West Australian Opera 2021 Annual Report

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ANNUAL REPORT 2020


Acknowledgements This report has been prepared by Kristine Genovese and Jack Midalia of Culture Counts™. We would like to thank West Australian Opera for their support through the development and delivery of the evaluation project. We would also like to thank all stakeholders including public patrons, artists, participants, volunteers and staff for their participation in this project. Cover image: Bran Nue Dae, by Jimmy Chi and Kuckles, An Opera Conference Production. Photo by Prudence Upton. Date of Preparation: February 2021


Contents Chairman’s Report

2

Executive Director’s Report

3

Principal Partner Wesfarmers Arts

4

Artistic Director’s Report

5

The Board

6

West Australian Opera

9

2020 Evaluation

10

2020 Season

13

Private Giving Report

46

Cast of Supporters

47

Economic Impact Assessment

50

Financials 53


Chairman’s Report

I am pleased to present West Australian Opera’s Annual Report for the year ended 31 December 2020. We must recognise the challenges and impacts of COVID19 on our communities. We had to cancel performances, change the way in which we work, close our theatre and move the company to a working from home model for several months. Despite this you, our patrons, sponsors and donors, remained critical to our success, and we are proud to maintain strong partnerships with our supporters all of whom have contributed to our success. I particularly recognise and acknowledge our Principal Partner Wesfarmers Arts who enabled us to commission a new work from Guy Ghouse and Gina Williams in 2020

West Australian Opera is deeply appreciative to our audiences, donors, partners, stakeholders and governments for the unwavering support given to the state opera company throughout an extraordinary year.

under a COVID19 recovery plan which enables a new Wesfarmers Arts Commission. This work, Koolbardi wer Wardong (The Magpie and the Crow) will be taken to the stage in 2021. Thank you Wesfarmers for enabling this. We are grateful to the Western Australian Government through the Department of Local Government, Sport and Cultural Industries and Lotterywest and to the Australian Government through the Australia Council. Thank you to patrons who offer personal contributions and continued commitment to the company through the Private Giving Program. We are grateful for leadership donations through the Bendat Scholarship, the Bel Canto Fund, the McCusker Foundation, the James Galvin Family Trust and trusts and foundations who give their support. We are grateful for the gift of FMG shares which we hold. I thank my fellow directors for their support, time and expertise. I thank the management and staff of West Australian Opera for their ongoing work, passion and commitment in bringing opera to the stage.

Andrew Pascoe Chairman, West Australian Opera

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Executive Director’s Report We are here to share the joy of opera with many people around the state however 2020 was a year of halting live performance and we found other ways to remain connected by operating ‘in the ghost light’. The impacts of COVID19 on the live performance sector and the arts in general has been dramatic. There has never been a greater need for the power of the arts to reconnect us to our community, rewire our hearts, and take solace in music and art. We have kept sight of our dream which is to speak to the heart through the human voice; to share the joy of music through opera and the powerful stories opera tells. In March 2020 we pivoted into a new Ghost Light Strategy to enable the company to continue working ‘in the ghost light’ while we were away from the stage. Much of this was in the digital space through podcasts, playlists, livestreaming. When we returned

The arts enrich our lives, bringing us moments of joy and connecting us with our humanity.

to the stage at the end of the year we were proudly Western Australian in our cast for Così fan tutte and we navigated our way into a new method of producing the opera. I am very grateful to all of our staff and artists for such willingness to find new approaches to ensure we could continue to work in live performance in a safe new way. I acknowledge and thank all of the company’s donors and foundations including

I gratefully recognise the support of Principal Partner Wesfarmers who have shown us arts leadership during a world pandemic by enabling a Wesfarmers Arts Commission of a new work.

support from Bel Canto Fund, Bendat Family Foundation, McCusker Foundation, Galvin Family Foundation, Andrew and Nicola Forrest and Minderoo Foundation, the generosity of our anonymous donors and stakeholders and supporters of the company. It is the aim of West Australian Opera to deliver excellence both on and off the stage, and I wish to acknowledge and thank the Chairman and Board. My grateful thanks to staff and colleagues with whom I work closely all year-round at West Australian Opera, His Majesty’s Theatre, Department of Local Government, Sport and Cultural Industries, Perth Theatre Trust, the Australia Council, Lotterywest, Healthway and industry colleagues.

Carolyn Chard AM Executive Director, West Australian Opera

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Principal Partner Wesfarmers Arts Wesfarmers is Western Australia’s leading corporate supporter of the arts with a demonstrated leadership position in Australia and is the Principal Partner of the state opera company. Wesfarmers Arts recognises that opera offers a unique and rich experience involving principal singers, actors, chorus, orchestra, a conductor, director, choreography and high production values including sets, costumes, lighting and backstage elements: it is indeed a multi-sensory art form. Wesfarmers and West Australian Opera first worked together in 1998. Since then the partnership has expanded to embrace production seasons, the commissioning of a new opera in 2007 through the Wesfarmers Arts Commission Series (The Love of the Nightingale by Richard Mills), annual support and the development of the Wesfarmers Young Artists program. During the COVID19 shutdown in June 2020 Wesfarmers enabled a new commission from Guy Ghouse and Gina Williams which will be presented in 2021. In 2009 Wesfarmers became Principal Partner of West Australian Opera. This Principal Partnership underpins the ongoing life and vitality of the state opera company and we are proud to renew the partnership under a new five-year agreement. This award winning partnership is fundamental to the state opera company and is appreciated and valued by the board, management, company and audiences.

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Artistic Director’s Report The resilience, flexibility, and creativity of West Australian Opera was (and continues to be) put to the test by the events of 2020. And yet, compared to our colleagues around the world, we consider ourselves extremely fortunate. We were able to present seasons of Bran Nue Dae, Opera in the Park Hansel and Gretel, concert performances of Fidelio, our first opera for young people The Nightingale and the end of year production of Così fan tutte. And while we lost a large part of the middle of the year, we also found ourselves in new spaces. We started the Ghost Light series, which included arias from an empty theatre, virtual singing classes for adults and children, lullabies, a podcast series, a playlist series, and our first filmed opera in The Telephone.

Opera and the artists that create it are reflections of our current challenges and dreams and we’ll continue to push the boundaries of exploring the world through sung stories.

Once restrictions were eased, we were the first company back on stage at Government House Ballroom with Standing Room Only and announced the commissioning of the first opera entirely in Noongar with Koolbardi wer Wardong. We’ve also been nourished and encouraged by the continuing support of funders, sponsors, patrons and audiences who have all stood behind the company and messaged their faith in the company and artists. So, we look to the future not just with the knowledge we’ve gained in dealing with pandemics (one of many in opera’s 400 year past!) but with extra enthusiasm in the artform’s ability to transform and adapt to the everchanging world around it. Opera and the artists that create it are reflections of our current challenges and dreams and we’ll continue to push the boundaries of exploring the world through sung stories. From me personally, I want to thank everyone in the company, beautifully and inexhaustibly led by Carolyn Chard, the board, our industry colleagues, and the musicians, singers, creative teams and everyone who takes part in this journey. I look forward to the future and know that your West Australian Opera is in good hands and will continue to do great things.

Chris van Tuinen Artistic Director, West Australian Opera

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The Board Andrew Pascoe

Janet Barnes

Chairman (from 5 December 2017)

Board Director (appointed 1 August 2019)

Nomination Committee

Marketing and Development Committee

Risk Committee (COVID19)

Janet Barnes commenced with Telstra in 2015 and

Member Nomination Committee

is the Regional Australia Executive. Prior to joining

Andrew Pascoe is a lawyer, and is a partner in the

Telstra, Janet’s diverse industry portfolio includes senior

corporate group of Allens in Perth. Andrew specialises in

leadership positions within Pharmaceutical, FMCG,

mergers and acquisitions transactions, and major project

Banking and Financial Services Industry across the

and infrastructure development. He also practices in the

Retail and Commercial divisions. With an Executive

area of equity capital markets, corporate governance,

Masters of Business Administration, Janet is a Fellow of

incorporated and unincorporated joint ventures, foreign

the Australian Institute of Management (WA), Graduate

investment in Australia, private equity transactions, and a

of the Australian Institute of Company Directors (GAICD)

range of commercial contracts and transactions.

and holds several board positions with the Australian Institute of Management (WA) Advisory Council, Perth

Catherine Ferrari

Public Art Foundation and West Australian Opera.

Deputy Chair Board Director (appointed 2005) Nomination Committee Chair, Artistic Committee

Anthony Gianotti Board Director (appointed 1 January 2018)

Finance and Audit Committee

Finance and Audit Committee

Risk Committee (COVID19)

Anthony is the Chief Financial Officer of Wesfarmers

Catherine Ferrari (B.Bus, MLM, FCPA, GAICD) has had

Limited. He was appointed to this role in November

an extensive career holding a range of senior executive

2017 following his appointment as Deputy Chief

roles as well as non-executive director roles. Most

Financial Officer in July 2017. Prior to this, he was

recently Catherine was the General Manager Customer

Deputy Managing Director of the Industrials division

and Community at the Water Corporation. Previous

from February 2017 and Finance Director from August

roles include CEO of the West Australian Symphony

2015. Anthony started with Wesfarmers in 2004, and his

Orchestra and State Director of CPA Australia (Western

other roles include Manager, Investor Relations; Finance

Australia). Catherine is currently the Deputy Chair

Director of Wesfarmers Insurance and Managing

of the West Australian Opera, a Trustee of the Legal

Director of Wesfarmers Insurance. Anthony began

Contribution Trust, a Director of Racing and Wagering

his career with Ernst & Young in business services

WA and a Director of the SmartCrete CRC. With 20+

and corporate finance and has held senior corporate

years’ experience of Board roles, in a diverse range of

finance roles advising on mergers and acquisitions

sectors and industries, and also of working with boards

and corporate strategy with Hambros Bank and

at senior executive level Catherine is well versed in

Société Générale in Sydney, London and Melbourne.

governance principles and has experience in high level

Anthony holds a Bachelor of Commerce from Curtin

board decision making and advisory input.

University, a Graduate Diploma in Applied Finance and Investments, is a qualified Chartered Accountant and has completed the Advanced Management Program at Harvard Business School. He is a director of a number of Wesfarmers Group subsidiaries.

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Christiaan Heyning

Ingrid O’Brien

Board Director (appointed 1 August 2018)

Board Director (appointed 2010)

Artistic Committee

Chair, Marketing and Development Committee

Christiaan is a Principal at McKinsey & Company, and

Ingrid is a Lecturer in the Marketing discipline in the

lives in Perth, Australia. He leads the Digital practice for

Murdoch Business School at Murdoch University, with

natural resources and heavy industrial sectors in Asia,

a special interest in customer engagement. She also

as well as its sustainability practice. Prior to McKinsey,

runs her own boutique marketing strategy consultancy.

Christiaan worked for an IT services firm before starting

As a specialist in the area of marketing strategy, Ingrid

up his own company in eLearning in the late 1990s in

has over 20 years international consulting experience.

Singapore and London. He joined McKinsey in 2003.

She has worked in Australia, UK, Europe, USA and

Christiaan Heyning holds a Masters Degree in applied

China, with a variety of blue-chip companies across a

physics with a specialisation in Material Science at the

range of sectors such as financial services, resources,

University of Groningen and the University of California

not-for-profits, professional services, healthcare, retail,

at Berkeley.

agriculture, government, online marketing and education.

Darren Lewsen

Jan Stewart

Board Director (appointed 27 April 2017)

Board Director (appointed 29 April 2015)

Chair, Finance and Audit Committee

Marketing and Development Committee

Risk Committee (COVID19)

Jan Stewart PSM, BA, MSW. HonDLitt.WAsust,

Darren is the Western Region Assurance Leader for

FAIM, GAICD held the position of CEO of Lotterywest

Ernst & Young, where he leads a practice comprising 15

from 1992 to December 2014 prior to her retirement

partners and 160 employees. Darren is also a member

in 2015. Jan has held a number of voluntary board

of EY’s Oceania Assurance Leadership Team. With more

positions with a diverse range of organisations, both

than 20 years’ experience providing assurance services

locally and internationally over many years. These have

and advice across a diverse range of industries, Darren

included that of Senior Vice President on the Executive

has led audits, due diligence assignments and advisory

Committee of the World Lottery Association for more

engagements for a number of Perth’s largest listed

than eight years. She held the inaugural position of

companies.

President of the Asia Pacific Lottery Association from 1999 to 2004 and was again a member of the Executive Committee of that organisation from 2012-14. She was a member of the Hale School Board for 12 years and on the board of Save the Children for five years and recently stepped down from the Board of St Bart’s and from the role of Chair of the Centre for Social Impact at UWA. Her current board positions, apart from the West Australian Opera board, are with the Perkins Medical Research Institute, MercyCare, and she is a trustee of the Feilman Foundation. Jan is Chairman of the Raine Study Board and member of the University of Western Australia’s Sports Advisory Committee.

Così fan tutte, photo by James Rogers.

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The Nightingale, Matthew Dixon as Emperor, Chelsea Kluga as Chief Councillor and Brianna Louwen as Kitchen Maid. Photo by James Rogers.

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West Australian Opera Vice Regal Patron Governor, The Honourable Kim Beazley AC

Patron Dr Jack Bendat AM CitWA Executive Director Carolyn Chard AM Artistic Director Chris van Tuinen Production Manager Mandy Farmer Accountant Debbie Byrnes Financial Accountant Trish Wyn-Jones Artistic Administrator Kate Larkins Education Manager Terasa Letizia Development Manager Coralie Bishop Marketing Manager Danielle Barlow Development Coordinator Catherine Power Marketing Coordinator Holly Langford-Smith Media Coordinator Daniele Foti-Cuzzola CRM Coordinator Rachel Sait Stage Manager Karen Farmer Music Librarian Allison Fyfe

Honorary Life Members Dario Amara Richard Bonynge AC CBE Terry Bowen Julie Bishop Frank Cooper AO Erich Fraunschiel Colin Goddard Warwick Hemsley Francis Landels Bruce Martin AM Margaret McManus Dr Richard Mills AM Annie Patrick Marilyn Phillips Vincent A Warrener AM KHS

Patron Wesfarmers Arts Young Artist Program Emma Matthews

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West Australian Opera Annual Report 2020

2020 Evaluation The evaluation framework applied by Culture Counts

Dimensions are responded to using a 101-point sliding

uses a standardised set of outcome metrics called

scale. Respondents are asked to indicate how much

‘dimensions’ to measure the quality and impact of

they agree with a statement by sliding the marker

cultural events. They have been developed through

between zero (Strongly Disagree) and 100 (Strongly

extensive work with the sector, internationally tested and

Agree). The resulting data is used to measure the

academically validated.

unique cultural, social, economic and place outcomes of West Australian Opera’s 2020 season.

Attendees and participants who accessed West Australian Opera events online and in person, were

The infographics show the average scores for outcome

surveyed about their experience. Surveys included a set

metrics that were asked across more than three West

of dimensions that were selected in alignment with West

Australian Opera attendee and participant surveys in

Australian Opera’s strategic goals.

2020. These results are used as benchmarks for the report.

QUALITY METRICS

CULTURAL OUTCOMES

Cultural Contribution

91%

It provides an important addition to the cultural life of the area

Captivation

86%

Enthusiasm

88%

I would come to something like this again

Local Impact

85%

It’s important that it’s happening here

Rigour

84%

10

It was well thought through and put together

80%

It held my interest and attention

Meaning It moved and inspired me


City of Perth Opera in the Park, photo by Base Imagery.

West Australian Opera Annual Report 2020

SOCIAL OUTCOMES

ECONOMIC OUTCOMES

Inclusion

89%

It made me feel welcome and included

Growth

82%

It could appeal to new audiences

Wellbeing

88%

It had a positive impact on my physical health and mental wellbeing

PLACE OUTCOMES

Access

85%

It gave me the opportunity to access cultural activities

Place

87%

It made me feel proud of my local area

Belonging

80%

It helped me feel part of the community Total sample, n = 2,210 11


Bran Nue Dae by Jimmy Chi and Kuckles, photo by Prudence Upton.

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West Australian Opera (WAO) delivered opera throughout the year onstage, offstage and online. Along with the unprecedented COVID19 pandemic came necessary social distancing restrictions, seeing the temporary closure of theatres and venues across the state. During this challenging time, WAO connected with existing and new audiences via the Ghost Light digital program, an offering that allowed people to enjoy opera from their own home with Ghost Light Opera and The Telephone, or participate via Wesfarmers Arts Virtual Singing Classes and Act-Belong-Commit Singing for Children classes delivered online. Later in the year, restrictions were eased and WAO was fortunate to return back to the stage with The Nightingale, Così fan tutte and Opera in the Regions.

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West Australian Opera Annual Report 2020

Bran Nue Dae By Jimmy Chi & Kuckles An Opera Conference Production

6 – 15 February 2020 The Regal Theatre In association with Perth Festival A feel-good mash-up of rock-and-roll, gospel, country and blues music made the first-ever Aboriginal musical a sparkling success in 1990. The stage is a recreation of the historic Sun Pictures open-air cinema in Broome, and the costumes are delightfully nostalgic. Chi’s semi-autobiographical musical is packed with humour and hope. Musical Director and Indigenous Advisor Michael Mavromatis Musical Director Patrick Bin Amat Director Andrew Ross Associate Director Naomi Pigram Set & Costume Designer Mark Thompson Choreographer Tara Gower Lighting Designer Mark Howett Sound Designer Michael Waters Indigenous Advisor Michael Mavromatis, Bart Pigram Band Patrick Bin Amat, Mia Brine, Ben Ingvarson, Manny Mavromatis, Bart Pigram Uncle Tadpole Ernie Dingo Willie Marcus Corowa Rosie Teresa Moore Father Benedictus Andrew Moran Marijuana Annie Danielle Sibosado Slippery Callan Purcell Aunty Theresa Ngaire Pigram Female ensemble Adi Cox, Damar Isherwood, Tehya Jamieson Male ensemble Czack (Ses) Bero, Taj Jamieson, Bojesse Pigram, Tai Savage

“This was exceptional theatre of the highest quality... The young ensemble talent was mesmerising. I was deeply moved by the show.” - Survey Respondent 14


West Australian Opera Annual Report 2020

PROGRAM OUTCOMES Authenticity

95%

93%

It had a connection to the State/Country we live in

Captivation It held my interest and attention

Local Impact

90%

90%

Enthusiasm

92%

91%

I would come to something like this again

Cultural Contribution It provides an important addition to the cultural life of the area

It could appeal to new audiences

88%

87%

It is one of the best examples of its type that I have seen

Meaning It moved and inspired me

Currency

It was well thought through and put together

Cultural Outcomes

Growth

Excellence

Rigour

91%

It's important that it's happening here

Economic Outcomes

AUDIENCE & EXPERIENCE

11,503

60%

Attendees

New audience

99%

61

Were satisfied with their overall experience

Net Promoter Score

86%

It made me reflect on the world we live in today

Quality Outcomes

Insights: Almost two thirds of the audience at Bran Nue Dae had never attended a WAO event before, which shows a great level of new engagement for the organisation and the largest proportion of new audience for a show in the 2020 WAO season. Almost every person surveyed was satisfied with their overall experience of the event. Outcomes analysis revealed that audiences were most likely to agree the event had a connection to the state/country we live in, it held their interest and attention and they would come to something like this again. Total sample, n = 395

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West Australian Opera Annual Report 2020

City of Perth Opera in the Park Hansel & Gretel Supported by Lotterywest

22 February 2020 Supreme Court Gardens In association with Perth Festival

A tasty gingerbread house appears and witches’ trickery follows in this cautionary tale about stranger danger. Artist Sohan Ariel Hayes (Boorna Waanginy and HOME) transformed Supreme Court Gardens projection, light and image making this an immersive experience. Conductor Christopher van Tuinen Media Artist Sohan Ariel Hayes Assistant Director Matt Reuben James Ward Lighting Sean McKernan Hansel Ashlyn Tymms Gretel Pia Harris The Witch/Gertrude Fiona Campbell Peter Kristin Bowtell Sandman/Dew Fairy Sara Macliver West Australian Young Voices West Australian Symphony Orchestra

“A wonderful event that brings together the diverse community of WA. I’ll continue to go to these events as long as they are offered.” - Survey Respondent

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West Australian Opera Annual Report 2020

City of Perth Opera in the Park: Hansel and Gretel, photo by Base Imagery.

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West Australian Opera Annual Report 2020

PROGRAM OUTCOMES

89%

86%

Enthusiasm I would come to something like this again

Local Impact It's important that it's happening here

80%

It was well thought through and put together

76%

75%

It gave me the opportunity to access cultural activities

Connection It helped me to feel connected to people in the community

Meaning

Safe

84%

It could appeal to new audiences

Access

Rigour

85%

Growth

It made me feel safe and welcome

73%

It moved and inspired me

Place

84%

It made me feel proud of my local area

Cultural Outcomes

Economic Outcomes

Quality Outcomes

Social Outcomes

Place Outcomes

AUDIENCE & EXPERIENCE

10,363

55%

Attendees

New audience

97%

50

Were satisfied with their overall experience

Net Promoter Score

Insights: Attendees at Opera in the Park 2020 rated the quality outcome statements the highest, agreeing that they would come to something like this again, it’s important it’s happening here and it was well thought through and put together. Of those surveyed, over half had never been to the event before. Almost all attendees were satisfied with the overall experience and they gave WAO a Net Promoter Score (NPS) of 50, demonstrating an excellent level of brand loyalty and high likelihood of recommendations to future events. Total sample, n = 396

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West Australian Symphony Orchestra and Perth Festival presents

Fidelio In association with West Australian Opera

28 February – 1 March 2020 Perth Concert Hall In a celebration of the 250th anniversary of Ludwig van Beethoven’s birth, Fidelio was presented as a hallmark work by the West Australian Symphony Orchestra and Perth Festival in association with West Australian Opera. This two concert performance season was a once in a generation retelling of one of the most inspiring stories ever set to music. Conductor Asher Fisch Leonore/Fidelio Christiane Libor Florestan Tomislav Mužek Don Fernando Adrian Tamburini Marzelline Felicitas Fuchs Jaquino Andrew Goodwin Don Pizarro Warwick Fyfe Rocco Jonathan Lemalu Narrator Eryn Jean Norvill Dramatic Text Alison Croggon Director Clare Watson West Australian Symphony Orchestra West Australian Opera Chorus West Australian Symphony Orchestra Chorus

“The idea of having a narrator was different; the soloists were great; the choir, the orchestra, the whole performance showed tremendous effort by many people - it was a thoroughly enjoyable and memorable concert. We were fortunate to see and hear it here.” - Survey Respondent Survey results for Fidelio, courtesy of West Australian Symphony Orchestra

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West Australian Opera Annual Report 2020

Fidelio, photo by Rebecca Mansell.

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West Australian Opera Annual Report 2020

PROGRAM OUTCOMES

88%

88%

Local Impact It's important that it's happening here

Captivation It was absorbing and held my attention

AUDIENCE & EXPERIENCE

2,102

18%

Attendees

New audience

95%

70

Were satisfied with their overall experience

Net Promoter Score

Cultural Contribution

87%

It provides an important addition to the cultural life of the area

Enthusiasm

87%

I would come to something like this again

Rigour

85%

84%

It was well thought through and put together

Insights: Over 2,000 people enjoyed the production of Fidelio at the Perth Concert Hall. The survey showed that 18% of respondents had never attended a WAO event before. All measured outcomes received positive scores, with respondents most likely to agree that it’s important it’s happening here, it was absorbing and held their attention and it provides an important addition to the cultural life of the area.

Access It gave me the opportunity to access cultural activities

Cultural Outcomes

Social Outcomes

Quality Outcomes

Survey results for Fidelio, courtesy of West Australian Symphony Orchestra Total sample, n = 310

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Online Program West Australian Opera (WAO) is committed to sharing the power of music even in challenging times. While the company was away from the stage due to COVID19 pandemic, WAO created Ghost Light, a digital arm of the company with the aim to stay connected by bringing digital innovations to audiences. WAO will continue to work ‘in the ghost light’ to present digital content from podcasts to online opera arias. The company will continue to use this arm to produce innovative and interesting content to engage and connect with audiences and act as an integral supporting channel to the company’s live performance arm.

Ghost Light Opera Online Program

28 March – 5 September 2020 Ghost Light Opera celebrated Western Australian singers performing gorgeous arias, spot-lit on a darkened stage. West Australian Opera is proud to have enabled performance opportunities for soprano Emma Matthews, mezzo soprano Fiona Campbell, tenor Paul O’Neill and baritone James Clayton. Accompanied by Tommaso Pollio, these singers took to the stage to share the arias people know and love. Soprano Emma Matthews Mezzo Soprano Fiona Campbell Tenor Paul O’Neill Baritone James Clayton Accompanied by Tommaso Pollio

“I deeply appreciate the Ghost Light WAO series. Tonight, feeling especially isolated and somewhat lonely in lock down I thought I’d like to hear something before I go to bed. This performance was a wonderful night cap! Thank you.” - Survey Respondent

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West Australian Opera Annual Report 2020

PROGRAM OUTCOMES Enthusiasm

90%

Meaning

85%

I would watch something like this again

Access

89%

Rigour

84%

It gave me the opportunity to access cultural activities

Captivation

87%

It moved and inspired me

It was well thought through and put together

Connection

It held my interest and attention

75%

Quality Outcomes

AUDIENCE & EXPERIENCE

20,300 6% Viewers

New audience

98%

69

Were satisfied with their overall experience

Net Promoter Score

It helped me to feel connected to people in the community

Social Outcomes

Cultural Outcomes

Insights: Over 20,000 viewers tuned in to watch the Ghost Light Spotlight series and the majority of them were loyal WAO supporters. Almost all respondents (98%) indicated that they were satisfied with the experience which is a fantastic outcome for the organisers. Impact was seen in the quality, cultural and social outcome areas, with respondents most likely to agree that they would watch something like this again, it gave them the opportunity to access cultural activities and it held their interest and attention.

Total sample, n = 184

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West Australian Opera Annual Report 2020

Wesfarmers Arts Virtual Singing Classes Online Program

Commenced 13 April 2020 While COVID19 related social distancing measures were in place, Wesfarmers Arts Virtual Singing Classes were presented online so that people could continue to share the joy of music and keep singing under the guidance of sought-after Voice and Language Coach, Lisa Harper-Brown. Over a six week period, Lisa shared her lessons via video to help learners to practice their skills at home. The program focused on having fun as well as providing vocal and breathing techniques. Participants were able to take the lessons at their own leisure and re-watch as many times as they liked. This series was available free to registered participants via West Australian Opera website with thanks to the support of Principal Partner, Wesfarmers Arts. Voice and Language Coach Lisa Harper Brown

“Thank you so much to WAO and Wesfarmers for providing this wonderful experience and a huge thank you to Lisa and Tommaso - you are both fantastic and make it fun to learn.” - Survey Respondent

AUDIENCE & EXPERIENCE

26

1,696

27%

Participants

New audience

96%

66

Were satisfied with their overall experience

Net Promoter Score


West Australian Opera Annual Report 2020

PROGRAM OUTCOMES Meaning

Rigour

92%

91%

It was well thought through and put together

Captivation It held my interest and attention

86%

84%

Inclusion

91%

83%

It made me feel welcome and included

It could appeal to new audiences

It gave me the opportunity to access cultural activities

Belonging

74%

I would watch something like this again

Wellbeing

88%

Growth

Access

Enthusiasm

91%

It moved and inspired me

It helped me to feel part of the community

Stretch

72%

It had a positive impact on my physical health and mental wellbeing

I did something I didn’t know I was capable of

Local Impact

88%

It helped me to feel connected to people in the community

Quality Outcomes

Cultural Outcomes

Social Outcomes

Economic Outcomes

Insights: Wesfarmers Arts Virtual Singing Classes had an immense impact on participants, almost a third of which hadn’t attended a WAO event (in person) before. Almost all respondents agreed that it was well thought through and put together and it held their interest and attention. In the social domain, respondents were most likely to agree that the program made them feel welcome and included. Almost all people surveyed (96%) were satisfied with the overall experience, with the program achieving a NPS of 66, demonstrating very high likelihood of participants recommending the experience to their friends and colleagues.

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West Australian Opera Annual Report 2020

The Telephone Online Program

Released 9 July 2020 West Australian Opera proudly presented a digital adaptation of the short, one-act comic opera The Telephone by Gian Carlo Menotti. Lucy (Wesfarmers Arts Young Artist, Chelsea Burns) and Ben (Wesfarmers Arts Young Artist, Lachlann Lawton) are living together in their newly renovated suburban house. When Ben decides to propose to Lucy, a comedy of errors ensues as Ben fights for Lucy’s attention amidst her endless urgent and high stakes calls with all her friends. It’s 2020, and the telephone has been substituted for a glowing tablet, the Zoom app and another day in isolation. The Telephone is the story of love at social distance, the allure of digital technology and the forgotten treasure of being present in moments that truly matter. Music Director Chris van Tuinen Director Katt Osborne Set and Costume Designer Tyler Hill Featuring: Chelsea Burns Lachlann Lawton Bernadette Lewis

Lachlann Lawton as Ben in The Telephone. Photo by Mel Branson.

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West Australian Opera Annual Report 2020

“Loved it! Particularly as it was produced locally. Very proud of WAO.” — Survey Respondent

PROGRAM OUTCOMES Access

83%

It gave me the opportunity to access cultural activities

Rigour

79%

It was well thought through and put together

AUDIENCE & EXPERIENCE

2,410

15%

Viewers

New audience

90%

65

Were satisfied with their overall experience

Net Promoter Score

Enthusiasm

79%

I would watch/I would come to something like this again

Captivation

77%

It held my interest and attention

Meaning

66%

It moved and inspired me

Connection

64%

It helped me to feel connected to people in the community

Social Outcomes

Insights: The Telephone audience was mostly likely to agree with the ‘Access’ dimension, meaning that the event gave them the opportunity to access cultural activites. 90% of respondents were satisfied the experience overall, and 15% of those that responded to the survey had never been to a WAO event in person before, demonstrating the event’s ability to reach a new audience.

Cultural Outcomes

Quality Outcomes

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West Australian Opera Annual Report 2020

Act-Belong-Commit Singing for Children Online Program

Commenced 1 May 2020 West Australian Opera proudly offers online singing classes just for kids! With the support of Healthway and the message Act-Belong-Commit we were able to bring you Act-Belong-Commit Singing for Children free of charge. Workshop leader, Perry Joyce led participants (suitable for children 8-12 years) on a journey of vocal discovery to explore rhythm, tempo, pitch, dynamics and form, teaching them that the voice is your own mobile instrument. Workshop Leader Perry Joyce

Cooking with Opera June – 19 July 2020 Various restaurants and cafes in Perth From Tosca Tart to the Peach Melba, many culinary delights were inspired by great operas and composers. In June and July 2020, West Australian Opera and Visit Perth presented Cooking with Opera, a six-week series designed to inspire you. Some of the City’s well-known chefs and restaurateurs took diners behind the scenes into their kitchens to tell the story of the recipes behind the dishes inspired by opera. Retailers made these special menu items available for takeaway the week of the video release. Hosted by Daniele Foti-Cuzzola and featuring Crew and King, The Heritage Wine Bar, Balthazar, Chicho Gelato, Mary Street Bakery and Garum.

“Everyone involved in the Cooking With Opera was a delight to work with. Professional, organised and punctual. Great communication, end result was stunning. Would 100% do again.” — Cooking with Opera retailer

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West Australian Opera Annual Report 2020

Lullabies for Babies Online Program

18 April – 13 December 2020 Online Emma Pettemerides and Matt Reuben James Ward present Lullabies for Babies. Suitable for little ones aged up to eight, but appealing to all age groups. The story introduced listeners to Joey, and transported little ones on a journey to lands near and far. The tale of discovery was accompanied by beautiful musical moments from classical repertoire, folk tunes and lullabies. Lullabies for Babies was specially created to encourage quiet, dreaming time connecting stories of rhyme, rhythm and repetition to support young brain development with beautiful unaccompanied voices.

Playlist Series Online Program

14 April – 31 December 2020 Each week, a company member, artist or special guest compiled a playlist of their choice as part of WAO’s Playlist Series. Compilations feature favourite arias, compositions, pieces that inspire the creator or just all-time classics that they’re listening to now. Accompanying each playlist is a blog post about why each piece was chosen and the special memory attached to it. Playlists were released weekly on the WAO website, Spotify channel and social media platforms.

Podcast Series Online Program

14 April – 8 December 2020 The stage may be dark, but the conversation has just begun. West Australian Opera invited listeners to join the WAO Podcast Series hosted by Music Director, Chris van Tuinen. Each month Chris welcomed special guests to discuss all things opera; from ‘behind the scenes’ moments to ‘meet the artists’ spotlights.

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Standing Room Only, photo by Daniele Foti-Cuzzola.

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West Australian Opera Annual Report 2020

Standing Room Only Friday, 10 – 31 July 2020 Government House West Australian Opera was proud to return to live performance with the Standing Room Only micro recital series. Led by WAO’s Vice Regal Patron, the Honourable Kim Beazley AC, WAO welcomed 16 Western Australian Artists to the stage over four weeks and live audiences back into the beautiful Government House Ballroom for a bespoke ‘standing’ opera experience.

PROGRAM OUTCOMES Rigour

Enthusiasm

93%

87%

I would watch/I would come to something like this again

Access

Safety

92%

84%

I feel safe here

84%

It held my interest and attention

It moved and inspired me

Connection

Growth

87%

It gave me the opportunity to access cultural activities

Meaning

Captivation

91%

It was well thought through and put together

78%

It could appeal to new audiences

Quality Outcomes

Social Outcomes

It helped me to feel connected to people in the community

Cultural Outcomes

Economic Outcomes

AUDIENCE & EXPERIENCE

1,247

22%

99%

73

Attendees

New audience

Were satisfied with their overall experience

Net Promoter Score 33


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West Australian Opera Annual Report 2020

The Nightingale Presented in association with the AWESOME Festival, Co3 Contemporary Dance, WA Youth Orchestra and WA Young Voices

His Majesty’s Theatre 3 & 4 October 2020 The Nightingale is an opera for young people, performed by young people, for all to enjoy. Based on the story by Hans Christian Andersen, the opera tells of an Emperor who is enchanted by the singing of a nightingale in his garden. The Emperor convinces the nightingale to sing for him but when he is gifted a mechanical nightingale, he becomes obsessed with his new toy and the real nightingale flies away. Struck down by illness and with his mechanical nightingale now broken, the Emperor begs the nightingale to return and sing for him again. She agrees, but on the condition that she is allowed to sing for all the people. Conductor Leanne Puttick, Wesfarmers Arts Young Artist Director & Designer Matt Reuben James Ward Lighting Designer Michael Rippon Movement Director Alice Kell, Co3 Contemporary Dance Emperor Matthew Dixon, Wesfarmers Arts Young Artist Kitchen Maid Brianna Louwen, Wesfarmers Arts Young Artist Chief Counselor / Death Chelsea Kluga, Wesfarmers Arts Young Artist The Nightingale Zoe Wozniak, Co3 Contemporary Dance Children’s Chorus Masters Perry Joyce & Katie How Repetiteur Adrian Soares, Wesfarmers Arts Young Artist Featuring WA Young Voices & WA Youth Orchestra

“I thought the relaxed performance was wonderfully inclusive, especially the option to move around and get up as needed. The social story was very well thought out and valuable.” – Survey Respondent

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West Australian Opera Annual Report 2020

The Nightingale, photo by James Rogers.

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West Australian Opera Annual Report 2020

PROGRAM OUTCOMES Enthusiasm

84%

I would come to something like this again

Rigour

79%

77%

It was well thought through and put together

AUDIENCE & EXPERIENCE

1,421

19%

Attendees

New audience

91%

61

Were satisfied with their overall experience

Net Promoter Score

Captivation It held my interest and attention

Presentation

76%

It was well produced and presented

Meaning

74%

It moved and inspired me

Distinctiveness

69%

55%

It was different from things I've experienced before

Relevance It was relevant to today's world

Cultural Outcomes

Quality Outcomes

Insights: Survey results for The Nightingale reveal that the audience had a positive experience at the event, with 91% indicating that they were satisfied overall. A NPS of 61 demostrates a fantastic level of brand loyalty amongst attendees, 19% of which hadn’t attended a WAO event before. Dimension analysis shows attendees were most likely to agree they would come to something like this again, it was well thought through and put together and it held their interest and attention. Total sample, n = 62

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West Australian Opera Annual Report 2020

Così fan tutte 24 – 31 October 2020 His Majesty’s Theatre A cast that perfectly combined youthful vigour, superb acting and stylish singing in a world class production on the beautiful stage of His Majesty’s Theatre. Since 1934 the summer opera festival at Glyndebourne in the UK has been celebrated for its productions of Mozart’s operas and none more so than Nicholas Hytner’s production of Così fan tutte. This production traveled abroad to close off the WAO 2020 Season and we were proud to present it for the first time in Australia. Conductor Christopher van Tuinen Director Nicholas Hytner Revival Director Bruno Ravella Assistant Director Margrete Helgeby Chaney Set & Costume Designer Vicki Mortimer Lighting Designer Paule Constable Fiordiligi Prudence Sanders Dorabella Ashlyn Tymms Ferrando Paul O’Neill Guglielmo Sam Roberts-Smith Don Alfonso James Clayton Despina Penny Shaw West Australian Opera Chorus West Australian Symphony Orchestra

“Remarkable achievement by WAO to present a thoroughly enjoyable, professional Così, given the lockdown. Something satisfying in having such considerable local resources to bring the UK production faithfully to His Majesty’s.” – Survey Respondent

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West Australian Opera Annual Report 2020

Così fan tutte, photo by James Rogers.

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West Australian Opera Annual Report 2020

PROGRAM OUTCOMES

88%

Enthusiasm I would come to something like this again

Rigour

86%

83%

75%

It was well thought through and put together

AUDIENCE & EXPERIENCE

2,551

3%

Attendees

New audience

96%

72

Were satisfied with their overall experience

Net Promoter Score

Captivation It held my interest and attention

Meaning It moved and inspired me

Quality Outcomes

Cultural Outcomes

Insights: Audiences were eager to return to the theatre post lockdown, with almost all Così fan tutte survey respondents identifying as return WAO attendees (97%). The audience was extremely loyal, giving WAO a NPS of 72, an excellent brand loyalty score. 96% of Così fan tutte attendees were satisfied with their overall experience of the event. Respondents were most likely to agree that they would come to something like this again and it was well though through and put together.

“An excellent performance with beautiful singing and orchestrationwhich i missed immensely. It was an uplifting experience to be able to experience this beautiful combination of theatrics, music and singing at last. ” – Survey Respondent Total sample, n = 196.

41


“Loved it all. Grateful that the weather allowed such an incredible evening. Fantasic host/MC (as usual), he hit exactly the right note. Very proud of us all in WA. ” – Survey Respondent, Opera in the Valley of the Giants

Opera in the Valley of the Giants, photo by Nic Duncan.

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West Australian Opera Annual Report 2020

Opera in the Regions West Australian Opera is committed to bringing opera to all West Australians. In 2020, three concerts were presented in in unique outdoor locations across the state. The Opera in the Regions program is proudly supported by WAO Principal Partner Wesfarmers Arts, Minderoo Foundation, Department of Local Government, Sport and Cultural Industries and Department of Primary Industries and Regional Development.

Opera in Mandurah Mandurah Performing Arts Centre, 23 November 2020 Opera in Albany Albany Entertainment Centre, 27 November 2020 Opera in the Valley of the Giants 28 November 2020 Audiences in Mandurah, Albany and Walpole were moved by the powerful voices of West Australian Opera artists and sung along to showstopping arias in a concert of well-known operatic hits. An event experience that the entire family could enjoy.

Soprano Emma Matthews Mezzo Soprano Caitlin Cassidy Tenor Paul O’Neill Baritone: James Clayton Accompanist: Tommaso Pollio

AUDIENCE & EXPERIENCE

1,835

25%

Attendees

New audience

“A truly wonderful experience! Beautiful music and commentary delivered by superb performers, thank-you for coming to our city to delight us” – Survey Respondent, Opera in Mandurah

100%

87

Were satisfied with their overall experience

Net Promoter Score

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West Australian Opera Annual Report 2020

Opera at the Mill, photo by Stu McKay.

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West Australian Opera Annual Report 2020

PROGRAM OUTCOMES Enthusiasm

95%

Meaning

89%

I would come to something like this again

Local Impact

95%

88%

It’s important that it’s happening here

It provides an important addition to the cultural life of the area

88%

Captivation

94%

92%

92%

90%

83%

Inclusion

78%

It made me feel welcome and included

Rigour

77%

It was well thought through and put together

Access

70%

It gave me the opportunity to access cultural activities

Cultural Outcomes

It had a positive impact on my physical health and mental wellbeing

It could appeal to new audiences

Belonging

It held my interest and attention

Quality Outcomes

Wellbeing

Growth

Cultural Contribution

94%

It moved and inspired me

Social Outcomes

It helped me feel part of the community

Authenticity It had a connection to the State/Country we live in

Leverage It could attract a variety of investors

Currency It made me reflect on the world we live in today

Economic Outcomes Total sample, n = 203

Insights: A quarter of all attendees at Opera in the Regions events in 2020 were new to WAO events. All of those surveyed were satisfied with the overall experience which is a wonderful result for the organisation, demonstrating how much regional audiences value the artform and offering. All dimensions received postive results, with audiences most likely to agree that they would come to something like this again, it’s important it’s happening here and it provides an important addition to the cultural life of the area. 45


Private Giving Report Giving to support the art forms we love can be a civic virtue, whether through bequests, gifts, donation

Planned Giving Program

or sponsorship. The generosity of each and every

Bequests to West Australian Opera are preserved as

supporter enables West Australian Opera to present and

the legacies of their donors, people with vision who

develop Australian artists, to reach out into communities,

understand the importance of opera to a community.

to put opera on the stage and with the power of our

Becoming an endowment fund supporter through

offering to enrich the cultural landscape of our state.

a bequest is a unique opportunity to partner with West Australian Opera and represents a meaningful

Supporting West Australian Opera’s young artists, artistic development, community and education programs can

investment in the arts and in the diverse community of Western Australia.

have a lifelong impact.

a company like ours. But it’s the support of individual

Fortescue Metals Group Shares

philanthropy that provides our lungs. It allows us to

In 2011 the company gratefully received a major gift from

breath; it gives us oxygen. It is the very thing that puts

the Forrest Family. Individual giving in the arts is greatly

a spring in our step and for that we are tremendously

valued. The support that foundations, trusts and donors

grateful. Andrew Pascoe, WAO Chair

offer to arts companies has a significant impact on the

There is no question that the support from government and from the corporate sector provides the life blood for

Annual Giving Program

ability to plan and deliver initiatives. West Australian Opera wishes to acknowledge and thank Andrew and Nicola Forrest for the generous gift of shares. This

Annual giving is the most important way to support the

contribution stands as testament to their commitment

company and underpins our everyday operations. The

to a strong and vibrant arts sector in Western Australia.

Annual Giving Program enables West Australian Opera

This unique and unprecedented gift is vital to the

to continue to dream big, create magic and to enrich the

company’s future and success.

cultural landscape of our state.

46


West Australian Opera Annual Report 2020

Cast of Supporters West Australian Opera thanks every donor in the Private Giving Program.

SUPPORTER ($1,000+) Gaysie Atkinson Betty Barker

LEADERSHIP CIRCLE ($10,000+)

Dr Peter & Mrs Rae Breidahl

Dr Robert Larbalestier

Joan Carney

Anonymous (1)

Helen Carroll Frank Cooper AO

PRINCIPAL PATRON ($5,000+)

Peter and Christene Dalla Riva

Dr Jack Bendat AM CitWA

Lorraine Ellard

Catherine Ferrari

T & E Gerner

David Glance

Kathryn Hogan and Graham Droppert

Dr Dennis Hayward

Ulrich & Gloria Kunzmann

Warwick Hemsley

Simon Landers

The Robert Kimpton Family

Ross and Fran Ledger

Annie & Neil Patrick

Karen Parfitt

Dr Peter Simpson OAM

Bill Reid

Richard Tarala & Lyn Beazley AO

Kerry Sanderson

The Society of WA Opera Lovers

Glenice Shephard

Joyce Westrip OAM

Kim & Keith Spence

Anonymous (1)

Stephen & Janet Thackray Agatha Van Der Schaaf

BENEFACTOR ($2,500+)

Yannis Vrodos

Neil Archibald & Alan R Dodge AM

Dr Chris and Mrs Vimala Whitaker

Dr Fiona Bettenay

Anonymous (9)

Eleanor John Francis Landels

TRUSTS AND FOUNDATIONS

Patrick Lilburne

Bendat Family Foundation

Dr Bryant Macfie

Crown Resorts Foundation

Tessa Tieleman

Packer Family Foundation

Michael & Helen Tuite

Fielman Foundation

Joyce Young

James Galvin Family Foundation McCusker Charitable Foundation Stan Perron Charitable Trust Wright Burt Foundation

47


ANDREW AND NICOLA FORREST AO

YOUNG LEADERS CIRCLE

The generous gift of FMG shares is testament to the Forrest’s commitment to a strong and vibrant arts sector in Western Australia.

Young Leaders Circle partner Herbert Smith Freehills

BEL CANTO FUND Thanks to the leadership donors of the Bel Canto Fund

Young Leaders Program Ambassador – Yannis Vrodos DONORS ($200+) Thank you to all our donors who support us and help us create and present world-class opera in Western Australia.

BEQUEST CIRCLE Anita & James Clayton

SPECIAL THANK YOU

Lorraine Ellard

Thank you to all the people who donated the value of their tickets to cancelled performances during COVID19. Your generosity during this difficult time was greatly appreciated.

Ailsa West Anonymous (5) FRIEND ($500+) Tom Aram Cathy Bardon and Bob Cassie Dr Colin Binns & Dr Mi Kyung Lee David Black Lynne Burford Publicity Christine Burson Carolyn Chard AM Dr Douglas Clifford Dr Graham Douglas and Brian Lindberg Michelle Edwards Sue Foster Rosemary Grigg & Peter Flanigan Cecilia Hastings Dr Penny Herbert Ian and Sue Hobson Sue Joubert Jock & Jennifer Laurie Infinite Consulting Group Anthony & Suzanne Maple-Brown Kay Ripp Wayne Robinson Elizabeth Shelton The Sherwood Family Julie Simpson Margaret Stockton Warren and Katharina Surtees Diana Warnock and the late Bill Warnock Dr Peter Winterton Alison Woodman Anonymous (6) 48



Economic Impact Assessment West Australian Opera events hosted in the Perth metro area and regional WA stimulate visitation and spending that would not have otherwise occurred in these locations, with benefits for local businesses and the wider economy. This is especially true for businesses in the vicinity of the events. This section of the report of the report includes calculations that estimate the direct impact of West Australian Opera’s 2020 live season across Perth and the rest of the state, and the flow on impacts of this spend.

Attendee Expenditure Public survey data has been used to calculate the average spend for visitors of each program. Attendance data supplied by organisers has been used to calculate attendance per visitor type.

Program Attendance Program Bran Nue Dae

11,503

Così fan tutte

2,551

Fidelio

2,102

Opera in the Park

10,363

Opera in the Regions

1,835

Standing Room Only

1,247

The Nightingale

1,421

Così fan tutte, photo by James Rogers.

50

Attendance


West Australian Opera Annual Report 2020

Additionality Additionality excludes people who indicated that they would have done something else in the area even if they had not attended the event, because it is assumed that expenditure from those people would have occurred regardless of their attendance at a West Australian Opera event. This information is used to calculate the ‘Additionality Adjustment’, which is the weighted percentage of spending that is considered additional. What would you have done if you didn't attend the event?

Bran Nue Dae

Opera in the Park

Fidelio

Standing Room Only

The Nightingale

Così fan tutte

Opera in the Regions

75%

64%

74%

74%

48%

90%

70%

Done something not in the local area

5%

14%

1%

3%

5%

1%

4%

Done something else in the local area

20%

22%

25%

23%

48%

9%

25%

Bran Nue Dae

Opera in the Park

Fidelio

Standing Room Only

The Nightingale

Così fan tutte

Opera in the Regions

Average Event/ Surrounding Area Spend

$69

$23

$52

$21

$49

$68

$74

Additionality Adjustment

80%

78%

75%

77%

52%

91%

75%

$55

$18

$39

$16

$26

$62

$55

$633,327

$188,836

$82,187

$20,380

$36,471

$157,076

$101,236

Stayed at home or gone to work

Event Expenditure Event Expenditure

Adjusted Spend Per Person Total Impact

Accommodation Respondents to a selection of event surveys were also asked whether they stayed overnight as a result of their visit to a West Australian Opera event, and if so, how much they spent on accommodation per night, per person. The value of total accommodation spend has been calculated based on the share of staying visitors, the average per night spend on accommodation and the length of stay. Note; accommodation questions were not asked as part of the Bran Nue Dae and Standing Room Only surveys. Bran Nue Dae

Opera in the Park

Fidelio

Standing Room Only

The Nightingale

Così fan tutte

Opera in the Regions

Percent who stayed away as part of their visit

-

6%

6%

-

9%

5%

17%

Primary Reason Adjustment

-

59%

75%

-

52%

73%

58%

Average Nights Stayed

-

2.3

1.2

-

1.9

1.8

2.5

Average Spend Per Night

-

$58

$101

-

$80

$110

$137

Accommodation Impact

-

$49,110

$11,343

-

$9,977

$17,261

$61,585

Accommodation

51


Direct Economic Impact Combining attendee, accommodation and organisation expenditure provided by West Australian Opera, the direct economic impact of the 2020 season was estimated to be over $6.9 million. Event

$1,219,514

Accommodation

$149,277

Organisation Expenditure

$5,562,398

Direct Economic Impact

$6,931,188

Multiplied Total Impact The total expenditure as a direct result of West Australian Opera events also benefits a range of sectors as it flows through the economy. For example, customer spending at venues is then further spent on things such as supplies or staff wages. A simplified method of estimating this involves applying a multiplier to direct economic impact. Based on this methodology, West Australian Opera’s multiplied total impact for the 2020 calendar year was estimated to be $20.3 million. For the purpose of this analysis, output multipliers derived from ABS Input-Output Tables 2012-13 have been applied to total direct expenditure. Direct Economic Impact

Multiplier

Multiplied Total Impact

$1,219,514

2.96

$3,609,760

$149,277

2.75

$410,511

Organisation Expenditure

$5,562,398

2.92

$16,242,202

Multiplied Total Impact

$6,931,188

Attendee Expenditure Accommodation

$20,262,474

Event and local area expenditure scaled by a multiplier of 2.96, the Australian national Food & Beverage output multiplier. Accommodation expenditure scaled by an output multiplier of 2.75, the national accommodation output multiplier. Organisation expenditure scaled by an output multiplier of 2.92, an average of the the Australian national Retail and Hiring Services output multiplier (3.17) and the the Australian national Heritage, Creative and Performing Arts output multiplier (2.67).

52


THE WESTERN AUSTRALIAN OPERA COMPANY INCORPORATED

Financial Report

for the year ended 31 December 2020


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Directors’ Report Your Directors submit the financial report of The Western Australian Opera Company Incorporated for the year ended 31 December 2020. 1.

Directors during the financial year and until the date of this report: 1. 2. 3. 4. 5. 6. 7. 8.

2.

Mr Andrew Pascoe (Chairman) Ms Catherine Ferrari (Deputy Chair) Ms Janet Barnes Mr Anthony Gianotti Mr Christiaan Heyning Mr Darren Lewsen Dr Ingrid O’Brien Ms Jan Stewart

Principal Activities The principal activity of The Western Australian Opera Company Inc in the course of the financial year was the presentation of opera.

3.

Significant Changes The global COVID-19 pandemic resulted in a number of significant changes to the nature of the company’s activities. The company: ­ was required to cancel performances in Q2 and Q3, ­ required all employees to work from home for 14 weeks from March – June 2020, and ­ pivoted into the digital space with a new initiative: the Ghost Light Strategy. Further impacts included artist and other supplier contracts being cancelled and instances of funding being returned, including $200k for the cancelled tour of Bran Nue Dae returned to the state government. The company was fortunately a recipient of government Covid-19 relief funding amounting to $731,529. This was comprised of a Cash Flow Boost of $100,000, the Job Keeper Subsidy of $557,550 and tenancy support from His Majesty Theatre of $73,979. The company also received additional support from sponsors and donors, including $100,000 from Wesfarmers Arts. It is intended that the 2021 year will utilise a portion of the 2020 operating result to support the rescheduling of performances cancelled in 2020 due to COVID-19.

4.

Operating Result The operating result from ordinary activities for the financial year was $1,568,557 (2019 operating result was $221,396).

5.

Auditor’s Independence declaration The auditor’s independence declaration under section 60-40 of the Australian Charities and Not For Profit Commission Act 2012 is included in this Annual Report and forms part of the Directors’ Report of The Western Australian Opera Company Inc for the year ended 31 December 2020.

Signed in accordance with a Resolution of the Board.

Andrew Pascoe (Chairman)

Catherine Ferrari (Deputy Chair) 1


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Dated 15 April 2021

Statement of Profit or Loss and Other Comprehensive Income for the year ended 31 December 2020 NOTES

2020 $

2019 $

Revenue

2

1,302,734

1,164,655

Other Income

2

5,828,694

4,713,806

(2,359,261)

(2,482,098)

(71,771)

(70,157)

Other expenses Production sets, costumes and sound Theatre rental and associated costs Other costs of production Administration expenditure Marketing and promotion expenditure Opera Conference contribution

(836,965) (548,999) (330,464) (386,707) (880,914) (147,790)

(743,070) (507,587) (319,093) (360,176) (883,097) (291,787)

Net profit/(loss) attributable to the Association

1,568,557

221,396

Other comprehensive income to be reclassified to profit or loss in subsequent periods Increase/(Decrease) in Investment Revaluation Reserve

1,991,363

1,016,002

Total comprehensive income/(loss) for the year

3,559,920

1,237,398

Employee expenses Depreciation

The accompanying notes form part of these financial statements

2


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Statement of Financial Position as at 31 December 2020 NOTES

2020 $

2019 $

351,904 4,175,000 228,347 108,874

3,294,058 126,936 139,058

4,864,125

3,560,052

5 8

650,000 170,970

650,000 216,808

9

3,662,296

1,670,933

TOTAL NON-CURRENT ASSETS

4,483,266

2,537,741

TOTAL ASSETS

9,347,391

6,097,793

399,712 108,006 25,174

681,939 99,935 49,149

532,892

831,023

55,293 -

42,311 25,173

55,293

67,484

588,185

898,507

CURRENT ASSETS Cash and cash equivalents Deposits Trade and other receivables Other current assets

3 4 6 7

TOTAL CURRENT ASSETS NON-CURRENT ASSETS Restricted cash deposits Property, plant and equipment Financial asset at fair value through other comprehensive income

CURRENT LIABILITIES Trade and other payables Short-term provisions Lease Liability

10 11 13

TOTAL CURRENT LIABILITIES NON-CURRENT LIABILITIES Long-term provisions Lease Liability

11 13

TOTAL NON-CURRENT LIABILITIES TOTAL LIABILITIES

NET ASSETS EQUITY Retained profits Reserves TOTAL EQUITY

8,759,206

12

5,199,286

3,264,206 5,495,000

1,695,649 3,503,637

8,759,206

5,199,286

The accompanying notes form part of these financial statements

3


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

4


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Statement of Changes In Equity for the year ended 31 December 2020 Retained Profits $

Balance at 1 January 2019 Net profit attributable to the Association Increase in Investment Revaluation Reserve Reduction in Restricted Funds Reserve

Restricted Funds Reserve $ (Note 12)

Unrestricted Funds Reserve $ (Note 12)

Investment Revaluation Reserve $ (Note 12)

Total $

1,474,253

950,000

1,175,000

362,635

3,961,888

221,396

-

-

-

221,396

-

-

-

1,016,002

1,016,002

-

(300,000)

-

-

(300,000)

-

-

300,000

-

300,000

Balance at 31 December 2019

1,695,649

650,000

1,475,000

1,378,637

5,199,286

Balance at 1 January 2020

1,695,649

650,000

1,475,000

1,378,637

5,199,286

1,568,557

-

-

-

1,568,557

-

-

-

1,991,363

1,991,363

3,264,206

650,000

1,475,000

3,370,000

8,759,206

Addition to Unrestricted Funds Reserve

Net profit attributable to the Association Increase in Investment Revaluation Reserve Balance at 31 December 2020

The accompanying notes form part of these financial statements

5


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Statement of Cash Flows for the year ended 31 December 2020 NOTES

2020 $

2019 $

1,271,492 3,019,244 668,079 342,091 1,421,882 53,688 (5,517,224)

1,432,311 3,009,088 246,520 1,267,920 81,401 (5,458,386)

1,259,252

578,854

Cash flows from Investing Activities Payment for property, plant and equipment Investments in term deposits Net Cash used in Investing Activities

(26,406) (4,175,000) (4,201,406)

(47,644) (47,644)

Net increase/(decrease) in cash held

(2,942,154)

531,210

3,944,058

3,412,848

1,001,904

3,944,058

Cash flows from Operating Activities Donations and sponsorship received Grants received Government Covid-19 Relief Dividends Received Receipts in the course of operations Interest Received Payments to suppliers and employees Net cash provided/(used) by Operating Activities

16(b)

Cash at beginning of the financial year Cash at the end of the financial year

16(a)

The accompanying notes form part of these financial statements

6


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Notes to the financial statements for the year ended 31 December 2020 1.

SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES

a)

Basis of preparation The Financial Report is a general purpose financial report that has been drawn up in accordance with Australian Accounting Standards and other authoritative pronouncements of the Australian Accounting Standards Board and the requirements of the Associations Incorporation Act (WA) 2015. The financial report covers The Western Australian Opera Company Incorporated as an individual entity. The Western Australian Opera Company Incorporated is an Association incorporated in Western Australia under the Associations Incorporation Act (WA) 2015. The Western Australian Opera Company Incorporated is a not-for-profit entity. The principal activity of the company in the course of the financial year was the presentation of opera. The financial report is presented in Australian dollars which is the company’s functional currency. The financial report is prepared on an accruals basis and is based on historical costs and does not take into account changing money values, or, except where stated, current valuations of non-current assets. Cost is based on the fair values of consideration given in exchange for assets. The accounting policies have been consistently applied, unless otherwise stated.

b)

New accounting standards and interpretations The Association has applied AASB 2020-4 Amendments to Australian Accounting Standards – COVID-19 rent related concessions since it became applicable on 1 June 2020. Certain new Accounting Standards and Interpretations have been published that are not mandatory for 31 December 2020 reporting periods. None of the standards set out below are expected to have a material impact on the Association and the Association has elected not to early adopt any of these standards: • AASB 2020-1 Amendments to Australian Accounting Standards: Classification of Liabilities as Current or Non-Current - application date 1 January 2023 • AASB 2020-6 Amendments to Australian Accounting Standards: Classification of Liabilities as Current or Non-Current – Deferral of Effective Date - application date 1 January 2023. The following is a summary of the material accounting policies adopted by the Association in the preparation of the financial report. The accounting policies have been consistently applied, unless otherwise stated.

7


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Notes to the financial statements for the year ended 31 December 2020 c)

Property, Plant and Equipment Each class of property, plant and equipment is carried at cost less, where applicable, any accumulated depreciation. The carrying amount of plant and equipment is reviewed annually by the Association to ensure it is not in excess of the recoverable amount from those assets. The recoverable amount is assessed on the basis of the expected net cash flows which will be received from the assets’ employment and subsequent disposal. Depreciation The depreciable amounts of all property, plant and equipment are depreciated on a straight-line basis over the useful lives of the assets to the Association, commencing from the time the assets are held ready for use. The depreciation rates used for each class of depreciable assets are: Class of property, plant and equipment Office Equipment, Furniture & Fittings Pianos Music library Production Equipment Right-of-Use Asset (office and car park lease)

Depreciation Rate 10 - 50% 10% 10% 10% 28.5%

The assets’ residual values and useful lives are reviewed, and adjusted if appropriate, at each balance sheet date. An asset’s carrying amount is written down immediately to its recoverable amount if the asset’s carrying amount is greater than its estimated recoverable amount. Gains and losses on disposals are determined by comparing proceeds with the carrying amount. These gains and losses are included in the income statement. d)

Employee Benefits (i) Wages, salaries, annual leave and sick leave Liabilities for wages and salaries, including non-monetary benefits, annual leave and accumulating sick leave expected to settle within 12 months of the reporting date are recognised in respect of employees’ services up to the reporting date. They are measured at the amounts expected to be paid when the liabilities are settled. Expenses for non-accumulating sick leave are recognised when the leave is taken and are measured at the rates paid or payable.

8


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Notes to the financial statements for the year ended 31 December 2020 d)

Employee Benefits (cont) (ii) Long service leave The liability for long service leave is recognised and measured as the present value of expected future payments to be made in respect of services provided by employees up to the reporting date using the projected unit credit method. Consideration is given to expected future wage and salary levels, experience of employees, departures, and periods of service. Expected future payments are discounted using market yields at the reporting date on national government bonds with terms to maturity and currencies that match, as closely as possible, the estimated future cash outflows.

e)

Cash and cash equivalents Cash and cash equivalents include cash on hand, deposits held at-call with banks, other short term highly liquid investments with maturities of three months or less.

f)

Revenue The Association generates revenue from performance income, sponsorships, donations, government grants and investment income, including FMG shares and dividends. The company recognises revenue when it transfers control over a good or a service to a customer in an amount that reflects the consideration to which it expects to be entitled in exchange for those goods or services. Interest revenue is recognised as interest accrues using the effective interest method. This is a method of calculating the amortised cost of a financial asset and allocating the interest income over the relevant period using the effective interest rate. Revenue from the rendering of a service is recognised upon the delivery of the service to the customers. Government grants are initially recognised in the balance sheet as a liability when the grant is received. When the grant relates to an expense item it is recognised as income over the periods necessary to match the grant on a systematic basis to the costs that it is intended to compensate. Revenue from donations is recognised on receipt. All revenue is stated net of the amount of goods and services tax (GST).

9


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Notes to the financial statements for the year ended 31 December 2020 g)

Goods & Services Tax Revenues, expenses and assets are recognised net of the amount of goods and services tax (GST) except where the amount of GST incurred is not recoverable from the Australian Taxation Office (ATO). In these circumstances the GST is recognised as part of the cost of acquisition of the asset or as part of an item of expense. Receivables and payables are stated with the amount of GST included. The net amount of GST recoverable from or payable to, the ATO is included as a current asset or liability in the Balance Sheet. Cash flows are included in the Cash Flow Statement on a gross basis. The GST components of cash flows arising from investing and financing activities which are recoverable from, or payable to the ATO are classified as operating cash flows in the statement.

h)

Income tax The Association is deemed a non-profit organisation for income tax purposes and has tax exempt status under Section 50-45 9.2 of the Income Tax Assessment Act 1997.

i)

Financial Instruments AASB 9 sets out requirements for recognising and measuring financial assets, financial liabilities and some contracts to buy or sell non-financial items. The Association applied AASB 9 from 1 January 2018. Recognition and initial measurement Trade receivables and debt securities issued are initially recognised when they are originated. All other financial assets and financial liabilities are initially recognised when the association becomes a party to the contractual provisions of the instrument. A financial asset (unless it is a trade receivable without a significant financing component) or financial liability is initially measured at fair value, plus for an item not at fair value through profit or loss (FVTPL), transaction costs that are directly attributable to its acquisition or issue. A trade receivable without a significant financing component is initially measured at the transaction price. Classification and subsequent measurement On initial recognition, a financial asset is classified as measured at amortised cost, fair value through other comprehensive income (FVOCI) or fair value through profit or loss (FVTPL).

10


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Notes to the financial statements for the year ended 31 December 2020 i) Financial Instruments (cont) Financial assets are not reclassified from their initial recognition unless the association changes its business model for managing financial assets, in which case all affected financial assets are reclassified on the first day of the first reporting period following the change in the business model. On initial recognition of an equity investment that is not held for trading, the association may irrevocably elect to present subsequent changes in the investment’s fair value through other comprehensive income (FVOCI). This election is made on an investment by investment basis. All assets not classified as measured at amortised cost or FVOCI, are measured at FVTPL. Financial assets – subsequent measurement Financial assets at amortised cost are measured using the effective interest method. The amortised cost is reduced by impairment losses. Interest income and impairment are recognised in profit or loss. Any gain or loss on derecognition is recognised in profit or loss. Financial assets at FVTPL are subsequently measured at fair value. Net gains and losses, including any interest or dividend income, are recognised in profit or loss. Financial assets at FVOCI are measured at fair value with gains and losses being recognised in other comprehensive income. Financial liabilities: Financial liabilities are classified as measured at amortised cost or FVTPL. A financial liability is classified as FVTPL if it is classified as held-for-trading, it is a derivative or it is designated as such on initial recognition. Financial liabilities at FVTPL are measured at fair value and net gains and losses, including any interest expense, are recognised in profit or loss. Other financial liabilities are subsequently measured at amortised cost using the effective interest rate method. Interest expense and any gain or loss on derecognition is also recognised in profit or loss. Derecognition Financial assets: The association derecognises a financial asset when the contractual rights to the cash flows from the financial asset expire, or it transfers the rights to receive the contractual cash flows in a transaction in which substantially all of the risks and rewards of ownership of the financial asset are transferred or in which the association neither transfers nor retains substantially all of the risks and rewards of ownership and it does not retain control of the financial asset.

11


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Notes to the financial statements for the year ended 31 December 2020 i)

Financial Instruments (cont) The association enters into transactions whereby it transfers assets recognised in its statement of financial position, but retains either all or substantially all of the risks and rewards of the transferred assets. In these cases, the transferred assets are not derecognised. Financial liabilities: The association derecognises a financial liability when its contractual obligations are discharged or cancelled, or expire. The association also derecognises a financial liability when its terms are modified and the cash flows of the modified liability are substantially different, in which case a new financial liability based on the modified terms is recognised at fair value. On derecognition of a financial liability, the difference between the carrying amount extinguished and the consideration paid (including any non-cash assets transferred or liabilities assumed) is recognised in profit or loss.

j)

Leases The company recognises a right-of-use asset and a lease liability at the lease commencement date. The right-of-use asset is initially measured at cost, which comprises the initial amount of the lease liability adjusted for any lease payments made at or before the commencement date, plus any initial direct costs incurred and an estimate of costs to restore the underlying asset or the site on which it is located less any lease incentives received. The right-of-use asset is subsequently depreciated using the straight-line method from the commencement date to the end of the lease term. The lease liability is initially measured at the present value of the lease payments that are not paid at the commencement date, discounted using the interest rate implicit in the lease. The company presents right-of-use assets in ‘property, plant and equipment’. The company has elected not to recognise right-of-use assets and lease liabilities for leases of low value assets and short term leases. The company recognises the lease payments associated with these leases as an expense over the lease term.

k)

Economic Dependency The Western Australian Opera Company is economically dependent on government funding and corporate sponsorship for the majority of its revenue. At the date of this report the Board of Directors have no reason to believe these parties will not continue to support the company.

12


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Notes to the financial statements for the year ended 31 December 2020

2

2020 $

2019 $

1,244,770 56,971 993 1,302,734

1,078,862 84,619 1,174 1,164,655

1,934,140

1,934,137

120,000 499,719

80,000 491,852

375,000 731,529 110,000 1,517,748 50,000 393,003 97,555 5,828,694

200,000 1,607,576 99,895 262,597 37,749 4,713,806

7,131,428

5,878,461

71,771 40,000

70,157 40,000

REVENUE, OTHER INCOME AND EXPENSES

(a) Revenue Performance income Interest received Members subscriptions Total Revenue (b) Other Income Operating grants - Department of Local Government, Sport & Cultural Industries - Base grant - Department of Local Government, Sport & Cultural Industries - Regional Touring grant - Australia Council - Base grant - Other project grants Government Covid-19 Relief Sponsorship - Healthway Private and corporate support Co-production income Dividends Received Sundry income Total Other Income Total Revenue and other income (c) Expenses Depreciation of property, plant and equipment Audit fees

13


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Notes to the financial statements for the year ended 31 December 2020

3

Effective interest rate

351,904

3,294,058

351,904

3,294,058

1.06%

1.94%

4,175,000

-

4,175,000

-

1.37%

-

650,000

650,000

650,000

650,000

1.45%

2.20%

5,500 11,000 148,397 63,450

20,000 106,936 -

228,347

126,936

108,874

139,058

DEPOSITS Deposits with maturity of 3 months or more

Effective interest rate 5

2019 $

CASH AND CASH EQUIVALENTS Cash at bank and on hand

4

2020 $

RESTRICTED CASH DEPOSIT Restricted cash deposit

Access to cash restricted under terms of the Bendat Family Foundation Deed of Gift and Bel Canto Fund. Refer Note 12 for more details. Effective interest rate

6

TRADE AND OTHER RECEIVABLES Trade Debtors Income receivable from Healthway Other receivables Government Covid-19 relief

These amounts are non-interest bearing receivables which relate to sundry debtors and accrued interest. 7

OTHER CURRENT ASSETS Prepayments

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The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Notes to the financial statements for the year ended 31 December 2020

8

2020 $

2019 $

Office furniture and equipment – at cost Less accumulated depreciation

140,031 (80,414) 59,617

119,586 (71,023) 48,563

Pianos – at cost Less accumulated depreciation

164,511 (95,163) 69,348

164,511 (89,186) 75,325

Music Library – at cost Less accumulated depreciation

1,257 (1,257) -

1,257 (1,257) -

Production equipment – at cost Less accumulated depreciation

76,360 (57,937) 18,423

72,475 (50,302) 22,173

Right-of-Use Asset ( office and car park lease) – at cost Less accumulated depreciation

117,912 (94,330) 23,582

117,912 (47,165) 70,747

170,970

216,808

PROPERTY, PLANT AND EQUIPMENT

15


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Notes to the financial statements for the year ended 31 December 2020 8

PROPERTY, PLANT AND EQUIPMENT (cont)

Movement in the carrying amounts for each class of property, plant and equipment between the beginning and the end of the current financial year 2020

Balance at 1 January 2020

Right-ofuse Asset $ 70,747

Office Furniture & Equipment $ 48,563

-

2019

$ 216,808

22,521

-

3,885

26,406

(47,165)

(10,994)

(5,977)

(7,635)

(71,771)

-

(473)

-

-

(473)

23,582

59,617

69,348

18,423

170,970

-

Office Furniture & Equipment $ 40,953

Right-ofuse Asset

Additions

117,912

18,712

Depreciation

(47,165)

70,747

$ Balance at 1 January 2019

Carrying amount at 31 December 2019

Total

$ 22,173

Disposals Carrying amount at 31 December 2020

Production Equipment

$ 75,325

Additions Depreciation

Pianos

Pianos

$ 78,351

Production Equipment $

Total

2,105

$ 121,409

3,063

25,869

165,556

(11,102)

(6,089)

(5,801)

(70,157)

48,563

75,325

22,173

216,808

2020 $

2019 $

1,670,933 1,991,363 3,662,296

654,931 1,016,002 1,670,933

9 FINANCIAL ASSET AT FAIR VALUE THROUGH OTHER COMPREHENSIVE INCOME

Movement in financial asset at fair value through other comprehensive income Value as at 1 January Revaluation/(Devaluation) increment Value as at 31 December

During the 2011 financial year the Association acquired an investment in listed shares of Fortescue Metals Group (FMG) by donation. The fair value of the shares is determined by reference to published price quotations on the ASX.

16


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Notes to the financial statements for the year ended 31 December 2020 2020 $

2019 $

50,765 36,426 55,077 20,000 237,444 399,712

189,313 48,873 29,614 20,000 394,139 681,939

10 TRADE AND OTHER PAYABLES Trade Creditors Other Payables Accruals Loan from UWA Income received in advance

The amount of the Loan from UWA is based on an agreed value of a piano on loan to the Association from the University of Western Australia.

11 PROVISIONS Annual Leave $

Opening balance at 1 January 2020 Additional provisions raised during the year Amounts used Balance at 31 December 2020

59,704 68,375 (64,597) 63,482

Long Service Leave $ 82,542 17,275 99,817

Opening balance at 1 January 2019 Additional provisions raised during the year Amounts used Balance at 31 December 2019

48,362 67,892 (56,550) 59,704

65,112 17,430 82,542

113,474 85,322 (56,550) 142,246

2020 $ 63,482 44,524 108,006

2019 $ 59,704 40,231 99,935

55,293 55,293

42,311 42,311

163,299

142,246

Annual Leave Current Long Service Leave Total Current Provisions Non-Current Long Service Leave Total Non-Current Provisions Total Provisions

Total $

142,246 85,650 (64,597) 163,299

A provision has been recognised for employee entitlements relating to annual and long service leave for employees. In calculating the present value of future cash flows in respect of long service leave, the probability of long service leave being taken is based upon historical data. The measurement and recognition criteria for employee benefits have been included in Note 1. The current provision for long service leave represents the value of employee entitlements expected to be paid within the next year.

17


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Notes to the financial statements for the year ended 31 December 2020 12 RESERVES Restricted Funds Reserves are comprised of: (1) Bendat Family Foundation Deed of Gift - This $500,000 (2019: $500,000) reserve is for the purpose of establishing the Bendat Scholarship Fund and the Bendat Scholarship Fund No.2 to assist the Western Australian Opera Company to fund scholarships awarded to talented young artists. These funds are to be held in escrow, with interest earned on the funds to be used to fund scholarships. (2) Bel Canto Fund Reserve - This $150,000 (2019: $150,000) reserve was established for the purpose of providing interest earnings to assist the Western Australian Opera Company to develop and nurture talented local artists. These funds are to be held in escrow, with interest earned on the funds to be used to assist local artists. Unrestricted Funds Reserves are comprised of: (3) Reserve Incentive Scheme Agreement This $300,000 reserve was established with contributions received from the Australia Council through the Major Performing Arts Board ($100,000), Department of Local Government, Sport & Cultural Industries ($100,000) and the transfer from the Association’s retained profits ($100,000). The funds were held in escrow until April 2019. (4) Production Loss Reserve This $500,000 (2019: $500,000) reserve has been established to provide against costs incurred should a production or a number of performances of a production be cancelled due to the unavoidable unavailability of artists or other essential personnel. (5) Capacity Building Reserve This $675,000 (2019: $675,000) reserve has been established to provide against additional development costs incurred in the presentation of additional production seasons in future years. Other Reserves are comprised of: (6) Investment Revaluation Reserve This $3,370,000 reserve (2019: $1,378,637) is used to record increases and decreases in the fair value of financial assets through other comprehensive income.

18


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Notes to the financial statements for the year ended 31 December 2020 13 LEASE LIABILITY Future minimum lease payment months:

Interest :

Present value of minimum lease payments:

Less than 12 months Between 12 months and five years Less than 12 months Between 12 months and five years Less than 12 months Between 12 months and five years

2020 $ 26,432 -

2019 $ 52,865 26,432

1,258 -

3,716 1,259

25,174 -

49,149 25,173

The property lease is a non-cancellable lease with a remaining term of 6 months, with rent payable quarterly in advance. 14 FORWARD PLANNING COMMITMENTS At 31 December 2020 the Association had committed to financial commitments totalling $905,459 (2019: $697,665) for principal artists, creative team and production team for Opera in the Park in February 2021, The Barber of Seville in April 2021, Nightingale regional tour in April 2021, Elijah in May 2021, Cav & Pag in July 2021, Star Navigator in August 2021, Koolbardi Wardong and The Marriage of Figaro in October 2021. The majority of these planned expenditures are dependent on the productions taking place.

15 FINANCIAL RISK MANAGEMENT OBJECTIVES AND POLICIES The Association’s principal instruments are cash, short term deposits from grants and donations received, accounts receivable and accounts payable. Risk Exposures and Responses: (a) Interest rate risk The Association’s exposure to interest rate risk arises from assets and liabilities bearing variable interest rates. At balance date, the Association had the following financial assets and liabilities exposed to variable interest rate risk:

Financial Assets Cash and cash equivalents Total

2020 $

2019 $

234,952 234,952

135,186 135,186

The Association does not enter into any form of hedging instruments to mitigate this risk.

19


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Notes to the financial statements for the year ended 31 December 2020 15 FINANCIAL RISK MANAGEMENT OBJECTIVES AND POLICIES (cont) At 31 December 2020, if there was a movement in interest rates and all other variables were held constant, there would have been negligible impact on profit and equity (2019: negligible impact on profit and equity). (b) Credit risk The Association’s maximum exposures to credit risk in relation to each class of recognised financial asset is the carrying amount of those assets as indicated in the Balance Sheet. There are no long outstanding trade receivables. (c) Foreign exchange risk The Association is not exposed to fluctuations in foreign currencies. (d) Liquidity Risk The Association manages liquidity risk by monitoring forecast cash flows. (e) Price risk The Association is not exposed to any material price risk. (f) Fair Values The carrying amount of the Association’s financial assets and financial liabilities approximate their fair value. Therefore fair values are as follows:

Financial Assets Cash and cash equivalents Deposits with maturity of more than 3 months Restricted cash deposits Trade and other receivables Financial assets at fair value through other comprehensive income Financial liabilities Trade and other payables Lease Liability

2020 $

2019 $

351,904 4,175,000 650,000 228,347 3,662,296

3,294,058 650,000 126,936 1,670,933

399,712 25,174

681,939 74,322

20


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Notes to the financial statements for the year ended 31 December 2020 16 CASH FLOW INFORMATION a) Reconciliation of Cash For the purposes of the Cash Flow Statement, cash includes cash at bank and short term deposits at call. Cash as at the end of the financial year is as follows for the purposes of the Statement of Cash Flows: NOTE

2020 $

2019 $

351,904 650,000

3,294,058 650,000

1,001,904

3,944,058

b) Reconciliation of Cash Flows from Operations with Profit from Ordinary Activities

2020 $

2019 $

Profit/(loss) from Ordinary Activities Add/(less) non-cash income and expense items: Non-cash loss on sale of fixed asset Depreciation Net cash provided/(used) by Operating Activities before change in assets and liabilities

1,568,557

221,396

473 71,771

70,157

1,640,801

291,553

(101,411) 30,184

(27,276) (134,688)

(331,375) 21,053

420,493 28,772

1,259,252

578,854

Cash on hand and at bank Restricted funds

3 5

Change in assets and liabilities during the financial year: Decrease/(Increase) in debtors Decrease/(Increase) in other assets Increase/(Decrease) in trade creditors, accruals, grants in advance and other current liabilities Movement in employee benefits provisions Net cash provided/(used) by Operating Activities

c) The Association has no credit stand-by or financing facilities in place.

21


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Notes to the financial statements for the year ended 31 December 2020 17 SEGMENT REPORTING For management purposes, the Association is organised into one main operating segment, which involves productions. All of the Association’s activities are interrelated, and discrete financial information is reported to the Board (Chief Operating Decision Makers) as a single segment. Accordingly, all significant operating decisions are based upon analysis of the Association as one segment. The financial results from this segment are equivalent to the financial statements of the Association as a whole. 18 EVENTS SUBSEQUENT TO BALANCE DATE No matter or circumstance has arisen since 31 December 2020 that has significantly affected, or may significantly affect the Association's operations, the results of those operations, or the Association's state of affairs in future financial years. The directors are satisfied that the Association will continue operating as a going concern. 19 COVID-19 IMPACTS The uncertainty of this pandemic does not enable the Association to estimate the likely financial impacts on its 2021 operations, as this depends on potential further outbreaks and measures imposed by State and Federal Governments. Notwithstanding this uncertainty, the directors are satisfied that the Association will continue as a going concern, given its current position on reserves, cash, deposits and investments. The Association will continue to review, monitor and apply all Government Covid-19 requirements to avoid further outbreaks and will also continue to monitor 2021 cash flows regularly to ensure that the Association can meet commitments as they fall due.

20 RELATED PARTY TRANSACTIONS Directors perform their duties on an honorary basis. No related party transactions occurred during the financial year.

22


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Notes to the financial statements for the year ended 31 December 2020 21 AUDITORS’ REMUNERATION

The auditor of The Western Australian Opera Company is KPMG. The audit by KPMG is a donation in-kind.

Value of donation in-kind

2020 $

2019 $

40,000

40,000

22 ASSOCIATION DETAILS The principal place of business of the Association is: The Western Australian Opera Company Incorporated Level 3, His Majesty’s Theatre 825 Hay Street PERTH WA 6000

23


The Western Australian Opera Company Incorporated Financial Report for Year Ended 31 December 2020

Statement by Directors In the opinion of the Board the accompanying accounts as set out on pages 2 to 22: (a)

Represent a true and fair view of the financial position of The Western Australian Opera Company Incorporated as at 31 December 2020 and its performance for the year ended on that date in accordance with the Associations Incorporation Act (WA) 2015 and Australian Accounting Standards (including the Australian Accounting Interpretations) and the Australian Charities and Not For Profit Commission Act 2012.

(b)

At the date of this statement, there are reasonable grounds to believe that The Western Australian Opera Company Incorporated will be able to pay its debts as and when they fall due.

This statement is made in accordance with a resolution of the Board and is signed for and on behalf of the Board by:

Andrew Pascoe (Chairman)

Catherine Ferrari (Deputy Chair)

Dated 15 April 2021

24


Independent Auditor’s Report To the members of The Western Australian Opera Company Incorporated Opinion We have audited the Financial Report, of The Western Australian Opera Company Incorporated (the Association). In our opinion, the accompanying Financial Report of the Association is in accordance with Division 60 of the Australian Charities and Notfor-profits Commission (ACNC) Act 2012, and the Associations Incorporations Act 2015 including:

• Giving a true and fair view of the

Association’s financial position as at 31 December 2020, and of its financial performance and its cash flows for the year ended on that date; and

The Financial Report comprises:

• Statement of financial position as at 31 December 2020;

• Statement of profit or loss and other

comprehensive income, Statement of changes in equity, and Statement of cash flows for the year then ended;

• Notes including a summary of significant accounting policies; and

• Directors’ declaration.

• Complying with Australian Accounting

Standards and Division 60 of the Australian Charities and Not-for-profits Commission Regulation 2013.

Basis for opinion We conducted our audit in accordance with Australian Auditing Standards. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion. Our responsibilities under those standards are further described in the Auditor’s responsibilities for the audit of the Financial Report section of our report. We are independent of the Association in accordance with the auditor independence requirements of the ACNC Act 2012 and the ethical requirements of the Accounting Professional and Ethical Standards Board’s APES 110 Code of Ethics for Professional Accountants (including Independence Standards) (the Code) that are relevant to our audit of the Financial Report in Australia. We have fulfilled our other ethical responsibilities in accordance with the Code.

KPMG, an Australian partnership and a member firm of the KPMG global organisation of independent member firms affiliated with KPMG International Limited, a private English company limited by guarantee. All rights reserved. The KPMG name and logo are trademarks used under license by the independent member firms of the KPMG global organisation. Liability limited by a scheme approved under Professional Standards Legislation.


Other Information Other Information is financial and non-financial information in The Western Australian Opera Company Incorporated’s annual reporting which is provided in addition to the Financial Report and the Auditor’s Report. The Directors are responsible for the Other Information. Our opinion on the Financial Report does not cover the Other Information and, accordingly, we do not express any form of assurance conclusion thereon. In connection with our audit of the Financial Report, our responsibility is to read the Other Information. In doing so, we consider whether the Other Information is materially inconsistent with the Financial Report or our knowledge obtained in the audit, or otherwise appears to be materially misstated. We are required to report if we conclude that there is a material misstatement of this Other Information, and based on the work we have performed on the Other Information that we obtained prior to the date of this Auditor’s Report we have nothing to report. Responsibilities of the Directors for the Financial Report The Directors are responsible for:

• Preparing the Financial Report that gives a true and fair view in accordance with Australian Accounting Standards and the ACNC;

• Preparing the Financial Report in accordance with the Associations Incorporations Act 2015; • Implementing necessary internal control to enable the preparation of a Financial Report that gives a true and fair view and is free from material misstatement, whether due to fraud or error; and

• Assessing the Association’s ability to continue as a going concern and whether the use of the

going concern basis of accounting is appropriate. This includes disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless they either intend to liquidate the Association or to cease operations, or have no realistic alternative but to do so.

Auditor’s Responsibilities for the audit of the Financial Report Our objective is:

• To obtain reasonable assurance about whether the Financial Report as a whole is free from material misstatement, whether due to fraud or error; and

• To issue an Auditor’s Report that includes our opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an audit conducted in accordance with Australian Auditing Standards will always detect a material misstatement when it exists. Misstatements can arise from fraud or error. They are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of this Financial Report. As part of an audit in accordance with Australian Auditing Standards, we exercise professional judgement and maintain professional scepticism throughout the audit.


We also:

• Identify and assess the risks of material misstatement of the Financial Report, whether due to

fraud or error, design and perform audit procedures responsive to those risks, and obtain audit evidence that is sufficient and appropriate to provide a basis for our opinion. The risk of not detecting a material misstatement resulting from fraud is higher than for one resulting from error, as fraud may involve collusion, forgery, intentional omissions, misrepresentations, or the override of internal control;

• Obtain an understanding of internal control relevant to the Audit in order to design audit

procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the registered Association’s internal control;

• Evaluate the appropriateness of accounting policies used and the reasonableness of accounting estimates and related disclosures made by the Directors;

• Conclude on the appropriateness of the Directors’ use of the going concern basis of accounting

and, based on the audit evidence obtained, whether a material uncertainty exists related to events or conditions that may cast significant doubt on the registered Association’s ability to continue as a going concern. If we conclude that a material uncertainty exists, we are required to draw attention in our Auditor’s Report to the related disclosures in the Financial Report or, if such disclosures are inadequate, to modify our opinion. Our conclusions are based on the audit evidence obtained up to the date of our Auditor’s Report. However, future events or conditions may cause the registered Association to cease to continue as a going concern; and

• Evaluate the overall presentation, structure and content of the Financial Report, including the

disclosures, and whether the Financial Report represents the underlying transactions and events in a manner that achieves fair presentation.

We communicate with the Directors of the registered Association regarding, among other matters, the planned scope and timing of the audit and significant audit findings, including any significant deficiencies in internal control that we identify during our audit.

KPMG

Graham Hogg Partner Perth 15 April 2021


Auditor’s Independence Declaration under subdivision 60-C section 60-40 of Australian Charities and Not-for-profits Commission Act 2012 To the Directors of The Western Australian Opera Company Incorporated I declare that, to the best of my knowledge and belief, in relation to the audit of The Western Australian Opera Company Incorporated for the financial year ended 31 December 2020 there have been: i.

no contraventions of the auditor independence requirements as set out in the Australian Charities and Not-for-profits Commission Act 2012 in relation to the audit; and

ii.

no contraventions of any applicable code of professional conduct in relation to the audit.

KPMG

Graham Hogg Partner Perth 15 April 2021

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