OPERA QUEENSLAND’S ANNUAL REPORT 2014

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OPERAQ DOES MORE THAN JUST PERFORM

22310,095

$6,713,784

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$995,139

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2014 ANNUAL REPORT

THE COMPANY

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.

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.

VALUES CORE GOALS

Stewardship As opera’s custodian we look to the future

to ensure the art form will flourish.

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.

One 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;

• We tour extensively throughout Regional Queensland, creating unique and innovative opportunities for regional artists and audiences to experience opera; and

• OperaQ’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.

To reflect,

celebrate and

enrich life in our

communities.

A boundless

landscape of opera

experiences.

OUR VISION

OUR MISSION

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CHAIRMAN’S MESSAGE: TURNING THE CORNER

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.

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.

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.

Realising the 2012-2017 Strategic Plan

2014 ANNUAL REPORT

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CHAIRMAN’S MESSAGE: TURNING THE CORNER 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

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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!

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.

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

DEFINING THE OPERA LANDSCAPE ARTISTIC DIRECTOR’S MESSAGE

”

2014 ANNUAL REPORT

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ABANDON Händel arr. CRABB

CREATIVE TEAMLindy Hume - Co-creatorRaewyn Hill - Co-creatorJames Crabb - Co-creatorBruce McKinven - Set DesignerBosco Shaw - Lighting DesignerCostumes from the collection of Alistair TrungCASTMonique Latemore - Singer

ABANDON 21-23 FEB 2014 POWERHOUSE THEATRE, BRISBANE POWERHOUSE

Annie Lower - SingerElizabeth Lewis - SingerChristopher Richardson - SingerBradley Chatfield - DancerFrance Hervé - DancerErynne Mulholland - DancerAlice Hinde - DancerAndrew Searle – Dancer James Crabb – Classical Accordian Teije Hylkema – Cello

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.

“An enthralling, richly

envisioned and visually

arresting production”

ARTSHUB

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Presented by Brisbane Powerhouse, Opera Queensland and Dancenorth.

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VERDI – RIGOLETTO

CREATIVE TEAMJohannes Fritzsch – ConductorLindy Hume – DirectorRichard Roberts – DesignerJason Morphett – Original Lighting DesignAndrew Meadows – Lighting DesignerNarelle French – Chorus MasterCASTMichael Lewis – RigolettoRosario La Spina – Duke of MantuaElena Xanthoudakis – Gilda

RIGOLETTO 15-29 MARCH 2014 LYRIC THEATRE, QPAC

Jud Arthur – SparafucileDimity Shepherd – MaddalenaAndrew Collis – MonteroneShaun Brown – MarulloVirgilio Marino – BorsaJohn Antoniou – Count CepranoAnne Fulton – GiovannaCassandra Seidemann – Countess CepranoEmily Burke – PageMatthew Broadbent – HeraldOpera Queensland ChorusQueensland Symphony Orchestra

Opera 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.

“It’s hard to imagine

a state opera company

putting together a better

cast for Rigoletto.”

THE AUSTRALIAN

“A highly theatrical

production where visual

spectacle combined with

emotionally charged scenes

... make this a Rigoletto

to remember.”

THE OPERA CRITIC

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Rigoletto was presented by arrangement with New Zealand Opera.

2014 ANNUAL REPORT

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PUCCINI – LA BOHÈME

LA BOHÈME12 JULY - 2 AUGUST 2014 CONSERVATORIUM THEATRE, GRIFFITH UNIVERSITY SOUTHBANK

CREATIVE TEAMGuy Noble - ConductorPaul Kildea - Conductor (15 & 17 JULY)

Craig Ilott - Director Penny Challen - DesignerDavid Walters - Lighting DesignerNarelle French - Chorus MasterJason Barry-Smith - Assistant DirectorAndi Spark - Animation ProducerXin Li, Jimmy Su – Animators

CASTHyeseoung Kwon/Emily Burke - MimìEmily Burke/Annie Lower - MusettaBradley Daley/Virgilio Marino - RodolfoShaun Brown/Guy Booth - MarcelloGuy Booth/Sam Hartley - SchaunardAndrew Collis - CollineSam Hartley/Shaun Brown - AlcindoroBernard Wheaton - Benoit/ParpignolMatthew Broadbent – OfficerOpera Queensland ChorusMusicians from Queensland Symphony Orchestra

In 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.

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!

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.

Conductor Guy Noble brought to life a gem-like arrangement by Australian conductor Richard Gill with musicians from Queensland Symphony Orchestra.

“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

to period piece; a great

introduction to the opera for

those who are looking to dip

their toes for the first time.”

ARTSHUB

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PROJECT PUCCINI

Project 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.

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.

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

“...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

member was on track for their debut in a professional production.

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.

Perhaps one of the most profound aspects of Project Puccini was its capacity to engage people from all walks of life:

“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

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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.

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.

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GLASS – THE PERFECT AMERICAN

Following 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.

CREATIVE TEAMGareth Jones - ConductorPhelim McDermott - DirectorDan Potra - DesignerJon Clark - Lighting DesignerAdrian Plaut - Lighting Design RealisationBen Wright - ChoreographerNarelle French - Chorus MasterFrancis Christeller - Assistant Director & ChoreographerLeo Warner - Video DesignerJane Michelmore - Associate Video DesignerCASTChristopher Purves - Walt Disney Donald Kaasch - Dantine

THE PERFECT AMERICAN15-20 SEPTEMBER 2014 CONCERT HALL, QPAC

Douglas McNicol - Roy DisneyCheryl Barker - Hazel GeorgeMarie McLaughlin - Lillian DisneySarah Crane - SharonJade Moffat - DianeRosie Lomas - Lucy/JoshZachary James - Abraham Lincoln/Funeral EmployeeKanen Breen - Andy WarholMattias Lower - Chuck/DoctorHayley Sugars - Secretary/NurseQueensland Symphony OrchestraOpera Queensland ChorusExpressions Dance CompanyImprobable Theatre

“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.”

THE AUSTRALIAN

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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.

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GALAS, DINNERS AND EVENTS

A NIGHT IN PARISOpera 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.

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 all the evening was a huge success raising much-needed funds for OperaQ’s artistic, community and education programs. Special thanks to Brisbane Convention and Exhibition Centre for their support.

RIGOLETTOThe 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.

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.

LA BOHÈMECorporate 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.

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.

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.

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OPERAQDOES MORE THAN JUST

PERFORM

8010,600

15

16,300 5 schools residences w

orking with 282

students in 2014

8,000

2014 ANNUAL REPORT

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FiZZ! pops the big issues facing little people today – self-confidence, bullying, honesty and friendship. This modern adaptation is presented against a dynamic multi-media 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!

FIZZ!TERMS 3 & 4 GREATER BRISBANE SCHOOLS

CREATIVE TEAMRoss Balbuziente, Nelle Lee, Nick Skubij - DirectorsJason Barry-Smith, Narelle French - Musical Supervisors and ArrangersJosh McIntosh - Designer

CASTAshleigh Crane - AdinaShaun Kohlman - Nemorino Matthew Hirst - Belcore Emily Burke - Giannetta (pre-production)Andrew Collis - Dulcamara (pre-production)Jason Barry-Smith - Newsreader (pre-production)

“I basically went

crazy! i love romance

stories and soda like

FiZZ! as well”

SEINA 4C

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Blue 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.

“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

you’ll be fine.’

CRISTINA GARCES,

PERFORMER

SONG CIRCLE

“It was beautiful.

It came alive.

I enjoyed the jokes.

It was different,

and it spoke

about us.”

BEN HAWTIN,

PERFORMER

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Opera 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.

G20 COMMUNITY CHORUS

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OPEN STAGE

SCHOOL RESIDENCIES174 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.

ARTOLOGY REMIXThrough 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.

CHILDERS FESTIVALIn 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.

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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.

HIGH NOTES

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18

BOARD AND 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.

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 Board promotes diversity

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.

OPERA QUEENSLAND – CORPORATE GOVERNANCE

Patron His Excellency, Paul de Jersey The Governor of QueenslandChairmanRobert Hubbard BA (Hons), FCAAppointed Chairman 17 April 2012Member of the Audit and Risk CommitteeTreasurer: April 2006 to April 2012Director since April 2006Robert 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.

TreasurerKim Challenor BComm, BA, CAAppointed Treasurer 27 June 2012 Chair of the Audit and Risk Committee Director since June 2012Kim 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.

The Board safeguards integrity in financial reporting

In 2014, the Audit & Risk Committee held five 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 2014 were met.

The Board recognises the legitimate interests of stakeholders

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 Company held an Annual General Meeting in May 2014 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 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.

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.

Lady Jane Edwards AM ONM(Fr) BA, FAICD, FAIMDirector since 1992Jane (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, GAICDChair – Opera Queensland Foundation since 1 December 2009 Director since December 2009Colin 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 BADirector since June 2013Ieuan 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 CommitteeDirector since September 2014David 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, FAICDDirector since April 2012Sally 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 non-executive director and board member and doctoral research.

David Siddle BA (Hons), PhD, FASSAMember of the Audit and Risk Committee Director since September 2014As 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-Vice-Chancellor (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., PhDDirector since August 1999, Retired 1 April 2015Nancy 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.

2014 ANNUAL REPORT

19

2014 OPERA CLUB

OPERAQ STAFF

OPERAQ HONORARY LIFE MEMBERS

MEMBERSMr 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

OPERAQ STAFF

Artistic Director Lindy HumeGeneral Manager Russell MitchellCreative Director – Open Stage Jason Barry-SmithBusiness Manager Valerie ColeProduction Manager Murray Free

James Christiansen OAM | Hon. Prof. Peter Fardoulys AM | Sir Leo Hielscher AC | Ray Jeppesen Martin Kriewaldt | David Macfarlane OAM | Marilyn Richardson

Head of Music/Chorus Master Narelle FrenchMarketing and Development Manager Olivia IentileManager – Open Stage Mark TaylorHead of Wardrobe Karen CochetExecutive Assistant Rebecca Campbell (until May 2014)

Administrative Assistant Christina Daley (from May 2014)Assistant Accountant Renée FletcherCo-ordinator – Open Stage and Opera Club Shona MaherMarketing 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 NorthCreative Agency Redsuit Advertising

20

OperaQ’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.

OUR PATRONS’ SUPPORT REACHES FAR BEYOND THE THEATRE

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†,

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

21

TECHNOLOGY, MARKETING AND NEW AUDIENCES2014 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.

Launch Outcomes:

• 165 media hits• 177,000 Twitter reach• 8,000 Facebook reach • 125% increase in web traffic• Nearly 800 people registered to audition

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:

• 1,236 images across 9 content boards• 10,187 unique user sessions• 60,136 page views• 262 shares• OperaQ driving this content through Facebook led to

an average weekly reach increase of 47% to 5,942.

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%

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%

WEBSITE VISITORS BY LOCATION

QUEENSLAND 46,579

INTERSTATE 12,244

INTERNATIONAL 7,012

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.

CUSTOMER DATA

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%

* Customers who did not attend in the previous year

22

THE NUMBERS

OPERA QUEENSLAND LIMITED STATEMENT OF COMPREHENSIVE INCOME FOR THE YEAR ENDED 31 DECEMBER 2014

NOTES 2014 2013

$ $

INCOME

Event Income 1,939,688 1,270,445

Sponsorships and Donations 995,139 777,190

Other Income 152,147 126,508

Government Income

Queensland government

Operational grant 2,447,938 2,404,575

Project funding – tour 399,954 231,703

Other grant 100,000 100,000

Opera Conference funding 5 52,569 51,720

Federal government

Operational grant 407,289 400,171

Opera Conference funding 5 219,060 215,103

Local government 40,000 36,000

TOTAL INCOME 6,713,784 5,613,415

EXPENDITURE

Production and Touring 4,534,178 3,475,808

Community Programs and Education

230,647 192,152

Marketing and Business Devel-opment

811,371 890,619

Infrastructure and Adminis-tration

1,197,593 1,715,344

TOTAL EXPENDITURE 6,773,789 6,273,923

TOTAL COMPREHENSIVE INCOME

(60,005) (660,508)

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.

OPERA QUEENSLAND LIMITED BALANCE SHEET AS AT 31 DECEMBER 2014

NOTES 2014 2014

$ $

CURRENT ASSETS

Cash and cash equivalents 7 701,055 611,737

Trade and other receivables 8 309,108 356,106

Total Current Assets 1,010,163 967,843

NON-CURRENT ASSETS

Property, plant and equipment 9 725,558 749,550

Total Non-Current Assets 725,558 749,550

TOTAL ASSETS 1,735,721 1,717,393

CURRENT LIABILITIES

Trade and other payables 10 117,489 207,269

Employee benefits 11 199,411 173,552

Other 12 1,502,985 1,361,379

Total Current Liabilities 1,819,885 1,742,200

NON-CURRENT LIABILITIES

Employee benefits 11 10,709 10,061

Total Non-Current Liabilities 10,709 10,061

TOTAL LIABILITIES 1,830,594 1,752,261

NET ASSETS (94,873) (34,868)

Represented by:

ACCUMULATED FUNDS

Subordinated loan 13 200,000 200,000

Reserves 14 (294,873) (234,868)

TOTAL ACCUMULATED FUNDS (94,873) (34,868)

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.

An extract from the 2014 Financial Statements

2014 ANNUAL REPORT

23

■ Local ■ Drive■ Regional

■ State-wide■ Interstate■ National

MEDIA COVERAGEOPERA QUEENSLAND LIMITED STATEMENT OF CASH FLOWS FOR THE YEAR ENDED 31 DECEMBER 2014

NOTES 2014 2013

$ $

CASH FLOW FROM OPERATING ACTIVITIES

Cash receipts from customers and grantors

6,657,208 5,956,236

Cash paid to suppliers and employees

(6,580,818) (5,926,696)

Interest Received 16,957 34,772

Net cash from operating activities

16 93,347 64,312

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

Cash and cash equivalents at 31st December

7 701,055 611,737

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.

INCOME

EXPENDITURE

BREAKDOWN OF MEDIA COVERAGE BY REACH

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.

Media Coverage Highlights – Project Puccini

• 37 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)

• More than 250 radio interviews including several on Radio National Breakfast, 612 ABC Breakfast and ABC Classic FM

• More 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

• Consistent profiling of participants at auditions, during rehearsals and in the lead-up to performances.

Media Coverage Highlights – Other

• Three cover stories in The Courier-Mail’s Canvas lift out for Rigoletto, La bohème and The Perfect American

• National coverage for Rigoletto on The Guardian with Lindy’s article, ABC Classic FM and ABC Online

• National profiling with publishing of multiple opinion articles by Lindy in The Guardian and The Australian

• National glossy coverage for La bohème in WISH and Vogue, and The Perfect American in Qantas in-flight, WISH and Limelight

• National 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

• National launch coverage via The Guardian, The Australian, ABC Classic FM, Radio National Breakfast, Fairfax (via Brisbane Times) and ArtsHub.

687

133115239

186

40

6

45%

22%9%

6%

8%

9%1%

17%

14%

26%

3% 8%7%

24%

■ Box Office ■ QLD Government■ Federal Government ■ Local Government ■ Philanthropy and Foundations ■ Sponsorship ■ Other Income

■ Salaries - Performers and creative ■ Salaries - Production and technical■ Salaries - Other ■ Production and Touring■ Community and Education ■ Marketing and Development■ Administration and Infrastructure

■ International

24

ACCESS 2014DATE EVENT

Audience

Total Reach

Performances

Paid

Free/ Participants

Sponsor/Promo

Mainstage March Rigoletto 6 4350 - 1320 5670July la Bohème 12 4483 - 1015 5498Sept The Perfect American 4 3141 - 883 4024

22 11974 - 3218 15192

OperaQ Studio Feb Abandon 4 518 - 411 9294 518 - 411 929

Regional Tour Aug La bohème - Gold Coast (Mat) 1 698 - - 698 La bohème - Gold Coast 1 1045 48 96 1189 La bohème - Ipswich 1 505 48 50 603La bohème - Toowoomba 1 1081 48 261 1345 La bohème - Fraser Coast 1 524 48 58 630La bohème - Rockhampton 1 534 48 39 621 La bohème - Mackay 1 526 48 76 659La bohème - Townsville (Mat) 1 322 - 2 324 La bohème - Townsville 1 682 48 65 795 La bohème - Mt Isa 1 540 48 - 588

10 6457 384 602 7443

The Space Between

Feb Space Between Bad Boys & Mean Girls 1 - 104 - 104 March Bad Boys & Mean Girls Radio National Broadcast 1 42000 42000March Bad Boys & Mean Girls Big Ideas TV Broadcast 1 - 40000 - 40000June Space Between Lost Youth, Bohemian Life and Regret 1 114 114July Lost Youth, Bohemian Life and Regret Big Ideas TV Broadcast 1 - 40000 - 40000Aug Lost Youth, Bohemian Life and Regret Radio National Broadcast 1 42000 42000Sep The Perfect American Symposium 1 140 140Sep The Perfect American Big Ideas TV Broadcast 1 - 40000 - 40000Sep The Perfect American Radio National Broadcast 1 42000 42000

9 - 246358 - 246358

Primary Touring

Jul-Oct FIZZ! 80 10521 87 35 10643

80 10521 87 35 10643

Other Events Feb/Mar Rigoletto Promotional Performance 3 - 1291 - 1291March Rigoletto Opera Club and Patron Preview 1 - 50 - 50 March Rigoletto Studio Insights 1 27 - 11 38 March Rigoletto General Rehearsal 1 - 400 - 400March Rigoletto Opening Night Dinner 1 53 - 20 73March Rigoletto VIP Corporate Night 1 41 - 22 63 May Supporters Reception 1 - 34 - 34May Datacom Annual Board Dinner 1 - 62 - 62June Brisbane French Festival Launch 1 - 227 - 227 June OperaQ Gala - A Night in Paris 1 103 - 69 172June La bohème Studio Insights 1 34 - 7 41July La bohème Opera Club Preview 1 - 37 - 37July La bohème Patron Preview 1 - 28 - 28July La bohème General Rehearsal 1 - 350 - 350July La bohème Opening Night Dinner 1 66 - 20 86July La bohème VIP Corporate Night 1 43 - 34 77Sep The Perfect American Studio Insights 1 20 - 12 32Sep The Perfect American Patron Preview 1 - 46 - 46Sep The Perfect American Opera Club Preview 1 - 29 - 29Sep The Perfect American General Rehearsal 1 - 450 - 450Sep Opera in the Swigmore Hall - Robert Channon Wineries 1 67 - - 67Oct 2015 Season Launch 2 - 310 - 310Dec Opera Club & Patron Christmas Function 1 - 97 - 97

26 454 3411 195 4060

ACCESS 2014DATE EVENT

Performances

Audience

Total ReachPaid FreeHigh Notes Feb Century 21 Awards Night 1 - 150 150

May Opera In The Vineyard 1 1100 - 1100May Opera Acoustics (Ipswich Festival) 1 320 - 320May St Leo’s Formal Dinner - A Night at the Opera 1 - 230 230June Italian National Day - QPAC 1 - 76 76July Clemenger BBDO Christmas in June 1 - 84 84Nov Jian Zhou Memorial Oration 1 - 280 280Nov G20 Reception for Indian Prime Minister 1 - 5000 5000Dec Reception for Italian Consul 1 - 90 90

9 1420 5910 7330

DATE LOCATION

Performances

Attendants

Total ReachParticipants AudienceOpen Stage Community

March Brisbane Workshop 1 13 150 163July Childers Community Workshop 1 14 450 464Jan-Nov Blue Roo - Song Circle 3 28 575 603Oct/Nov G20 Changing Face of Brisbane 6 79 12691 64 July Brisbane French Festival 2 37 2500 2500

13 171 16366 16537

Open Stage Residency

Open Stage School Shows

Feb Mount St Michael’s 1 32 97 129Feb Springwood 1 35 67 102May Varsity College 1 19 52 71June St Peter’s Indooroopilly 1 35 107 142July St Peter’s Springfield 1 53 158 211July The Childers District Schools Workshop 1 108 - 108Sept Mount Isa 1 840 840

7 282 1321 1603

Performance Total

Audience

Performances Participants Paid Free Sponsor/ Promo TOTAL REACH

180 837 31344 273,453 4461 310,095

26

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.

2014 ANNUAL REPORT

27

PROJECT PUCCINI PARTICIPANTS89% OF PROJECT PUCCINI PARTICIPANTS ARE LIKELY TO SEEK WAYS OF ENGAGING WITH OPERA IN THE FUTURE

“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.”

“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.”

28

GOLD COAST

TOOWOOMBA

FRASER COAST

MOUNT ISA

IPSWICH

2014 ANNUAL REPORT

29

GOLD COAST

MACKAY

BRISBANE TOWNSVILLE

ROCKHAMPTON

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 info@operaq.com.au W operaq.com.au