Strategic Plan 2024 - 2029

STRATEGIC PLAN

ACKNOWLEDGEMENT OF COUNTRY

OSA respectfully acknowledges the Wurundjeri Woi-wurrung people of the Kulin Nation, the traditional custodians of the land on which we meet, collaborate and create art.

We pay our respects to Elders past and present, as well as to all Aboriginal and Torres Strait Islander people in the wider Melbourne community and beyond.

We acknowledge that we gather on country on which Members and Elders have been custodians for many centuries and on which First Nations people have performed age old ceremonies of celebration, initiation and renewal.

CONTENTS

Part 1: Vision, Purpose, Values and Our Why

Part 2: Strategic Context

Part 3: Goals

Part 4: Stakeholder Analysis

Snow White and other Grimm Tales

VISION

A dynamic educational platform for young opera singers to reach their creative potential.

PART 1

PURPOSE

We empower and prepare talented, young classical singers to embark on a career in opera by providing rigorous technical instruction, industry connections and performance opportunities in a diverse, nurturing community.

VALUES

AGILITY

We are resilient and adaptive, facing the future with an inquisitive creativity and critical respect for our history.

ENCOURAGEMENT

We create a safe and nurturing springboard for young singers, offering them strength and support for the journey ahead.

SOLIDARITY

We teach and learn in equal measure, building a vocal community who loves opera and imagines its vibrant future.

OUR WHY

‘I love how powerfully it communicates with the world. I love its history of fuelling revolutions and changing minds, and I hope that it can continue to do so. ’

-Olive Cullen

I love how transportive opera is. It is a relief not to have to think about your own world, and opera offers one of the most immersive worlds through sound.

-Phoebe Edwards

‘The grandiosity and brilliance that goes into creating these kinds of works. Definitely love the music and drama!’

-Jack Jordan

Our Scholars are at the forefront of our work. Here’s what they love about the operatic art form...

‘I love the grandiosity of it all, both musically and visually. At the same time, I love the notion of challenging tradition.’

-Mei Wah Chan

‘The beauty of the music and the portrayal of emotions which is unlike any other art form.’

-Noah Straughan

‘The ability for the voice to produce the sounds and colours as it does in Opera is just something ethereal and leaves me breathless every time.’

-Nicholas Matters

‘Telling stories. Performing. Teamwork. Making loud noises!’

-Nicholas Sheppard

‘Exploring characters and ideas through the heightened medium of music. How music and drama combines to make an elegant art form.’

-Hartley Trusler

‘Connecting to an audience in a way that no other art form or form of communication can. ’

-Lucy Schneider

PART 2: STRATEGIC CONTEXT

‘I enjoy feeling that I am contributing to the art form and helping young artists.’ Patron

TIMELINE

2009

OSA becomes a charitable trust - adding Patrons and an annual Aria competition thanks to the support of the Betty Amsden Foundation.

2004

The Scholar schedule expands to include weekly masterclasses in Melbourne in singing, acting, movement and stagecraft (in addition to existing week-long performance preparation intensives).

2015

OSA stages the world premiere of Snow White and Other Grimm Tales by Gordon Kerry at the Melbourne Recital Centre featuring Scholars and a number of primary school aged singers.

OSA obtains funding to tour North Eastern Victoria, giving workshops and performances for young voices. Many future Scholars are discovered in this process.

2002 Scholars continue to perform at AME events in Melbourne and the High Country. ‘Scholar of the Year’ competition is introduced to reward ability and group contribution. Soprano Helena Dix is the first recipient.

2020 - 2022

OSA operates almost entirely online. AME winds up. Program Director Alexander (Al) Lewis appointed in Aug 2022. General Manager Amelia Christo appointed in Nov 22.

1998

8 young singers participate in free workshops to perform alongside opera stars in Australian Music Events’ Opera in the Alps (a commercial concert venture in Victoria’s High Country).

1999

Scholar numbers double to 16 and perform in multiple venues across the High Country including art galleries and wineriesgaining valuable repeat performance experience.

2023

Full program resumes with 25 Scholars undertaking weekly rehearsals, intensives, Art Song/Aria competitions and a variety of small and large scale performances in Melbourne and the High Country.

2017

EXTERNAL CONTEXT: Art form

At its best, opera provides audiences with moments of be vibrant performance can leave us thrilled and joyful. The a lens through which all people can understand their lived e our beloved artform.

Central to OSA’s purpose is attracting young and di vigour. The mechanism for this work is deep engagement with youth communities - creating innovative performance and instruction opportunities.

We strive to prepare confident young artists who can grapple with the difficulties in the operatic canon (race, gender, sexuality) and promote new works which better reflect modern values. We seek to provide leadership opportunities for Scholars to direct our work.

Issues of financial sustainability plague the operatic world as it is difficult to generate enough revenue through ticket sales and philanthropy alone. OSA seeks to diversify its fundraising efforts to include crowdfunded campaigns, personal giving, support from philanthropic foundations and government grants.

OSA aims to improve accessibility to the art form through a reimagining of performance modes, spaces, delivery and costs.

SUMMARY: The current strategic contexts for our work are elitism and traditionalism and its impacts on potential audiences, accessibility and revenue streams. The strategic outcomes of our work will be an engaged youth audience stream, diversified practitioners and a sustainable revenue base.

EXTERNAL CONTEXT

Education

Arts education at Australian universities is chronically underfunded. Successive governments have prioritised STEM qualifications, while asking arts courses to do more with less. Whilst music departments perform incredible feats within their limited budgets, students are missing out on essential skills that would allow them to compete on the world stage.

Opera Scholars Australia responds to critical gaps in Australian operatic training. We provide:

guage instruction in French, German and Italian, and ng training in stagecraft, movement and characterisation, and formance opportunities

e young Australian singers can meet their creative potential to pursue national operatic career and/or enrich the Australian operatic pe.

We also seek to upend a disparity in exposure and accessibility by conducting outreach into schools and communities in diverse geographical areas throughout Victoria. We’ve created a variety of touch points for young people to engage with OSA through school based incursions, youth-oriented accessible performances, mentorship and collaborative opportunities. We hope to unearth future Scholars and opera fans in this process.

SUMMARY: The current strategic contexts for our work are an underfunded university training model as well as diversity/equity/inclusion issues. The strategic outcomes of our work will be prepared young artists who are ready to embark on the next stages of their career and a broader audience/practitioner base.

Internally, we face challenges with funding, diversity and capacity. At present, we are supported entirely by private philanthropy and modest student fees. Expanding funding streams to allow the organisation to meet its present program requirements and to bring forth an urgent reimagining of our work in the sector is crucial; as is ensuring our staffing capacity can support organisational reform.

INTERNAL CONTEXT

While performance income used to support some of the organisation’s operational activity, it can no longer be relied on in the midst of a cost of living crisis. Of vital importance is developing partnerships with other organisations and training institutions to share project-based costs. Through strategic collaborations with organisations in the operatic and general arts space as well as education and philanthropic realms, we can expand our capacity and reach.

We are committed to diversifying all facets of our organisation. A first, critical step is to increase diversity among our Board and senior leadership. Ongoing cultural training for our personnel will be an essential component to boosting awareness and cultural literacy across the organisation.

organisations, a flourishing funding model and organisational diversity.

SUMMARY: The strategic contexts for our work are sufficient financial support, organisational diversity and staffing capacity. The strategic outcomes of our work will be firm partnerships with a variety of supportive

PART 3: GOALS

‘OSA is a safe space to make mistakes.’

GOALS OVERVIEW

01

Use our position as a young person ’ s organisation to contribute meaningfully to the future of opera.

02

Diversify the organisation, our practice and its audience.

03

04

Target performance opportunities to scholar needs.

Invest in our capacity to achieve our strategic vision.

GOAL 1:

USE OUR POSITION AS A YOUNG PERSON’S ORGANISATION TO CONTRIBUTE MEANINGFULLY TO THE FUTURE OF OPERA

‘I love the practical rehearsals, actively engaging in music making together.’

Current Scholar

1A) UNDERSTAND AND COMMUNICATE OUR UNIQUE ROLE IN OPERA ECOLOGY:

i) Obtain and evaluate data that identifies our unique strengths and contributions within the opera industry.

ii) Create a new category in the young artist space: a ‘pre-emerging’ training course servicing 18-25 year olds who may then apply for emerging artist programs/performance employment.

iii) Invest in strategies to encourage undergraduates to participate in the program.

iv) Develop clear messaging to effectively communicate our unique role to the public, stakeholders, and potential partners.

OSA was a foundational element in my preparation for further training and professional work in the opera industry. The opportunity to work with expert coaches and conductors and prepare for performances and concerts provided me invaluable experience that I have continued to build on. As well, the friendships and connections that I forged through the program remain pillars of support in my continued professional journey. I am so grateful to the OSA team and sponsors for their ongoing endorsement of aspiring opera singers.

Rachael Joyce: joined OSA in 2020. Now a Richard Divall Emerging Artist with Melbourne Opera Winner of the 2023 Herald Sun Aria Competition

1B) NURTURE RELATIONSHIPS WITH OTHER TRAINING AND PERFORMANCE ORGANIZATIONS:

i) Identify potential training and performance organisations who align with our goals and values.

ii) Establish partnerships and collaborative projects with these organisations to enhance our training programs, performance opportunities and audience base.

iii) Strengthen existing partnerships with local government bodies to solidify community connection.

INVEST CRITICALLY IN THE DEVELOPMENT OF OUR ART FORM:

i) Develop initiatives to explore innovative approaches to opera performance and outreach.

ii) Foster a culture of youth-led artistic experimentation and leadership within the organisation.

It’s refreshing being able to contribute to the kinds of repertoire that we sing at OSA. Especially for contemporary stuff that we ’ re not singing at uni. Most of the people who’ve worked with Victorian Opera recently have been in contemporary works. And that’s not what we get in other training.

Olive Cullen: Joined the program in 2022 Member of the Scholar Committee in 2023

GOAL 2: DIVERSIFY THE ORGANISATION, ITS PRACTICE AND AUDIENCE

‘Intensive Weeks at OSA are pure, unadulterated joy.’

Scholar: Individual Coaching during the Aria Intensive Week

2A) CREATE OPPORTUNITIES FOR A WIDE RANGE OF VOICES TO INFORM DECISION-MAKING:

i) Establish diversity and inclusion initiatives to encourage equitable representation within the organisation.

ii) Ensure Scholars are represented at the Board level by appointing ex-Scholars as members, as well as encouraging submissions to the Board via the Scholar committee.

iii) Conduct organisation-wide cultural literacy training.

The opportunity to give feedback directly to Amelia and Al, knowing that it’s being incorporated is really valuable. Even when feedback we give isn’t possible to incorporate, there is lots of transparency around the conversations that occur and the logistical limitations, so we can understand what is happening.

The organisation values our opinions and wants to work with us to achieve our dreams!

Genevieve Droppert: joined OSA in 2021 Member of the Scholar Committee in 2023

2B) CONDUCT OUTREACH TO UNDERSERVED YOUTH COMMUNITIES:

i) Develop partnerships with community organisations and schools to reach underserved youth populations.

ii) Offer educational programs, workshops, and performances in these communities to increase access and engagement.

OSA has toured throughout Victoria’s North East, leading choral workshops for children. In 2017, 50 young students participated in a children’s chorus that was featured at Opera in the Alps. The Scholars helped the children with their singing parts and guided them through a performance with a full orchestra, to a crowd of over 3,000 people.

GOAL 3:

TARGET PERFORMANCE OPPORTUNITIES TO SCHOLAR NEEDS

‘The training we receive is unique and unparalleled.’

3A) UNDERSTAND DEEPLY THE PERFORMANCE NEEDS OF SCHOLARS AS ALIGNED WITH THE ORGANISATION'S PURPOSE:

i) Evaluate existing Scholar feedback on preferred performance opportunities.

ii) Continue to seek Scholar input via surveys, interviews and committees to understand their goals and aspirations.

iii) Create performance opportunities that are accessible to Scholar family and friends.

I think what OSA presents is something really unique. I went through the Conservatorium and OSA really offered something you weren’t getting from the university degree. The Con was not particularly performance focussed when I went through. A lot of us were really craving those performance opportunities and OSA delivered on that.

Alumni Kiran Rajasingam (Pictured with fellow alumni Helena Dix)

3B) CONSIDER NEW MODELS TO ENSURE A SUSTAINABLE ANNUAL PERFORMANCE PROGRAM

i) Explore different performance program models, such as collaborations, partnerships, co-productions and school incursions.

ii) Develop policies to inform decision making about potential models and opportunities.

My first interaction with OSA was in 2015 during a schools workshop in regional Victoria. Students from multiple schools met at Koo-Wee-Rup Secondary College to watch the scholars perform and to share in the music making!

Two interactions with the OSA team stuck with me: program founder Graeme Wall asking me about my voice and ambitions and not even batting an eye when I claimed to be a ‘coloratura soprano ’ with ambition for the stage! And after the performance when a Scholar who had been singing next to me gave me a gentle nudge and said ‘hey, you ’ re really good!’ It was validating to be around people who believed in me even at such an early stage. Two years later I successfully auditioned to become a Scholar, which put me on a fiveyear learning journey with OSA. Since then, I’ve gone on to be an Artist with Melba Opera Trust, study and perform across Europe and North America, and I am currently pursuing postgraduate studies in Opera and Voice at the Schulich School of Music, Montreal, Canada. I owe a lot to OSA for helping me get this far.

Alumni Natalie Grimmett

GOAL 4:

INVEST IN OUR CAPACITY TO ACHIEVE OUR STRATEGIC VISION

‘The best thing about OSA is the community and networks that I have made, which is a credit to the nurturing environment that OSA has created.’

4A) CREATE A SUSTAINABLE, SUFFICIENT AND DIVERSE

FUNDING BASE:

i) Conduct a comprehensive review of current fundraising strategies and develop a plan to diversify funding sources.

ii) Appoint a Fundraising Specialist.

iii) Maintain strong relationships with existing Patrons.

iv) Nominate additional Board/Committee members who have fundraising experience.

iv) Attract operational funding from government and/or relevant foundations.

ENHANCE GOVERNANCE AND LEADERSHIP STRUCTURES AND PROCESSES:

i) Adapt our governance and leadership structures to improve resilience and adaptability to respond to environmental pressures.

ii) Improve organisational resilience to support the achievement of strategic goals.

iii) Conduct a Board and senior leadership skills and attributes analysis to identify opportunities for additional perspectives in decision making.

4C)

MEET THE NEEDS AND ASPIRATIONS OF STAKEHOLDERS

WITHIN A FRAMEWORK OF CAPACITY:

i) Identify aspirations of different stakeholder groups and determine how to best service the needs of the Scholars as our primary stakeholders.

ii) Launch a two-tiered structure within the program to best serve disparate needs of undergraduate and graduate Scholars.

iii) Establish a capacity framework for Board and staff.

iv) Create an artistic advisory committee comprising current and former scholars and leading industry professionals to inform programming and consider staff/organisational capacity.

PART 4: STAKEHOLDER ANALYSIS

In 2023, OSA consulted with a range of Young Artists (including current Scholars), Partners, Alumni, Mentors, Patrons and Industry Representatives. This included brainstorm sessions, one-on-one meetings and surveys so that we could deeply understand OSA’s place in opera ecology and the Young Artist space. We asked them to reflect on OSA’s past, present and future as well as how OSA can respond to the challenges facing the operatic art form. Their responses shaped this Strategic Plan.

COMMENTS ON THE EXTERNAL SPACE AND ART FORM

‘And the really big question at the moment that’s on the radar of all classical arts organisations is what is the relevance of the art form in the 21st century? The classical arts are being demanded to respond to social value at the moment: equity and inclusion. What voices do we hear from, and what voices are absent? Who are the people we see onstage and who we don’t?’

Alumni

‘And young people who are interested in opera are seeing an industry that is very stuck. And young people are saying that we ’ re passionate about this industry and it is not going to exist if it doesn’t change. And rather than being followers, we want to be the leaders - be at the forefront of driving that change rather than waiting our turn.’

‘Some of the graduates coming through in Melbourne area are just not as competitively polished as they are from other conservatoriums around Australia. And in particular: languages and the basics of stagecraft. And this is not saying that the universities are not doing what they’re meant to be doing! But there is a reality on resourcing that we ’ re aware of in higher education. And that’s what I think is a real opportunity for OSA and its program. ’ CEO from another Young Artist program

Board Member

‘A challenge for opera is the education and inclusion of the younger generations to become opera lovers. And keeping opera financially viable for both participants and audiences.’ Patron

COMMENTS ON THE INTERNAL SPACE

‘I would like some concerts to cater towards a less elite audience. It is lots of fun to participate in concerts that are big and fancy and have canapés and champagne included in the ticket price but I think it means certain groups of people feel excluded from this performance or as if it is not for them.’

‘There doesn't seem to be a lack of young people who consider opera and have the talent and desire, but they need to see a pathway. OSA needs to be a part of that pathway nurturing tomorrows opera performers.’

Patron

‘Diversity wise i think there's always work to be done on checking our own privilege and deconstructing our own bias and how it affects employability, rehearsal and audition attitudes.’

‘I think that friendship side of OSA can’t be overstated. This industry is tough. It’s challenging. It’s also really isolating. Those foundational relationships in the industry being there before you step out into it, has been potent for me. ’

Current Scholar

Current Scholar

Alumni