – Other
This is an extract from the 2014 audited Financial Statements. The full version of the Financial Statements
can be found on the OperaQ website. The Statement of Cash Flows is to be read in conjunction with the
notes to the Financial Statements.
6%
From 1 January to 21 November 2014, OperaQ received 1,406
pieces of coverage valued at an Advertising Space Rate (ASR) of
$7,229,631 and reaching a cumulative audience of 52 million.
• T hree cover stories in The Courier-Mail’s Canvas lift out for
Rigoletto, La bohème and The Perfect American
• N
ational coverage for Rigoletto on The Guardian with
Lindy’s article, ABC Classic FM and ABC Online
• N
ational profiling with publishing of multiple opinion
articles by Lindy in The Guardian and The Australian
•N
ational glossy coverage for La bohème in WISH and Vogue, and
The Perfect American in Qantas in-flight, WISH and Limelight
• N
ational coverage for The Perfect American including the
cover of Review in The Weekend Australian, ABC’s The Mix,
ABC Breakfast News, Radio National, ABC Classic FM,
Sydney Morning Herald, The Age and The Guardian
• N
ational launch coverage via The Guardian, The Australian,
ABC Classic FM, Radio National Breakfast, Fairfax (via
Brisbane Times) and ArtsHub.
BREAKDOWN OF MEDIA COVERAGE BY REACH
6
239
EXPENDITURE
3%
8%
115
133
186
7%
24%
17%
26%
14%
■ Salaries - Performers and creative
■ Salaries - Production and technical
■ Salaries - Other
■ Production and Touring
■ Community and Education
■ Marketing and Development
■ Administration and Infrastructure
40
■ Local
■ Drive
■ Regional
687
■ State-wide
■ Interstate
■ National
■ International
23
ACCESS 2014
DATE
EVENT
Audience
Performances
6
12
4
22
Paid
4350
4483
3141
11974
Free/
Participants
-
Sponsor/
Promo
1320
1015
883
3218
Total Reach
Mainstage
March
July
Sept
Rigoletto
la Bohème
The Perfect American
OperaQ Studio
Feb
Abandon
4
4
518
518
-
411
411
929
929
Regional Tour
Aug
La bohème - Gold Coast (Mat)
La bohème - Gold Coast
La bohème - Ipswich
La bohème - Toowoomba
La bohème - Fraser Coast
La bohème - Rockhampton
La bohème - Mackay
La bohème - Townsville (Mat)
La bohème - Townsville
La bohème - Mt Isa
1
1
1
1
1
1
1
1
1
1
10
698
1045
505
1081
524
534
526
322
682
540
6457
48
48
48
48
48
48
48
48
384
96
50
261
58
39
76
2
65
602
698
1189
603
1345
630
621
659
324
795
588
7443
The Space
Between
Feb
March
March
June
July
Aug
Sep
Sep
Sep
Space Between Bad Boys & Mean Girls
Bad Boys & Mean Girls Radio National Broadcast
Bad Boys & Mean Girls Big Ideas TV Broadcast
Space Between Lost Youth, Bohemian Life and Regret
Lost Youth, Bohemian Life and Regret Big Ideas TV Broadcast
Lost Youth, Bohemian Life and Regret Radio National Broadcast
The Perfect American Symposium
The Perfect American Big Ideas TV Broadcast
The Perfect American Radio National Broadcast
1
1
1
1
1
1
1
1
1
9
-
-
-
104
42000
40000
114
40000
42000
140
40000
42000
246358
-
104
42000
40000
114
40000
42000
140
40000
42000
246358
80
10521
87
35
10643
80
10521
87
35
10643
3
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
2
1
26
27
53
41
103
34
66
43
20
67
454
1291
50
400
34
62
227
37
28
350
46
29
450
310
97
3411
11
20
22
69
7
20
34
12
195
1291
50
38
400
73
63
34
62
227
172
41
37
28
350
86
77
32
46
29
450
67
310
97
4060
Primary
Touring
Other Events
24
Jul-Oct
Feb/Mar
March
March
March
March
March
May
May
June
June
June
July
July
July
July
July
Sep
Sep
Sep
Sep
Sep
Oct
Dec
FIZZ!
Rigoletto Promotional Performance
Rigoletto Opera Club and Patron Preview
Rigoletto Studio Insights
Rigoletto General Rehearsal
Rigoletto Opening Night Dinner
Rigoletto VIP Corporate Night
Supporters Reception
Datacom Annual Board Dinner
Brisbane French Festival Launch
OperaQ Gala - A Night in Paris
La bohème Studio Insights
La bohème Opera Club Preview
La bohème Patron Preview
La bohème General Rehearsal
La bohème Opening Night Dinner
La bohème VIP Corporate Night
The Perfect American Studio Insights
The Perfect American Patron Preview
The Perfect American Opera Club Preview
The Perfect American General Rehearsal
Opera in the Swigmore Hall - Robert Channon Wineries
2015 Season Launch
Opera Club & Patron Christmas Function
-
-
-
-
5670
5498
4024
15192
ACCESS 2014
DATE
EVENT
Feb
May
May
May
June
July
Nov
Nov
Dec
Century 21 Awards Night
Opera In The Vineyard
Opera Acoustics (Ipswich Festival)
St Leo’s Formal Dinner - A Night at the Opera
Italian National Day - QPAC
Clemenger BBDO Christmas in June
Jian Zhou Memorial Oration
G20 Reception for Indian Prime Minister
Reception for Italian Consul
DATE
LOCATION
Open Stage
Community
March
July
Jan-Nov
Oct/Nov
July
Brisbane Workshop
Childers Community Workshop
Blue Roo - Song Circle
G20 Changing Face of Brisbane
Brisbane French Festival
Open Stage
Residency
Feb
Feb
May
June
July
July
Sept
Mount St Michael’s
Springwood
Varsity College
St Peter’s Indooroopilly
St Peter’s Springfield
The Childers District Schools Workshop
Mount Isa
High Notes
Open Stage
School Shows
Performance
Total
Audience
Performances
1
1
1
1
1
1
1
1
1
9
150
230
76
84
280
5000
90
5910
Total Reach
150
1100
320
230
76
84
280
5000
90
7330
Audience
150
450
575
12691
2500
16366
Total Reach
163
464
603
64
2500
16537
Paid
Free
1100
320
1420
Attendants
Performances
1
1
3
6
2
13
1
1
1
1
1
1
1
7
Participants
13
14
28
79
37
171
32
35
19
35
53
108
282
97
67
52
107
158
840
1321
129
102
71
142
211
108
840
1603
Audience
Performances
Participants
Paid
Free
Sponsor/ Promo
180
837
31344
273,453
4461
TOTAL REACH
310,095
SPONSORS AND PARTNERS
Opera Queensland is supported by
the Queensland Government through
Arts Queensland, part of the
Department of Science, Information
Technology, Innovation and the Arts.
26
2014 ANNUAL REPORT
PROJECT PUCCINI PARTICIPANTS
89% OF PROJECT PUCCINI
PARTICIPANTS ARE LIKELY TO
SEEK WAYS OF ENGAGING
WITH OPERA IN THE FUTURE
“Being able to experience wonderful teaching
and sharing the world of professional
musicians and singers was truly amazing.”
“Both of my kids who performed had an
incredibly positive experience. They are very
keen to go and watch opera any chance they
have in the future.”
“It was so much fun! I would definitely do it
again if given the opportunity.”
“We could not have asked for, or expected, more instruction,
support, encouragement, guidance, or, indeed, respect as
individuals. From the youngest member through to the oldest,
we were given every opportunity to be the best we could be.”
27
GOLD COAST
FRASER COAST
IPSWICH
TOOWOOMBA
MOUNT ISA
28
2014 ANNUAL REPORT
ROCKHAMPTON
BRISBANE
TOWNSVILLE
MACKAY
29
operaq.com.au
Opera Queensland Ltd ABN 83 010 258 750
Queensland Conservatorium Building,
140 Grey Street, South Bank
PO Box 5792 West End QLD 4101
T 61 7 3735 3030 E [email protected] W operaq.com.au