opera queensland`s annual report 2013

OPERA QUEENSLAND’S
ANNUAL REPORT 2013
Image of Fiona Campbell as Cinderella created by Damien Bredberg
Image by Stephanie Do Rozario
Cinderella
2013 ANNUAL REPORT
THE COMPANY
S
ince 1981 Opera Queensland, our state opera company
known informally as OperaQ, has presented diverse, high
quality opera and music theatre experiences to audiences
across Queensland.
As articulated in our 2012 Strategic Plan, three equally valued activity
streams connect OperaQ’s artistically vibrant performance program to
our broader community and business aspirations:
• Metropolitan Brisbane is home to our core audience and the creative
heart of Queensland’s dynamic arts community. Here we perform grand
opera on QPAC’s Lyric Theatre and diverse repertoire in a range of other
performance environments, including the OperaQ Studio, a new hub for
innovation in Brisbane’s South Bank.
• Regional Queensland is a vital part of our cultural identity. We reach
audiences across our vast state through touring, community workshops,
participation programs and schools residencies, and through creative
partnerships with regional artists.
• O pen Stage is our community engagement program, connecting
us with our communities in ways our mainstage program cannot,
expanding our reach to people of all ages and social backgrounds
across Queensland.
OperaQ’s programs and activities are benchmarked against best
practice standards and considered from global, national, regional and
local perspectives.
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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2013 ANNUAL REPORT
CHAIRMAN’S MESSAGE:
FACING THE CHALLENGE
Revisiting the 2012-2017
Strategic Plan
O
statewide launch, a massive regional audition process
across Queensland for Project Puccini is underway.
On the mainstage, however, outstanding critical acclaim
pera companies across the
for Lindy Hume’s production of Rigoletto, has not
world are experiencing a
translated into outstanding ticket sales, a pattern we are
period of great change as the
artform evolves away from the
traditional ‘mainstage’ model.
While many view this as a great
opportunity to refresh their
business models, others have
seen the enormity of the task and
closed their doors.
OperaQ is firmly in the first camp
and we started our transitional
now seeing for our Lyric Theatre productions.
The 2013 Australian première of our co-production
of Otello, an acknowledged masterpiece not seen in
Brisbane for seventeen years was strongly cast and
wonderfully led by conductor Johannes Fritzsch.
Despite all these ingredients we were disappointed with
audience attendance at the Lyric Theatre.
Looking ahead –
what does it mean?
journey in 2012 with the development of our Strategic
Looking ahead we know we need to focus on our areas
Plan. This Plan responded to the need for opera to
of success. We started 2014 with the launch of Project
be delivered through different channels, to a variety
Puccini, which is the most ambitious project the company
of audiences while seeking to define the unique
has ever undertaken and reflects our values perfectly.
characteristics that should reflect an opera company
Project Puccini combines our commitment to regional
operating in Queensland.
Queensland and community engagement with our
We believe the role of OperaQ in the community,
dedication to artistic excellence. We are confident there
and the Vision, Mission, Values and Goals of our 2012
will be long-term economic and social benefits as a result.
Strategic Plan, have lost none of their relevance to the
We are working to develop a new 2015 and 2016 model,
company’s three main activity streams - Metropolitan
which will address the need to restore profitability and
Brisbane, Regional Queensland, and our Open Stage
replenish reserves, while retaining our artistic vibrancy.
education and community engagement program.
OperaQ will continue to adapt the company’s portfolio
In line with international trends, Opera Queensland’s
in response to global and local trends, while reassessing
subscription levels have been falling for some years now
our role in the national landscape. We began this
and in 2013, our progress was hindered by disappointing
process of transformation in 2012, and there will be
box office for one of our three mainstage productions,
further changes ahead.
which has led to the significant deficit for 2013 reported
The onus is on us to find ways of connecting more
later in this Annual Report. That is not to say there weren’t
effectively and compellingly with greater numbers of
some great successes and we made further positive steps
current and future audiences. Notwithstanding the
to transform OperaQ into an opera company for the
considerable challenges we have experienced in 2013,
21st Century in line with our Strategic Plan.
we are confident our Strategic Plan continues to provide
As I write this report in early 2014 we have seen
the basis for a long term sustainable business model for
ABANDON, created in 2013, restaged to critical and
Opera Queensland.
audience acclaim at Brisbane Powerhouse as part of
the World Theatre Festival. Responding to a successful
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2013 ANNUAL REPORT
Determining your
company’s future
We continue to be indebted to the many individuals and
organisations that provide financial and in kind support to
OperaQ. Last year, Datacom increased its long term support
by providing an upgrade to our internal IT systems and
equipment. We continue to benefit from the collaborative
support of our colleagues at Queensland Symphony
Orchestra and Queensland Performing Arts Centre. We were
also delighted to welcome Brisbane City Council as a new
Government supporter for the next three years.
Our principal stakeholders, the Queensland and
Commonwealth Governments, maintained their great
support through their respective funding agencies,
Arts Queensland and the Australia Council. Playing
Queensland and ArTour provided invaluable support for
our regional initiatives.
We are facing our current challenges with energy,
pragmatism and purpose. But the journey ahead will
demand internal focus, discipline and a determined
community effort. We will be calling on the support of
all those Queenslanders who love music and opera - our
artists, patrons, subscribers, and ticket buyers. You share
our values of excellence, community and adventure.
OperaQ is committed to the future of this extraordinary
400-year-old art form and we are excited about the
dynamic role our company can play in contemporary
Queensland. We believe great music enriches us,
individually and as a community. We believe a vibrant
arts scene is the lifeblood of a progressive society.
We believe Queensland audiences deserve an opera
company of the highest standard, a company that serves
Highlights included:
• T
housands of Queenslanders enjoyed our free
concerts Opera on the Riverstage for Brisbane
Festival and at Jimbour Station, Opera at
Jimbour with the Queensland Music Festival.
• R
egional activities stretched from Pomona and
Redcliffe in the east, to Quilpie and Longreach
in the west, from Weipa and Atherton in the
north, to as far south as Wilcannia and Walgett
in New South Wales.
• A
BANDON, created in collaboration with
Dancenorth, was nominated for the Australian
Dance Award Best Production. Première
productions of St Matthew Passion, Cinderella
and Otello received critical acclaim.
• C
reative collaborations included partnerships
with Camerata of St John’s, Queensland Music
Festival, Dancenorth, ABC, New Zealand Opera,
Cape Town Opera, State Opera of South Australia,
West Australian Opera, Victorian Opera, Lisa
Gasteen National Opera School and Brisbane
Festival. Our partnership with our neighbours at
the Queensland Conservatorium Griffith University
also went from strength to strength.
• T
he concept development of Project Puccini –
a plan to work with regional communities to build
local choruses to join with OperaQ’s 2014 tour
of Puccini’s La bohème – was enthusiastically
received and supported by local theatres,
councils and sponsors coming on board. Project
Puccini is a world-first initiative that seeks to
change the way Australia’s major performing arts
companies connect with regional communities.
for future generations to experience.
• O
ur collaboration with ABC on our Space Between
panel discussion series is now gaining OperaQ a
regular national audience on Radio National and
Big Ideas TV.
Robert Hubbard
• W
e celebrated the contribution of former
Opera Queensland Chorus Master James
Christiansen to the company, naming one of our
rehearsal rooms in his honour.
the whole of Queensland, and that opera must flourish
Chairman
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2013 ANNUAL REPORT
JOINING FORCES – A YEAR OF PARTNERSHIPS
ARTISTIC DIRECTOR’S MESSAGE
Jason Barry-Smith in Waltzing Our Matilda
4
Image by Rob Maccoll
Our commitment to audiences in regional Queensland
was manifested in three very different projects: the
world premiere of ABANDON in Townsville; our
collaboration with Queensland Music Festival at
Jimbour Station near Dalby; and a tour, thanks to ArTour
with support from Playing Queensland, of our popular
Waltzing Our Matilda.
I thank all our partners and each of the fantastic artists
and companies involved in the projects outlined on these
pages. One of the great privileges of an Artistic Director’s
job is to spend time in the studio making ideas come to life,
and the studio is very much at the heart of who we are as
a creative organisation. So for me one of the most thrilling
developments of 2013 was the launch of the OperaQ Studio
initiative, in which ABANDON was developed.
Finally, I want to pay tribute here to Narelle French,
OperaQ’s Head of Music and Chorus Master, whose
contribution to the musical life of Queensland is
formidable and incalculable. Narelle has played a vital
role in the artistic output of 2013. She has meticulously
assembled and prepared our diverse and excellent
choruses as well as our casts. Narelle has played for
countless rehearsals and auditions, assisted conductors,
written genius arrangements with witty lyrics - and
provided valued advice to a very grateful Artistic Director.
Lindy Hume
Artistic Director
Opera Queensland Chorus
Image by Atmosphere Photography
o-creation” is a term
that has gained
currency in both the arts
and in business, signalling
a heightened value placed
by partners on a project’s
shared narrative and
shared ownership. Opera
has always been a hybrid
art form and co-creation
is the way forward for
OperaQ. I am excited about
joining forces with new
friends to share resources, new discoveries and creative
adventures. Throughout 2013 we vividly demonstrated
the advantages, synergies and audience benefits of a
range of mutually rewarding alliances that resulted in
some great performances.
ABANDON rehearsal in the OperaQ Studio
Image by Stephanie Do Rozario
C
”
2013 ANNUAL REPORT
BACH – ST MATTHEW PASSION
“... the heart and soul of St Matthew lies in its chorales,
beautifully sung by Narelle French’s Opera Queensland
Chorus, at the end unleashing a controlled wildness and
anguish in response to a gross injustice that changed
humanity, and whose modest dramatisation by Hume
suggests a new, old way forward for the presentation of
Baroque oratorios.”
Image by Stephanie Do Rozario
MARTIN BUZACOTT IN THE AUSTRALIAN.
Tobias Cole and Sara Macliver in St Matthew Passion
O
peraQ’s 2013 performance schedule began with a
bold departure from mainstream opera repertoire.
A semi-staging of Bach’s oratorio, it was presented in
collaboration with our friends at Brisbane’s excellent
chamber orchestra, Camerata of St John’s, and led with
great sensitivity by Artistic Director Brendan Joyce.
A fine international cast led by Swedish tenor Leif Aruhn
Solèn (Evangelist) and New Zealand bass Paul Whelan
(Jesus) included several of Australia’s most accomplished
early music interpreters: Sara Macliver, Robert Macfarlane,
Tobias Cole and Andrew Collis.
Head of Music Narelle French prepared a new chamber
chorus – the Opera Queensland Chamber Ensemble –
especially for this project. Soloists, choristers and
musicians alike rose to the challenge of dramatising
Bach’s magnificent oratorio through its two modes of
expression – the narrative and the reflective – under the
meticulous guidance of baroque specialist, conductor
Graham Abbott.
‘I’ve been listening to Bach’s St Matthew Passion
for forty years and I have to say that the staged
presentation last Friday added a whole new dimension
for me to this sublime work, bringing out so much of its
drama, tenderness, and insight.’
FR PAUL CHANDLER
ST MATTHEW PASSION
21-23 MARCH, CONCERT HALL, QPAC
Graham Abbott Conductor
Brendan Joyce Concert Master
Narelle French Chorus Master
Lindy Hume Staging
Nigel Levings Lighting Designer
Matthew Marshall Projected Text
Leif Aruhn-Solén Evangelist
Paul Whelan Jesus
Sara Macliver Soprano
Tobias Cole Alto
Robert Macfarlane Tenor
Andrew Collis Bass
Opera Queensland Chamber Ensemble
and Camerata of St John’s
Tony Award-winning lighting designer Nigel Levings’
elegantly powerful lighting underpinned the Passion
drama at all times, while the focus of Lindy Hume’s
simple semi-staging was firmly on the human drama
set against a translation of the biblical text in bold
projections amid the action.
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2013 ANNUAL REPORT
ROSSINI – CINDERELLA
OR GOODNESS TRIUMPHANT
‘Director Lindy Hume
provides a platform for her
artists to enjoy themselves
and they share their joy
generously with the audience.’
FLLOYD KENNEDY, ARTS HUB
‘... this enchanting production
gets the thumbs up’
GILLIAN WILLS, THE COURIER MAIL
‘Cinderella is beautiful
& joyful. I fell into the world
like a child into a lolly jar.
A pure delight. Congrats!’
Image by Stephanie Do Rozario
SALLY B, TWITTER
Deborah Rogers, Fiona Campbell and Emily Burke in Cinderella
O
peraQ’s new collaboration with New Zealand Opera
began with the première of Rossini’s joyful comedy.
The Queensland Symphony Orchestra was conducted by
New Zealand Opera’s Music Director Wyn Davies, in a new
English translation by OperaQ’s Lindy Hume, who also
directed, and Chorus Master Narelle French.
Rossini’s treacherously difficult music was handled with
elegance, wit and style by a first rate ensemble of singers
led by Fiona Campbell as Cinderella. Andrew Collis, Emily
Burke and Deborah Rogers were gorgeously low-rent as Don
Magnifico and his stepdaughters, while Virgilio Marino and
Jason Barry-Smith were dashing in the prince/valet identity
swap. Egyptian bass Ashraf Sewailam as the mysterious
Alidoro sang with powerful authority and deep humanity.
The all-singing, all-dancing Opera Queensland gentlemen’s
chorus was in sparkling form, front and centre in most
scenes, wonderfully eccentric both as Downton Abbey
servants and chambermaids, and as working class Londoners.
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Image by Stephanie Do Rozario
In a true trans-Tasman partnership, designer Dan Potra’s
ingenious scenery, a beautifully detailed Dickensian shop
and royal palace, was constructed in New Zealand Opera’s
Onehunga facility in Auckland. The costumes - a visual
feast of Victoriana - were made in OperaQ’s Brisbane
wardrobe facility.
Andrew Collis as Don Magnifico
CINDERELLA OR GOODNESS TRIUMPHANT
6 - 26 JULY CONSERVATORIUM THEATRE, SOUTH BANK
Wyn Davies Conductor
Simon Kenway Conductor
(from 16 July)
Lindy Hume Director
Lisa Wilson Assistant Director
and Choreographer
Dan Potra Set and Costume Designer
Matthew Marshall Lighting Designer
Fiona Campbell Angelina (Cinderella)
Virgilio Marino Don Ramiro
Jason Barry-Smith Dandini
Andrew Collis Don Magnifico
Emily Burke Clorinda
Deborah Rogers Tisbe
Ashraf Sewailam Alidoro
Opera Queensland Gents Chorus
Queensland Symphony Orchestra
2013 ANNUAL REPORT
HANDEL ARR. CRABB – ABANDON
T
he first work to emerge from our adventurous new
OperaQ Studio initiative is ABANDON, a collaboration
with Townsville-based contemporary dance company
Dancenorth.
“The sublime communication between
movement, voice and instrument makes
this journey quite inspirational.”
Created by classical accordion virtuoso James Crabb,
Dancenorth Artistic Director Raewyn Hill and OperaQ‘s
Lindy Hume, ABANDON re-imagines a selection of arias,
choruses, dances and a duet by Georg Friedrich Händel.
“...the audience is pulled through
emotions of guilt, anger, happiness and
sorrow ... ultimately every person will
come away with a different experience.
It’s definitely worth finding out what
that is.”
Following a development period in Brisbane in which the
three directors, five dancers, four singers, two musicians
and three designers pushed each genre’s performance
boundaries and abandoned logic and narrative, ABANDON
premiered in Townsville alongside the Australian Festival
of Chamber Music. While still in the early stages of its
performance life, the work was received extremely well in
its first season in Townsville, receiving an invitation from
Brisbane Powerhouse to be featured in the 2014 World
Theatre Festival program.
DENISE RICHARDSON, DANCE AUSTRALIA
EMMA CHANNON, TOWNSVILLE BULLETIN
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
Monique Latemore and Elizabeth Lewis in ABANDON
Image by Bottlebrush Studios
Lindy Hume Co-creator
Raewyn Hill Co-creator
James Crabb Co-creator and
Classical Accordion
Teije Hylkema Cello
Bruce McKinven Set Designer
Bosco Shaw Lighting Designer
Costumes from the collection of
Alistair Trung
Image by Bottlebrush Studios
ABANDON
24 JULY – 1 AUGUST, SCHOOL OF ARTS THEATRE, TOWNSVILLE
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2013 ANNUAL REPORT
VERDI – OTELLO
“Thrilling is the only word
to describe the Opera
Queensland Chorus in their
choral passages, while the
Queensland Symphony
Orchestra has rarely played
better under the baton of
Johannes Fritzsch.”
McNicol’s performance is a masterclass in chilling manipulation ... Porretta’s
Otello brings a fizzing intensity to the role ... Barker’s Desdemona has spunk,
poignancy and vocal prowess ...Presented as contemporary theatre, Otello is
adventurous contemporary drama and not just for opera buffs.
GILLIAN WILLS, THE COURIER MAIL
Douglas McNicol and Frank Porretta in Otello
I
n celebration of the Verdi Bicentenary year, Opera
Queensland struck an exultant note with Verdi’s
masterpiece Otello, the Australian première of a new
co-production between six southern-hemisphere
partners: Cape Town Opera, New Zealand Opera, Opera
Queensland, State Opera of South Australia, West
Australian Opera and Victorian Opera. Unfortunately ticket
sales were extremely disappointing for Otello, despite an
excellent critical response and broad acknowledgement
of the intelligence and high artistic/musical standards of
the production.
Director Simon Phillips and his team set the production
on a contemporary naval aircraft carrier stationed in an
unspecified Middle East war zone, framing the drama
powerfully and demanding an unusual degree of military
precision and protocol. We were fortunate to develop a
partnership with the Australian Army as military advisors
to the production. Lt Col Byron Cocksedge, Chief of Staff
of 7th Brigade, Gallipoli Barracks Enoggera coached
the Opera Queensland Chorus in the physicality of
contemporary soldiering.
Queensland Symphony Orchestra unleashed its
formidable force and played brilliantly under Chief
Conductor Johannes Fritzsch, making his long-awaited
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Image by Stephanie Do Rozario
Image by Stephanie Do Rozario
STAGE WHISPERS
Cheryl Barker in Otello
stage debut with OperaQ. Musically Otello was a tour
de force, from the monumental choruses, meticulously
prepared by Narelle French, to a fine international cast led
by American tenor Frank Porretta as Otello.
Cheryl Barker was a lyrical Desdemona and Aldo di Toro in
glorious voice as Cassio. There were strong performances
in key roles from Sarah Castle as Emilia to Andrew Collis as
Lodovico, John Antoniou as Montano and Virgilio Marino as
the scheming Roderigo. Douglas McNicol as the evil Iago
gave a potent and magnificently chilling performance.
OTELLO
21-23 MARCH, CONCERT HALL, QPAC
Johannes Fritzsch Conductor
Simon Kenway Associate Conductor
Simon Phillips Director
Matthew Wild Assistant Director
Dale Ferguson Set Designer
Michael Mitchell Costume Designer
Nick Schlieper Lighting Designer
Frank Porretta Otello
Cheryl Barker Desdemona
Douglas McNicol Iago
Sarah Castle Emilia
Aldo Di Toro Cassio
Virgilio Marino Roderigo
Andrew Collis Lodovico
John Antoniou Montano
Guy Booth Herald
Opera Queensland Chorus
Queensland Symphony Orchestra
2013 ANNUAL REPORT
OPEN STAGE IN LONGREACH
I
The artists spent an exciting day at the Longreach School
of Distance Education offering four separate lessons to 175
students from prep to year 7 in a geographical area twice
the size of Victoria.
The fortnight’s activities culminated in a performance at the
QANTAS Founders Museum with the students, community
members and OperaQ artists taking to the stage to sing a
number of musical theatre and Opera Choruses in front of
a live audience of 223 locals. Artistic Director Lindy Hume
and Manager Open Stage Mark Taylor travelled to witness
the final performance.
Image by OperaQ
n September the Open Stage team including Louise
Dorsman, Sam Hartley, Zara Barrett, Kylie Los and Cienda
MacNamara set out for a 3,028km round trip to engage
with students and the broader community in Longreach.
Students from Ilfracombe, Aramac, Muttaburra, Jundah,
Stonehenge, Windorah, Longreach State School, Longreach
State High School and Our Lady’s College worked with the
artists to discover their creative potential through voice,
movement and drama classes. In the evenings fifteen adults
from the Longreach community joined the Open Stage
team. Many of the participants belonged to local choirs
and relished the personal and professional development
opportunity.
Longreach School residency
The Longreach trip received funding and support from Arts
Queensland’s Playing Queensland fund, Qantaslink and
the 2013 Opera Queensland Annual Appeal. Donors from
around the state tuned into the streamed performance
via a live web link. Opera Queensland was delighted to
welcome Chrissy Arthur from ABC’s Landline program
along for the journey which resulted in a feature story on
the program.
QCGU Harpist
Image by Stephanie Do Rozario
BLACK AND WHITE GALA DINNNER
S
ometimes, as a company, it’s important to gather
our friends, family and supporters around us to
celebrate our achievements, tell our stories and share
our aspirations in a social environment away from the
foyer of the theatres we play in. At the end of 2013 we
felt it was time for such a celebration.
Central to the evening’s success were showcase
performances by OperaQ artists and the generosity of
our hosts and event partners BCEC, whose hospitality
was faultless. Giving the centrepiece performance before
dinner, Rigoletto principals Michael Lewis and Andrew
Collis were thrilling special guests while the evening’s
Black and White theme was wittily and charmingly
animated throughout the night by OperaQ’s newest
ensemble Qrious who worked the room in anarchic
pursuit of sopranos Monique Latemore and Annie Lower.
OperaQ’s guests were an enthusiastic mixture
of patrons, opera club, subscribers, arts industry
colleagues and artists. The success of OperaQ’s Black
and White Gala gave us a modest fundraising boost,
but more importantly, it gave us confidence that there’s
an appetite for OperaQ social gatherings that are
glamorous, fun and help raise support for the company.
BLACK AND WHITE GALA DINNER
28 NOVEMBER 2013 BRISBANE CONVENTION CENTRE
Michael Lewis
Andrew Collis
Monique Latemore
Annie Lower
Qrious
Matthew Broadbent
Shaun Brown
Sam Hartley
Mattias Lower
Bernard Wheaton
ChingWei Lin Harp
Fay Lin Harp
Narelle French Piano
Patrick Nolan Flute
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2013 ANNUAL REPORT
I
n 2013 thousands of Queenslanders enjoyed high quality
opera and orchestral experiences without paying a cent.
Two excellent OperaQ concerts celebrated the 200th
anniversary of the great Giuseppe Verdi’s birth.
OPERA AT JIMBOUR
Despite heavy rain, 2000 intrepid souls braved the
elements to enjoy OperaQ’s first collaboration with
Queensland Music Festival. Opera at Jimbour MC and
conductor Guy Noble kept spirits high for a happily
mud-soaked audience, who were treated to soloists
Leanne Kenneally, James Egglestone, David Hibbard and
Guy Booth, with the Opera Queensland Chorus and the
Camerata of St John’s.
OPERA ON THE RIVERSTAGE
Brisbane turned on a perfect September night for the
thousands who attended Opera on the Riverstage, a free
outdoor event presented by Opera Queensland and
Brisbane Festival in association with Queensland
Symphony Orchestra.
The performance featured Otello stars Cheryl Barker,
Douglas McNicol and Andrew Collis alongside Kang
Wang, Emily Burke, Anne Fulton and the mighty Opera
Queensland Chorus in a passionate concert performance
conducted by Simon Kenway. Friends, families and tourists
came in droves equipped with blankets and picnics for a
night under the stars.
QRIOUS
Possibly OperaQ’s most eccentric creation in 2013 was the
aptly named Qrious, a group of five charmingly out-ofplace gents in tuxedos, whose clothes and manners seem
to have emerged from another, more elegant era. Qrious
don’t speak and they do some strange things, but they’re
quirkily funny, sweetly debonaire and they sing like angels.
Qrious (actually a group of five versatile OperaQ artists)
made their debut in 2013 at the very glamorous Butterfly
Ball in aid of the Royal Brisbane Women’s Hospital, and
were featured artists at November’s OperaQ Black and
White Gala Dinner.
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THE SPACE BETWEEN
In 2013, OperaQ formed a new initiative in partnership
with ABC called The Space Between. This series of panel
events is designed to animate and give deepened insights
into creative processes, contemporary ideas and themes.
Our mainstage productions provide the inspiration for the
events, which are recorded in front of a live audience for
broadcast and podcast on national ABC TV, radio
and online.
THE SPACE BETWEEN EVENTS IN 2013:
Tears and Transcendence – The Spiritual Power of Music was
an exploration of themes associated with St Matthew Passion.
Moderated by Martin Buzacott, the panellists included
conductor Graham Abbott, Paul Whelan, Mark Coleridge,
the Catholic Archbishop of Brisbane, and baroque specialist
Dr Samantha Owens. Excerpts from St Matthew Passion
were performed by Paul Whelan, Leif Aruhn Solèn and Shaun
Brown, accompanied by Michael Fulcher and Shaun Ng.
Alchemy and Adventure featured excerpts from OperaQ’s
ABANDON performed by Elizabeth Lewis, Monique
Latemore and James Crabb. Three Brisbane artistic
directors – Kris Stewart from the Powerhouse, Robert
Davidson from Topology and OperaQ’s Lindy Hume,
alongside moderator Sarah Kanowski, discussed the myriad
of ways to create new music theatre.
Cinderella’s Complex explored Cinderella in contemporary
life, through her many manifestations in literature, on stage
and on screen. Moderator Kate Evans joined panellists
Dr Lisa Bode, Film and Television Studies lecturer at UQ,
Dr Sally Breen, author and Creative Writing lecturer at
Griffith University, and Lindy Hume. Excerpts from Rossini’s
Cinderella performed by Fiona Campbell, Ashraf Sewailam,
Emily Burke and Deborah Rogers, were accompanied by
Conductor Wyn Davies.
Shakespeare and Verdi – Theatre Titans: Moderator Martin
Buzacott led panellists including Otello director Simon
Phillips, Otello conductor Johannes Fritzsch, soprano
Marilyn Richardson and opera aficionado John Colwill in a
discussion about two of the greatest dramatists in Western
culture. Excerpts from Otello were performed by Cheryl
Barker, Dominic Natoli and Douglas McNicol, accompanied
by Jillianne Stoll.
Image by Stephanie Do Rozario
Opera on the Riverstage
Image by Atmosphere Photography
FREE PERFORMANCES
The Space Between - Tears and Transcendence
2013 ANNUAL REPORT
O
peraQ’s new Open Stage program was developed to
encourage creative expression and active participation
in music and drama for people of all ages and social
backgrounds across Queensland.
In 2013 Open Stage designed and presented a new series of
school residencies and community workshops to hundreds
of Queenslanders, built creative partnerships and planted
some exciting seeds for the future. Our improved High Notes
program provided high-quality corporate entertainment
for boardrooms, gala dinners and special events such as
The Lord Mayor’s Community Trust Gala Ball at the newly
reopened Brisbane City Hall.
The impact of the loss of Education Queensland support,
which had provided a fulltime position and a substantial
operating grant for nearly a decade, coincided with
tough times for our supporters in the mining industry.
This presented an opportunity in 2013 to regroup, update
our schools touring program, and re-imagine our education
program as a broader community initiative for all ages.
The appointment of two enterprising and experienced
young leaders, Mark Taylor and Jason Barry-Smith, as
Manager and Creative Director respectively of Open Stage,
demonstrates our commitment to this vital OperaQ activity.
Mark and Jason, in collaboration with Open Stage artists
and partners across Queensland, are overseeing a dynamic
new direction for the company.
In 2013 Open Stage designed and
presented a new series of school
residencies and community workshops
to hundreds of Queenslanders ...
Highlights of Open Stage 2013 included:
• A new stream of community workshops for all
ages in Longreach, Brisbane and Toowoomba;
• A continuation of our school residencies and
primary school workshops;
OPEN STAGE
Open Stage Brisbane Community Workshop
Images by Stephanie Do Rozario
OPEN STAGE
• The complete overhaul of our approach to
primary school touring to increase our appeal
to young people. We’re now working in a
partnership with shake & stir theatre co, leaders
in Australia’s theatre-in-education field, to create
FiZZ!, an adaptation of Donizetti’s The Elixir of
Love for 2014.
• Project Puccini, the creative development of a
ground-breaking initiative connecting OperaQ’s
2014 regional tour with eight community choruses
across Queensland involving almost 500 people.
• Students and community members across
Queensland’s vast Central West participated in a
two week-long Open Stage program, culminating
in a final performance at the QANTAS Founders
Museum in Longreach, which was live-streamed
to supporters in Brisbane and given extensive
media coverage on national ABC TV.
• A deeper collaboration with the Aboriginal
Centre for Performing Arts and for the third year
in a row we worked with Indigenous communities
in Walgett and Wilcannia, New South Wales.
Young Walgett participants worked with music
teacher Vanessa Schep and the Open Stage
team to develop a song and video clip:
No Shame – Clean up Your Act.
11
2013 ANNUAL REPORT
BOARD AND GOVERNANCE
Patron
Her Excellency
Ms Penelope Wensley AC
The Governor of Queensland
Chairman
Robert Hubbard
BA (Hons), FCA
Appointed Chairman 17 April 2012
Member of the Finance Committee
Treasurer: April 2006 to April 2012
Director since April 2006
Robert was a partner at
PricewaterhouseCoopers for 22
years until his retirement from the
partnership 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
and Orocobre Limited. Robert is
also a director of MS Australia, 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 Finance Committee
Director since June 2012
Kim Challenor is an accountant
who has worked in both Australia
and the United Kingdom over the
past 16 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.
Terry Crawford
BEcon, LLB
Member of the Finance Committee
Director since 2009, retired
December 2013
Terry is a company director, with
extensive experience in commercial
strategy, acquisitions and
restructuring, and finance gained in
Australia and in Europe. In addition
to his roles as a director, he advises
a number of companies in the
resources industry on acquisitions
and large scale commercial
negotiations. He was previously
Head of International Strategy,
HSBC Bank plc, London and then
Head of Wealth Management
Europe, HSBC Bank plc.
Opera Queensland thank Terry for
his four years of service to the board.
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 had extensive
experience in a broad range of
professional issues, interfacing
with governments and other
agencies. He is a graduate of the
Australian Institute of Company
Directors and an Adjunct Professor
at Bond University. 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
Appointed director 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.
Sally Pitkin
LL.B, LL.M, PhD, FAICD
Director since April 2012
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
organizations. Sally is the Deputy
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, organizational
culture and stakeholder
engagement have been developed
from her legal background,
experience as a non-executive
director and board member and
doctoral research.
Nancy Underhill
BA, M.Phil., PhD
Director since August 1999
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.
• To create a more contemporary document
The Board promotes diversity
• To update the Objects of the Company
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.
agencies regarding the operations and strategic
direction of the Company.
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 2013, 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 2013, the Board continued to review and monitor
the strategic direction of Opera Queensland as
determined in our Strategic Plan 2012-2017.
The Board held seven formal meetings during the
year, with high level of attendance. Additional
meetings were also held with Executive Management
to consider matters of strategic importance.
A new Company constitution was adopted by
members at the Annual General Meeting in May
2013. This new constitution was created for the
following reasons:
12
• To limit the tenure of directors; and
• To incorporate provisions necessary as a result
of Opera Queensland’s listing on the Register of
Cultural Organisations.
The Board is structured to add value
In 2013, the Board comprised of eight independent
non-executive directors who provide their time and
services on a voluntary basis. One of these directors
retired at the end of 2013. 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 Board safeguards integrity in
financial reporting
In 2013, the Finance Sub-committee held four formal
meetings to review, monitor and advise on budget,
audit, investment and financial reporting matters. A
detailed finance report was presented at each Board
meeting. Additional meetings were also held to
discuss matters of financial impact on the Company.
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 2013 were met.
The Board recognises the legitimate
interests of stakeholders
In 2013, The Chairman and Executive management
were in regular contact with the government funding
The Company held an Annual General Meeting in
May 2013 attended by members of the Company.
The Company’s supporters were acknowledged
throughout the year at Company events and in our
various print and digital publications.
The Board recognises and manages risk
In 2013, 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.
The Board is working towards developing a detailed risk
register and risk management plan.
The Board remunerates fairly and responsibly
In 2013, the Board provided oversight of the
Company’s remuneration and performance
management frameworks.
The Company has developed a formal process
for employee performance evaluations and
remuneration reviews, to commence in 2014.
2013 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
(from July 2013)
Olivia Ientile
Manager – Open Stage
Mark Taylor
Development Manager
(until June 2013)
Dr Philip Barker
Artistic Administrator
(until November 2013)
Brad Jarrett
Marketing Manager
(until May 2013)
Yvonne Whittington
Wardrobe Assistant
Marysia Aves
Executive Assistant
Rebecca Campbell
Head of Wardrobe
Karen Cochet
Assistant Accountant/
Open Stage Support
Renée Fletcher
Co-ordinator Open Stage
and Opera Club
Shona Maher
Marketing Co-ordinator
Jacqueline Metcalfe
Development Executive
Nicole Woodward
Publicist and Program Editor
(until April 2013)
Maria McCullough
Public Relations
(from May 2014)
Agency North
Creative Agency
Redsuit Advertising
OPERAQ HONORARY LIFE MEMBERS
James Christiansen OAM | Hon. Prof. Peter Fardoulys AM | Sir Leo Hielscher AC | Geoff Hines | Ray Jeppesen
Martin Kriewaldt | David Macfarlane OAM | Marilyn Richardson
2013 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 and Mrs Davi Bennion
Mrs Janelle Berlese,
Mrs Beverley Biggs,
Ms Lindsey Boileau,
Mr Ronald Bond,
Mrs Agnes Boross,
Mr Fabian Bryant and
Mrs Wendy Bryant,
Ian Bunzli,
Mrs Dee Byster-Graham,
Ms Donna Capararo,
Ms J P Carrey,
Mrs J Cassidy,
Mr L Castand and Mr D J Robson,
Mrs Judy Cavanagh,
Mrs K and Mr L Challenor,
Prof Frank Clarke and
Mrs Olga Clarke,
Ms Susan Clarke,
Mr Roger Cragg,
Mr and Ms T and J Crawford,
Dr Elizabeth Creagh,
Dr Christa Critchley and
Dr David Siddle,
Mrs Pauline Crowe,
Mrs Inge Dietrich,
R and B Eastwood,
Mr Brian and
Mrs Anne Fitzwilliam,
Mrs Vera Flood,
Mr William Forgan-Smith,
Dr C M Furnival and
Dr I G Furnival,
Mrs Gabriella Gaal,
Ms Renate Geary,
Ms Marilyn George,
Prof Robert Gilbert,
Mr Peter Goleby and
Mrs Sandra Goleby,
Dr John Gough and Ms Ann Page,
Mr Nanda Gulhane and
Mrs Catherine Gulhane,
Mr Brian Hall and
Mrs Jennifer Hall,
Mr Graeme Hall and
Mrs Cathy Hall,
Ms Carmel Harris,
Sandra Harris,
Ms Carol Hawk,
Mrs Margaret Hayes,
Ms Carrol Helander,
Ms Claire Hickey,
Mr Robert Hubbard and
Ms Leanne Muller,
Mr Ieuan Hyde,
Mr Peter Jaunais and
Mrs Kay Jaunais,
Gloria Kahlert,
O Kelly and G Molloy,
Mr John Keys and Mrs Susan Keys,
Ms Jillian King,
Dr Maurice King,
Mr Pat King,
Mr Vincent Knox and
Ms Rachel Sibbick,
Mrs Jenny Krassnig,
Mrs Gillian Lancelot,
Ms Meg Lawrence,
Mr Gregory Lay,
Mr John Leak and
Mrs Angela Leak,
Mr H Leary,
Miss Carol Ann Lloyd,
Ms Jane Lucas,
Dr Michael MacLennan and
Mrs Narelle MacLennan,
Ms Rachel Matthews,
Mrs Lyn Mayo-Waddell,
Dr E J McArdle and
Mrs K M McArdle,
Mrs Anne K I McCauley,
Mrs Claudia McCulloch,
Mr Ian McLeod and
Mrs Rhyl McLeod,
Dr Desmond B Misso,
Ms Jose Mitchell,
Mrs Bettina Morphett-Savage,
Mr Peter Mountney and
Mr Colin Neville,
Ms Ruth Parslow,
Dr Sally Pitkin,
Mrs L Prieditis,
Mr Donald Robertson,
Mr Noel Rose,
Mr Noel Saines and
Mrs Margaret Saines,
Mr I Saul,
Ms E J Scarlett,
Ms Lynn Schmidt,
Ms Betty See,
Mr John Simonidis and
Mrs Maya Simonidis,
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,
Dr Graham Stephenson and
Mrs Stephenson,
Ms Arndell Stewart,
Mrs Barbara Tate,
Mrs N Thoma,
Mr H E Thompson and
Mrs Thompson,
Mr A Thomson,
Mr John Tinkler and
Mrs Diane Tinkler,
Dr Nancy Underhill,
Mr N R Waters and
Mrs S J Waters,
Mr Laurie West and
Miss Margaret West,
I S and H Wilkey,
Mr Ed Williams and
Dr Donna Williams,
Mrs Ailsa Wilson,
Mr R Wilson and
Mrs P Wilson,
Mr and Mrs Wally and
Gillian Wilton,
Mr R Young,
Ms Angela Zivkovich,
Anonymous 5
13
2013 ANNUAL REPORT
OUR PATRONS’ SUPPORT REACHES
FAR BEYOND THE THEATRE
O
peraQ’s artistic and community ambitions, including bold initiatives like our new
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†
Platinum Patrons $10,000 - $14,999
Leanne Muller and Robert Hubbard
Gold Patrons $5,000 - $9,999
Hon Geoffrey Davies AO and
Mrs Thea Davies§,
Peter Fardoulys AM and
Margaret Fardoulys,
Dr M Jameson†,
Mr John Story and
Mrs Georgina Story
Silver Patrons $1,000 - $4,999
David and Judith Beal,
Mrs Marilyn Christiansen,
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†,
Jameson Charitable Foundation,
Lindy Hume,
Dr Joan M Lawrence AM,
Dr Bruce R Lewis†,
Dr Peter Livingstone and
Mrs Lurlene Livingstone†,
Ms Helen Stehbens,
Dr Elina Mackey and
Mr Patrick Mackey†,
14
John Martin,
Dr David McConnel OAM and
Dr Audrey McConnel†,
David McEvoy,
Justice Phillip McMurdo and
Justice Margaret McMurdo§,
Russell Mitchell,
Mr Ian Paterson,
Mel and Burt Peterson,
Miss F V M Pidgeon AM,
Dr Sally A Pitkin,
Mr Ray Poon,
Mr Greg Rudd,
Mrs Fairlie Schmelzer,
Mr Bill Siganto AM and
Dr Marie Siganto AM,
Allen Smith and Mitzi Smith,
Dr Ben and Mrs Janette Steinberg,
Dr Nancy Underhill,
I S and H Wilkey†,
Mr L E Wilkins,
W H G Wilton,
Mr Rodney Wylie,
Anonymous 4
Bronze Patrons $500 - $999
Dr Philip Aitken,
Dr John and Mrs Jan Blackford†,
Mr Lucien Castand and
Mr Donald Robson,
Professor Frank and Mrs Olga Clarke,
David and Margaret Crombie,
R and B Eastwood,
Lady Jane Edwards,
Lorraine and Rodney Gibson,
Professor Robert Gilbert,
Mr Bill Heck OAM and
Mrs Patricia Heck,
Sir Leo Hielscher AC and
Lady Mary Hielscher,
Mr Harry Leary,
Mr Richard Hyne and
Mrs Loretta Bertoldo-Hyne,
Mrs Jennette Johnstone,
Dr Michael Martin†,
Dr Edward McArdle†,
Ian and Rhyl McLeod,
Desmond B Misso Esq†,
Mr Matthew and Mrs Lisa Myers,
Mrs Iris Nicolaides OAM,
Dr and Mrs John Quinn†,
Professor Jacquie Rand and
Mr Tom Schults,
Mr Anthony J Spain and
Mrs Catherine M Spain§,
Mr Mark Taylor and
Mr William Sinclair,
Mr John and
Mrs Diane Tinkler,
Mr Greg Vickery AM and
Dr ESally Vickery†§,
Dr Donna Williams and
Mr Ed Williams,
Mr Robert and Mrs Patricia Wilson,
Anonymous 6
§
The Legal Chapter
†
The Medical Chapter
2013 ANNUAL REPORT
TECHNOLOGY – EXPANDING OUR REACH
O
pera Queensland has leveraged digital technology
to reach new audiences and improve engagement
with our core supporters throughout 2013. The
redevelopment of the OperaQ website in late 2012 and
further implementation of the digital strategy ensured
the company remained relevant outside of just the intheatre experience.
2013 WEBSITE TRAFFIC www.operaq.com.au
Our email marketing and eNews platforms continue
to perform well above industry standards and are an
important communication and sales channel for the
company to provide rich and engaging content.
Social Media integration in all OperaQ activities and as
a method of open dialogue with our audience continues
to be a top priority. Adapting the messages and content
to appropriate platforms and proactive monitoring has
resulted in growth of Facebook followers and an uplift in
reach and engagement.
Working with a talented videographer and photographer
throughout the 2013 season, OperaQ commissioned
exclusive content with unprecedented access granted
in the rehearsal room allowing a unique insight into the
creative process. These images and videos serve not
just to entice opera fans but leave a lasting legacy of the
artistic vibrancy of the organisation.
Late in 2013 OperaQ invested in new technology to
integrate social content and sharing within our website
and enhance our ability to curate fan generated
content. A photo competition launched at the Opera
on the Riverstage performance during Brisbane Festival
provided access to a new database of 1,530 to the
company. The Shuttlerock platform has since been used
to engage our audience around events including the
Black & White Gala Dinner and Otello opening night and
is at the forefront of our Project Puccini marketing and
engagement strategy.
Visits
41755
Unique visitors
26784
Page views
105358
Pages/visit
2.52
Average visit duration
00:02:43
Bounce rate
46.26%
% new visits
62.17%
WEBSITE VISITORS BY LOCATION
INTERNATIONAL
4608
INTERSTATE
8654
■ Queensland
■ Interstate
■ International
QUEENSLAND
27032
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%
EMAIL MARKETING OPEN RATES
40
35
30
25
20
15
10
5
0
37%
26%
22%
OperaQ
eNews
OperaQ
targeted emails
Australian average
email marketing
EMAIL MARKETING CLICK THROUGH RATES (CTR)
25
Videographer Joel Coonan
Image by Stephanie Do Rozario
20
15
21%
17%
10
5
4%
0
OperaQ
eNews
OperaQ
targeted emails
Australian average
email marketing
15
2013 ANNUAL REPORT
THE NUMBERS
An extract from the 2013 Financial Statements
OPERA QUEENSLAND LIMITED STATEMENT OF COMPREHENSIVE INCOME
FOR THE YEAR ENDED 31 DECEMBER 2013
2013
2012
$
$
INCOME
Event Income
OPERA QUEENSLAND LIMITED BALANCE SHEET
AS AT 31 DECEMBER 2013
NOTES
2013
2012
$
$
CURRENT ASSETS
1270445
1865794
Cash and cash equivalents
8
611737
47425
Sponsorships and Donations
785237
867684
Other Income
118461
114648
Trade and other receivables
9
356106
204432
Investments
10
Total Current Assets
Government Income
-
500000
967843
751857
749550
712582
749550
712582
1717393
1464439
207269
93657
Queensland government
Operational grant
Project funding – tour
Education department grant
Other grant
NON-CURRENT ASSETS
2404575
2351284
231703
165000
Property, plant and equipment
104959
Total Non-Current Assets
-
11
100000
100000
51720
50527
Operational grant
400171
392317
CURRENT LIABILITIES
Opera Conference funding
215103
210144
Trade and other payables
12
Opera Conference funding
TOTAL ASSETS
Federal government
-
10000
Employee benefits
13
173552
275488
Local government
36000
-
Other
14
1361379
435835
1742200
804980
TOTAL INCOME
5613,415
10061
33819
10061
33819
1752261
838799
(34868)
625640
200000
Other grants
Total Current Liabilities
6232,357
NON-CURRENT LIABILITIES
EXPENDITURE
Production and Touring
Employee benefits
3475,808
3329,474
Community Programs and Education
192152
520,859
Marketing and Business Development
890619
1094175
Infrastructure and Administration
1715344
1797991
TOTAL EXPENDITURE
6273923
6742499
TOTAL COMPREHENSIVE INCOME
(660508)
(510142)
13
Total Non-Current Liabilities
TOTAL LIABILITIES
NET ASSETS
Represented by:
This is an extract from the 2013 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 set out on pages 10-22.
ACCUMULATED FUNDS
Subordinated loan
15
200000
Reserves
16
(234868)
425640
(34868)
625640
TOTAL ACCUMULATED FUNDS
This is an extract from the 2013 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 set out on pages 10-22.
16
2013 ANNUAL REPORT
INCOME
Box Office
QLD Government
50%
Federal Government
Local Government
1%
Philanthropy & Foundations 5%
Sponsorship
Other Income
11%
9%
7%
INCOME
OPERA QUEENSLAND LIMITED STATEMENT OF CASH FLOWS
FOR THE YEAR ENDED 31 DECEMBER 2013
NOTES
18%
2013
2012
$
$
CASH FLOW FROM
OPERATING ACTIVITIES
1%
Cash receipts from customers
and grantors
Cash paid to suppliers and
employees
Interest Received
Net cash from operating
activities
18
5956236
5778404
(5926696)
(6768045)
34772
77865
64312
CASH FLOW FROM
INVESTING ACTIVITIES
7%
9%
5%
11%
50%
■ Box Office
■ QLD Government
EXPENDITURE
■ Federal Government
Salaries - Performers & creative ■ Local
27%
Government
Salaries - Production & technical
7%
■ Philanthropy and Foundations
■ Sponsorship
■ Other Income
(911776)
Salaries - Other
14%
Production & Touring
Community & Education
Marketing & Development 10%
Administration & Infrastructure
Proceeds from sale of
non-current assets
-
-
Acquisition of plant,
equipment and motor vehicles
-
-
Net cash from investing
activities
-
-
Net increase/(decrease) in
cash and cash equivalents
64312
29%
3%
EXPENDITURE
9%
3%
10%
9%
27%
(911776)
7%
29%
Cash and cash equivalents at
1st January
Cash and cash equivalents at
31st December
8,10
18%
547425
1459201
611737
547425
This is an extract from the 2013 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 set out on pages 10 to 22.
14%
■ Salaries - Performers and creative
■ Salaries - Production and technical
■ Salaries - Other
■ Production and Touring
■ Community and Education
■ Marketing and Development
■ Administration and Infrastructure
MEDIA COVERAGE
2
Media coverage highlights:
93
• International features on The Guardian, Digital Edition for Opera
on the Riverstage and Otello
• N
ational print coverage including a double-page Cinderella
feature in The Australian Financial Review, a feature in The
Australian on ABANDON and the lead opera story in The Weekend
Australian’s Culture 2014 magazine on The Perfect American
• N
ational radio coverage including ABC Classic FM interviews for
Otello and Cinderella and Open Stage features on Radio National
and ABC Local Radio
• N
ational television coverage of Open Stage on Landline, ABC1 and
ABC News Breakfast, and state-wide television coverage including
ABC 7.30 Queensland stories on Cinderella and Otello.
92
100
32
■ Metro
■ Regional Qld
■ State-wide
138
■ Interstate
■ National
■ International
• 4
57 media clips generated, 153 (33.5 per cent) of which were
focused on OperaQ’s Open Stage program
• M
edia clips valued at more than $2.24 million (Advertising Space Rate)
17
2013 ANNUAL REPORT
ACCESS 2013
ACCESS 2013
DATE
EVENT
Audience
-
Sponsor/
Promo
578
1209
1535
3322
626
626
-
130
130
756
756
1
1
1
1
1
1
1
1
1
1
10
131
59
39
83
40
302
65
73
71
90
953
-
-
131
59
39
83
40
302
65
73
71
90
953
1
-
-
1
-
1
-
1
-
4
-
217
42000
81
42000
83
42000
40000
121
42000
40000
248502
217
42000
81
42000
83
42000
40000
121
42000
40000
248502
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
24
39
-
Performances
3
10
5
18
Mainstage
March
July
Oct/Nov
St Matthew Passion
Cinderella
Otello
OperaQ Studio
July/Aug
Abandon
8
8
Regional Tour
August
Waltzing our Matilda - Atherton
Waltzing our Matilda - Innisfail
Waltzing our Matilda - Ayr
Waltzing our Matilda - Biloela
Waltzing our Matilda - EKKA
Waltzing our Matilda - Redcliffe
Waltzing our Matilda - Quilpie
Waltzing our Matilda - Goondiwindi
Waltzing our Matilda - Mundubbera
Waltzing our Matilda - Pomona
The Space
Between
March
March
May
May
May
May
May
Oct
Oct
Oct
Tears and Transcendence
Tears and Transcendence ABC Radio National Broadcast
Alchemy and Adventure
Alchemy and Adventure ABC Radio National Broadcast
Cinderella’s Complex
Cinderella’s Complex ABC Radio National Broadcast
Cinderella’s Complex Big Ideas ABC TV Broadcast
Verdi and Shakespeare: Theatre Titans
Verdi and Shakespeare ABC Radio National Broadcast
Verdi and Shakespeare Big Ideas ABC TV Broadcast
Other Events
18
March
March
March
July
July
July
July
July
Sept
Sept
Oct
Oct
Oct
Oct
Nov
Dec
Dec
St Matthew Passion Patron Preview
St Matthew Passion Studio Preview
St Matthew Passion Opera Club Preview
St Matthew Passion ABC Classic FM Radio Broadcast
Cinderella Patron Preview
Cinderella Opera Club Preview
Cinderella General Rehearsal
Opera at Jimbour
Season 2014 Launch
Opera on the Riverstage
Open Stage 2014 Season Launch
Otello Patron Preview
Otello Opera Club Preview
Otello General Rehearsal
Black and White Gala Ball
Opera Club Christmas Function
Qrious
Paid
2894
3927
3903
10724
168
40
225
Free
18
5
17
115000
29
24
600
2000
265
4000
170
9
24
350
36200
158711
-
-
10
10
Total Reach
3472
5136
5438
14046
18
5
17
115000
29
24
600
2000
265
4000
170
9
24
350
178
40
36200
158929
2013 ANNUAL REPORT
ACCESS 2013
DATE
EVENT
March
April
April
May
May
May
June
August
Sept
Sept
Sept
Nov
Chorale Camp for Primary Schools
“Lord Mayor’s Community Trust Gala Ball“
Private Function
Opera in the Vineyard
4MBS Festival of Classics
St Leo’s College Dinner
Italian National Day Event
Opera at the Ekka
Robert Channon Wines Concert
Diamentina Institute
Italian Ambassador’s Farewell
RBWH Butterfly Ball
DATE
LOCATION
Open Stage
Community
May
Sept
Nov
March
Brisbane
Toowoomba
Brisbane
Brisbane
Open Stage
Residency
March
March
March
April
April
April/May
Sept
Sept
Sept
Sept
Sept
Sept
Oct
Oct
Weipa
ACPA
Brisbane Girls’ Grammar and Brisbane Boys’ Grammar
Clermont
Springwood
Varsity Lakes
Longreach
Ilfracombe
Aramac
Barcoo Cluster
Barcaldine
Longreach School of the Air
Wilcannia
Walgett
1
1
1
1
1
1
1
1
8
35
40
25
38
32
29
53
19
35
24
19
45
42
28
464
197
67
67
223
93
112
223
60
220
1262
232
107
92
261
125
141
276
19
35
24
19
45
102
248
1726
Primary School
Workshop
August
Nov
Dec
Caboolture State School
Graceville State School
Brassall State School
-
30
27
40
97
-
30
27
40
97
Audience
Performances
High Notes
Performance
Total
1
1
1
1
1
1
1
1
1
1
1
11
Paid
Free
1300
146
150
480
2076
274
450
80
62
220
130
90
158
85
1549
Total Reach
274
450
80
1300
62
220
130
90
146
308
85
480
3625
Attendants
Performances
1
1
1
1
4
Participants
19
20
31
40
110
Free
65
96
2500
24
2685
Total Reach
84
116
2531
64
2795
Audience
Performances
Participants
Paid
Free
Sponsor/ Promo
102
671
14587
297709
3462
TOTAL REACH
316429
19
2013 ANNUAL REPORT
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.
20
Otello
Image by Stephanie Do Rozario
2013 ANNUAL REPORT
21
operaq.com.au
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