We acknowledge the Traditional Custodians of the lands on which we live, work and create, the Whadjuk people of the Noongar Nation, and pay deep respect to Elders past and present. Kalyakoorl, ngalak warangka (forever we sing).
Acknowledgements
This report has been prepared in collaboration with Culture Counts™
Cover image: West Australian Opera 2024, Rusalka. Photo by West Beach Studio
Date of Preparation: April 2025
West Australian Opera is proud to call Wesfarmers Arts our Principal Partner
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 and in 2009 Wesfarmers became Principal Partner of West Australian Opera. This Principal Partnership underpins the ongoing life and vitality of the state opera company in Western Australia.
Since then, the partnership has expanded to embrace production seasons, the commissioning of new work in Noongar language including Koolbardi wer Wardong (2020) and Wundig wer Wilura (2024), Wesfarmers Young Artists Program, Wesfarmers Arts Singing Classes, Wesfarmers Arts Make-up Workshops and ongoing annual support
This award-winning partnership is fundamental to the state opera company and is appreciated and valued by the board, management, artists and audiences.
“West Australian Opera is deeply appreciative for the unwavering support given to the state opera company.”
I am pleased to present West Australian Opera’s Annual Report for the year ended 31 December 2024.
We are grateful to you, our stakeholders, patrons, sponsors and donors, for staying close to us. We are proud to maintain strong partnerships with our supporters, each of whom has contributed in a profound way to our success.
I recognise and acknowledge our Principal Partner Wesfarmers Arts who enabled the Wesfarmers Arts Commission with the second Gina Williams & Guy Ghouse commission in a new work entitled Wundig wer Wilura. This work premiered to great acclaim at the Perth Festival in Iain Grandage’s final year as artistic director. We thank Iain for his artistic leadership and collegiality.
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 Creative Australia for their ongoing support through the National Performing Arts Framework.
Thank you to patrons who offer personal contributions and continued commitment to the company through the Private Giving Program. We are grateful for all Trusts and Foundations who give their support including the James Galvin Foundation, the Wright Burt Foundation, the Stan Perron Charitable Foundation and the Feilman Foundation. We thank Metal Manufacturers Pty Ltd, we thank our generous donors who enable the Bendat Scholarship, the Bel Canto Fund and the Roberts Emerging Artist Program. We are grateful for the gift of FMG shares which we hold and from which we benefit through ongoing dividends.
I thank my fellow directors for their support, time and expertise. Thank you for Janet Barnes who retired from the Board at the end of 2024. Welcome to Gina Williams AM who joined the Board in January 2025.
I acknowledge the Vice Regal Patron of West Australian Opera, His Excellency the Honourable Chris Dawson APM, Governor of Western Australia.
ANDREW PASCOE CHAIRMAN, WEST AUSTRALIAN OPERA
“The arts enrich our lives, bringing us moments of joy and connecting us with our humanity.”
I acknowledge the sacred land on which we live, work, rehearse and present opera, the Whadjuk Noongar Boodja, and pay deep respect to elders past and present.
We are here to share the joy of opera with as many people around the state as possible. I gratefully recognise the support of Principal Partner Wesfarmers who have enabled two new works in Noongar language from Gina Williams and Guy Ghouse through the Wesfarmers Arts Commission. The newest work, Wundig wer Wilura, was presented at the Perth Festival and was a joy to hear, see, experience and enable.
We were pleased to premiere the new Opera Conference production of Rusalka directed by Sarah Giles. We were delighted to present Orpheus and Eurydice in an exciting production from Circa and Opera Queensland. We loved collaborating with colleagues and opera friends including Australian Baroque in a series of four concerts, and the UWA Conservatorium of Music with Dido and Aeneas
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 kept sight of our dream to speak to the heart through the human voice; to share the joy of music through opera and the powerful stories opera tells.
I am grateful to our staff and artists for their willingness to continue to find new approaches to work in live performance in a safe new way while maintaining passion,energy and commitment.
I acknowledge and thank all of the company’s stakeholders, patrons, donors, partners, sponsors, trusts and foundations.
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 Artistic Director, Chris van Tuinen and to staff and colleagues with whom I work closely all year-round at West Australian Opera, Wesfarmers Arts, His Majesty’s Theatre, Department of Local Government, Sport and Cultural Industries, Arts and Culture Trust, Creative Australia, Lotterywest, Healthway and industry colleagues.
HON. DR CAROLYN CHARD AM* EXECUTIVE DIRECTOR, WEST AUSTRALIAN OPERA
* Awarded Honorary Doctorate by the University of Western Australia, July 2023
“Our commitment to artistic excellence and innovation resonated throughout our productions, enriching the cultural landscape of Western Australia”
As we reflect on the past year at the West Australian Opera, 2024 stands as a testament to resilience, creativity and community engagement. Our commitment to artistic excellence and innovation resonated throughout our productions, enriching the cultural landscape of Western Australia. This year, we embarked on an ambitious journey, presenting a diverse repertoire that not only celebrated classic operas but also embraced contemporary works that challenged and inspired our audiences.
Our season opened with the world premiere of Wundig wer Wilura, a First Nations story from the heart of Balladong country. It featured a remarkable cast and a visually striking set designed to transport our audience to the heart of this story. The response was overwhelming, with rave reviews highlighting the passionate performances and the emotional depth of the production. Following this, we ventured into modern territory with a world premiere new production of Rusalka and a spectacular collaboration with Circa in Orpheus and Eurydice, seasons that showcased local talent and brought fresh narratives to the stage, reinforcing our dedication to fostering new works that resonate with today’s society.
Community engagement remained a cornerstone of our mission. We launched several outreach programs aimed at schools and underrepresented communities, providing access to opera and encouraging participation in the arts. Our educational workshops not only nurtured young talent but also cultivated a deeper appreciation for the operatic form among new audiences. The feedback from participants was heartening, as many expressed newfound excitement for opera and its storytelling potential.
Behind the scenes, our dedicated team worked tirelessly to ensure every production met our high standards, balancing artistic vision with operational excellence. We also expanded our collaborations with local artists and organisations, enriching our productions and fostering a vibrant creative community in Western Australia.
Looking ahead, we are excited to build on this year’s successes. Our upcoming season promises even more innovative works and partnerships, continuing to engage with our audiences in meaningful ways. Together, we will ensure that the West Australian Opera remains a beacon of creativity and a vital thread in the fabric of our community.
We deeply thank our patrons, stakeholders and artists for their unwavering support. Here’s to another year of extraordinary opera!
CHRIS VAN TUINEN ARTISTIC DIRECTOR, WEST AUSTRALIAN OPERA
Board Director (appointed 2010)
Chairman (appointed 2017)
Andrew Pascoe is a lawyer and is a partner in the corporate group of Allens in Perth. Andrew specialises in mergers and acquisitions, transactions, and major project and infrastructure development. He also practices in the area of equity capital markets, corporate governance, incorporated and unincorporated joint ventures, foreign investment in Australia, private equity transactions, and a range of commercial contracts and transactions. Andrew is also a member of the Legal Services Council.
Board Director (appointed April 2017)
Deputy Chair (appointed 2023)
Chair, Finance and Audit Committee
Darren is the Western Region Assurance Leader for Ernst & Young, where he leads a practice comprising 15 partners and 160 employees. Darren is also a member of EY’s Oceania Assurance Leadership Team. With more than 20 years of experience providing assurance services and advice across a diverse range of industries, Darren has led audits, due diligence assignments and advisory engagements for a number of Australia’s largest listed companies.
Board Director (appointed April 2022)
Artistic and Marketing Committee
Alison leads boutique board and strategy advisory firm Gaines Advisory, following an executive career as global CEO of search firm Gerard Daniels and leader of its international board practice, CEO of the Law Society of WA and Director of the Public Sector Management Office (WA Government). She is also an active NED and chair of boards and remuneration, nomination and governance committees, and finance audit and risk committee member, for over 25 years including as Deputy Chancellor of Murdoch University, President AIMWA, Deputy Chair Australian Institute of Company Directors (WA Division), Deputy Chair of an INSEAD international alumni network and non-executive director of Tura New Music Ltd. She is currently a non-executive director of Blackstone Minerals Ltd and The College of Law Ltd and independent Chair of Nominations Committee Hockey Australia. She received an honorary doctorate from Murdoch University for her contribution to the University and the community. She is an INSEAD Certified Director.
Board Director (appointed January 2018)
Finance and Audit Committee
Anthony is the Chief Financial Officer of Wesfarmers Limited. He was appointed to this role in November 2017 following his appointment as Deputy Chief Financial Officer in July 2017. Prior to this, he was Deputy Managing Director of the Industrials division from February 2017 and Finance Director from August 2015. Anthony started with Wesfarmers in 2004, and his other roles include Manager, Investor Relations; Finance Director of Wesfarmers Insurance and Managing Director of Wesfarmers Insurance.
Anthony began his career with Ernst & Young in business services and corporate finance and has held senior corporate finance roles advising on mergers and acquisitions and corporate strategy with Hambros Bank and Société Générale in Sydney, London and Melbourne. Anthony holds a Bachelor of Commerce from Curtin 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.
Board Director (appointed August 2018)
Chair, Artistic and Marketing Committee
Christiaan is the Director of Decarbonisation at Fortescue Future Industries (FFI), where he is responsible for realising Fortescue’s decarbonisation commitments across FFI and FMG. Prior to FFI, Christiaan co-founded the Perth office of McKinsey and led its Sustainability and Digital Practices, and the O&G practice in Amsterdam before that. Before joining McKinsey Christiaan started up his own company in eLearning in the late 1990s in Singapore and London and worked for an IT services firm across Europe. Christiaan Heyning holds a Masters Degree in applied physics with a specialization in Material Science at the University of Groningen.
Board Director (appointed April 2015)
Artistic and Marketing Committee
Ms Jan Stewart BA, MSW, PSM, Hon D Phil (UWA), GAICD joined the Board of Western Australian Opera in 2015. Ms Stewart held the position of CEO of Lotterywest from 1992 until December 2014.
Ms Stewart is a social worker by profession, having graduated from the University of Western Australia with a Bachelor of Arts and Master’s Degree in Social Work. Her career prior to Lotterywest included 8 years as Chief Social Worker at Perth’s major paediatric teaching hospital. Ms Stewart has held many voluntary board positions both locally and internationally including that of Senior Vice President on the Executive Committee of the World Lottery Association for more than eight years and was the inaugural position of President of the Asia Pacific Lottery Association from 1999 to 2004.
Previous boards include Hale School, Save the Children, MercyCare, St Barts, the role of Chair of the Centre for Social Impact at UWA for ten years, the role of Chair of the Raine Study for five years and recently stood down from the Board of the Perkins Medical Research Institute. As well as serving on the WAO Board, Ms Stewart is a trustee of the Feilman Foundation and is CEO to the Malka Foundation since 2019.
Board Director (appointed 1 January 2025)
Gina Williams AM is a proud Balladong, Whadjuk, Goreng (Noongar) woman with links through her nanna’s line to the Gitja people of the East Kimberley. She has been a full-time working musician since 2009. With her best friend and collaborator, guitarist Guy Ghouse, Gina writes and sings songs almost exclusively in Noongar language. They focus on bringing a modern take on Noongar language, using powerful storytelling, guitar brilliance and beautiful songs. Together, they have written and released four albums, two operas (commissioned by the West Australian Opera) and are six-time winners of the WA Music Industry Indigenous Act of the Year.
Gina was named Winner, Aboriginal Category, 2017 West Australian of the Year Awards, Inductee, 2018 West Australian Women’s Hall of Fame and 2022 appointed Member (AM) of the Order of Australia (General Division) for services to Media and Music. Gina is the 2025 Gallop House resident, as part of the Peggy Glanville Hicks Composers House Prelude Program. In 2021 Gina was awarded an Order of Australia Medal (AM) in recognition of her significant contribution to media and music. She is a Patron for the Perth Cabaret Festival, a member of the British Council for the Arts’ Accelerate Alumni (2012) and a proud Ambassador for the Australasian Performing Rights Association (APRA).
78,801
Total engagement
974
Number packages sold
39,374
Total attendance to live performance
202
20,642
Total social media followers
Coaching and Masterclass participants
Total artists, ceatives, crew employed 15 Creatives
140 Donors
5 Young Artists Supported
West Australian Opera, established in 1967, is the state opera company of Western Australia. The company presents performances at His Majesty’s Theatre and focuses on classic operatic repertoire while also commissioning and developing new works.
In addition to performances, West Australian Opera runs programs such as the Wesfarmers Arts Singing Classes, school workshops, concerts and masterclasses. It supports artist development through the Wesfarmers Arts Young Artist Program, the Bendat Scholarship and the Roberts Emerging Artist Program.
The company is governed by a nine-member board chaired by Andrew Pascoe, with Carolyn Chard AM as Executive Director and Chris van Tuinen as Artistic Director. Its funding comes from federal and state governments, ticket sales, donations and sponsorships.
West Australian Opera acknowledges the support of the Australian Government through the Australia Council, the Government of Western Australia via the Department of Local Government, Sport and Cultural Industries and the City of Perth. The company also thanks its Principal Partner, Wesfarmers Arts, for their important contribution.
In 2024, West Australian Opera aimed to gain a comprehensive understanding of the impact of its programs on both the arts sector and the broader Western Australian community. Throughout its annual program, the organisation used a set of Culture Counts dimension statements aligned with its strategic goals to evaluate audience and participant experiences across its events and activities.
The Culture Counts evaluation framework uses a standardised set of outcome metrics called ‘dimensions’ to effectively measure the impact of cultural activities and programs. This framework includes over a hundred academically validated statements, developed in consultation with the arts sector and tested by organisations in Australia and internationally.
Each dimension is measured using a 101-point sliding scale, allowing survey participants to indicate their level of agreement with a statement. Respondents move a marker along the scale from zero (Strongly Disagree) to 101 (Strongly Agree). The collected data is then aggregated and presented in charts, highlighting key cultural, social, economic, quality, and place-based outcomes from West Australian Opera’s 2024 season, along with the positive impact of these activities on the community.
The outcome infographics below display a selection of average scores for key outcome metrics gathered from West Australian Opera’s audience and participant surveys in 2024.
Impact: It’s important that it’s happening here; I'm glad we could do this at school
COMMUNITY OUTCOMES
This report presents key insights into audience engagement and experiences measured throughout the year. The charts below have been compiled using survey data collected across all West Australian Opera (WAO) programs evaluated in 2024.
As part of the survey, respondents were asked whether they were attending a WAO event for the first time. The ‘New audience (survey)’ percentage represents the proportion of attendees who indicated that it was their first time experiencing a WAO production or activity.
Alongside these survey results, the ‘New audience (ticketing)’ figure is also displayed, which is derived from ticket purchase data sourced from WAO’s ticketing platform, Tessitura.
Respondents were also invited to rate their overall experience at the event or activity they
LOCATION Which of the following best describes where you
attended. The overall experience chart highlights the percentage of attendees who rated their experience positively (i.e. as good or excellent).
The Net Promoter Score (NPS) is a widely used metric that measures brand loyalty. An NPS above 0 is generally considered positive, while a score of 50+ is regarded as excellent. West Australian Opera’s 2024 Net Promoter Score of 62 demonstrates a strong level of audience satisfaction.
Demographic data collected in the evaluation process provides valuable insights into the audience groups engaging with WAO programs. The charts below offer an overview of the aggregated audience demographic data, including location, age and gender, for all WAO programs evaluated in 2024.
How would you describe your gender?
71% Female
28% Male
1% Identified in another way
9 – 15 February 2024
His Majesty’s Theatre
Williams and Ghouse
In association with Perth Festival
Wundig is a handsome young man, and muchloved member of the Hills people. Wilura is a beautiful young woman adored by her family, the Grass people.
Wundig wer Wilura (Wundig and Wilura) is an ancient Noongar story of star-crossed lovers, who break the bounds of lore and custom, and have their souls forever banished to Mount Brown (Wongborel) and Mount Bakewell (Walwalling) in York, Western Australia.
Family and connection to country, obligation and rebellion, adoration and betrayal, love and war. In the face of catastrophic consequences, how far would you go for love?
Sung in Noongar, this striking new production from award-winning songwriters and storytellers Gina Williams and Guy Ghouse was a new Wesfarmers Arts Commission that premiered at Perth Festival.
A Wesfarmers Arts Commission
Writers & Composers Gina Williams & Guy Ghouse
Arrangement & Orchestration Dr Chris Stone
Conductor Aaron Wyatt
Director Matt Reuben James Ward
Choreographer Ian Wilkes
Set Designer Matt McVeigh
Costume & Cultural Props Designer
Peter Farmer Designs
Costume & Cultural Props Associate Designer*
Rae Cottam
Lighting Designer Mark Howett
Sound Designer Jeremy Turner
Digital Content Creator Roly Skender
Répétiteur Joshua Haines
Wundig Jarred Wall
Wilura Jess Hitchcock
Mubarn (Clever Man) David Leha aka Radical Son
Bworan (Old Man) Ronald Dick
Ngaank (Wilura’s Mother) Charley Caruso
Kabaarli Kalyat (Nanna Cheek, Wilura’s Nanna)
Della Rae Morrison
Gulambiddi (Wilura’s Betrothed) Jarrad Inman
Mandi (Wundig’s Betrothed) Bella McGill
Maamyok (Wundig’s Mother) Teresa Moore
Kongk (Wundig’s Father) Tyrone Brownley
Maambart (Wilura’s Father) Rubeun Yorkshire
Ensemble: Jack Collard, Caitlin Collom, Rachael Colmer, Ronald Dick, Natasha Eldridge, Indigo Ellis, Julianna Marie, Alana McGaw, Kobi Morrison, Tristan Tucker, Olman Walley, Ian Wilkes
Children: Thomas McGill, Ziggy James Penfold, Winnie De Silveira, Chanel Young
West Australian Symphony Orchestra
*Supported by Bruce & Charmaine Cameron
Local Impact: It’s important that it’s happening here
Cultural Contribution: It provides an important addition to the cultural life of the area
Place: It made me feel proud of my local area
Meaning: It moved and inspired me
Rigour: It was well thought through and put together
Innovation: It was introduced to the audience in a new way
Diversity: It engaged people from different backgrounds
Qualities
Cultural Outcomes
Community Outcomes
Economic Outcomes
6,390 Attendees
Distinctiveness: It was different from things I’ve experience before 85/100
Insights: The audience response to Wundig wer Wilura was overwhelmingly positive, as reflected in its exceptionally high overall satisfaction ratings. Among the Mainstage programs measured in 2024, it also recorded the highest engagement with new audience members for the 2024 performances.
Participants most strongly agreed with the ‘Local Impact’ outcome, indicating that they felt it was important that the production was happening locally. This was closely followed by strong results for ‘Cultural Contribution’ and ‘Rigour,’ with audiences recognising its positive contribution to the cultural life of the area, and its high level of quality and execution.
Additionally, the production’s high Net Promoter Score suggests that if WAO were to present this program again in the future, there is a strong likelihood that attendees would recommend it to friends and colleagues.
Mills
There are more than 800 species of eucalyptus in Australia. There is only one Ellen Holland, whose beauty is famous for miles around. Her overprotective father has created a safe place to protect her from the world; a forest of eucalypts. Is this forest Ellen’s sanctuary or is she imprisoned like Rapunzel?
Murray Bail’s Miles Franklin Award-winning novel Eucalyptus came to life in music in this in-concert world premiere of a new opera from acclaimed Australian composer Jonathan Mills.
Part Australian fairytale and part word-painting of the Australian bush, this musical celebration of the botanical wonder of this country featured an exceptional Australian cast backed by the West Australian Opera Chorus and West Australian Symphony Orchestra.
Eucalyptus is supported by Philip Bacon, AO & Carol Colburn Grigor, CBE
Commissioned by Opera Australia and Victorian Opera
Composer Jonathan Mills
Librettist Meredith Oakes
Conductor Tahu Matheson
Ellen Desiree Frahn
Holland Simon Meadows
The Stranger Michael Petruccelli
Cave Samuel Dundas
The Sprunt Sisters Natalie Jones & Dimity Shepherd
Featuring West Australian Opera Chorus and West Australian Symphony Orchestra
Local Impact: It’s important that it’s happening here
Meaning: It moved and inspired me
Place: It made me feel proud of my local area
Belonging: It helped me feel part of the community
Distinctiveness: It was different from things I’ve experienced before 76/100
Qualities
Cultural Outcomes
Community Outcomes
Social Outcomes
1,134
Attendees
Insights: Presented in collaboration with the Perth International Arts Festival 2024, Eucalyptus received a strong Net Promoter Score (NPS). These results demonstrate that attendees were likely to recommend the production to others.
The dimensions of ‘Local Impact,’ ‘Meaning’ and ‘Distinctiveness’ resonated particularly well with participants, highlighting the production’s relevance to local audiences, its unique artistic qualities, and its ability to inspire and engage viewers.
9 – 12 May 2024
Purcell
The devastating heartache of Purcell’s beautiful 1689 masterpiece filled Government House Ballroom during an exclusive evening of dinner and performance.
Dido, the Queen of Carthage, and Aeneas, the Trojan Prince, were torn apart when witches hatched an evil plan to destroy them.
Known for its exquisitely tender aria Dido’s Lament, this moving opera was filled with joy and sorrow that pierced hearts and transported audiences to another time and place.
DINNER
The evening was set around a long-table-styled dinner inspired by Dido and Aeneas
Guests booked with groups of friends to enjoy dinner and a performance while raising a glass to this early music gem!
West Australian Opera presents Dido and Aeneas in association with The University of Western Australia Conservatorium of Music.
Composer Henry Purcell
Librettist Nahum Tate
Conductor (9 To 11 May) Christopher van Tuinen
Conductor (12 May) Bayden Adams
Director Humphrey Bower
Lighting Designer Mick Rippon
Repetituer Lydia Lai
Dido Ashlyn Tymms
Aeneas Lachlann Lawton*
Belinda/Witch Jessica Blunt
Second Woman/Second Witch Ruth Burke
Sorceress Belinda Butler
Featuring UWA Symphony Orchestra and UWA Voice students
* Supported by the Roberts Emerging Artist Program
Local Impact: It’s important that it’s happening here
Cultural Contribution: It provides an important addition to the cultural life of the area
Meaning: It moved and inspired me
Rigour: It was well thought through and put together
Innovation: It was introduced to the audience in a new way 85/100
Place: It made me feel proud of my local area
Access: It gave me the opportunity to access cultural activities
Belonging: It helped me feel part of the community
Cultural Outcomes
Community Outcomes
Qualities Social Outcomes
Insights: Dido and Aeneas achieved the highest Net Promoter Score of all WAO programs that utilised this metric in 2024, reflecting a strong level of audience enthusiasm in recommending the performance to others. This is further reinforced by its exceptional overall satisfaction rating, which ranked among the highest recorded for WAO’s 2024 programs.
The highest-rated dimensions were ‘Local Impact’ and ‘Cultural Contribution,’ followed by ‘Rigour.’ These results indicate that respondents strongly agreed on the significance of the production taking place in the area, its valuable contribution to the cultural life of the area, and its thoughtful execution.
18 - 27 July 2024
Dvorak
In this enchanting opera, Rusalka shimmered with magic and transformation before the final echoes of tragedy.
Inspired by Hans Christian Andersen’s fairytale, The Little Mermaid, the water nymph Rusalka longs for the love of a Prince. First, she must sacrifice her voice to become human. This turns into a curse when she discovers the true cost of being part of a world she neither knows nor understands.
Blending soaring romantic melody and charming Czech folk music, Rusalka is the most intoxicating fairytale opera, best loved for the dreamlike beauty of the exquisite aria ‘Song to the Moon’.
An award-winning creative team brought this new grand-scale production to the stage.
An Opera Conference production
Composer Antonín Dvořák
Librettist Jaroslav Kvapil
Conductor Christopher van Tuinen
Director Sarah Giles
Assistant Director Laura Hansford
Set Designer Charles Davis
Costume Designer Renee Mulder
Lighting Designer Paul Jackson
Content Creation/Video Designer David Bergman
Rusalka Elena Perroni
The Prince Paul O’Neill
Vodník Warwick Fyfe
The Foreign Princess Naomi Johns*
Ježibaba Ashlyn Tymms
First Wood Sprite Bella Marslen*
Second Wood Sprite Chelsea Burns
Third Wood Sprite Brigitte Heuser
Game Keeper Stuart Laing
Voice of the Hunter Brett Peart
Featuring West Australian Symphony Orchestra and West Australian Opera Chorus
* Supported by The Roberts Emerging Artist Program
This production was supported by the Artistic Director Circle
Local Impact: It’s important that it’s happening here
Rigour: It was well thought through and put together
Cultural Contribution: It provides an important addition to the cultural life of the area
Place: It made me feel proud of my local area
Innovation: It was introduced to the audience in a new way
Access: It gave me the opportunity to access cultural activities
Meaning: It moved and inspired me
Qualities
Cultural Outcomes
Community Outcomes
Social Outcomes
4,820
Attendees
Belonging: It helped me feel part of the community
Insights: Rusalka garnered some of the most positive audience responses across the Qualities domain, with ‘Local Impact’, ‘Rigour’, and ‘Cultural Contribution’ achieving the highest agreement ratings. The close alignment of ‘Local Impact’ and ‘Rigour’ suggest that audiences valued both the opera’s local significance and its well-considered production qualities. With a strong overall satisfaction scores and a high Net Promoter Score (NPS), Rusalka clearly resonated with attendees, the vast majority of whom had a highly positive experience and would likely recommend it to others.
24 October – 2 November 2024
Heartbroken Orpheus has been granted the chance to bring Eurydice, his dead wife, back to life from the underworld. However, there is one condition; he must not look back at her, not even for a moment, on their long journey back or she will be condemned to the underworld forever.
Can Orpheus resist the temptation to look into the eyes of his true love?
Thrilling acrobatics and striking video design combined to take audiences to hell and back in Circa’s award-winning production. Set to some of the most stirring music ever written, this was opera like never seen before.
West Australian Opera and Circa present an Opera Queensland in association with Circa production of Orpheus & Eurydice.
Composer Christoph Willibald Gluck
Librettist Ranieri de’ Calzabigi
Conductor Christopher van Tuinen
Director and Set Designer Yaron Lifschitz
Associate Director Heather Fairbairn
Assistant Director Margrete Helgeby Chaney
Costume Designer Libby McDonnell
Lighting Designer Alexander Berlage
Projection Designer Boris Bagattini
Choreography Yaron Lifschitz, Bridie Hooper and the Circa Ensemble
Chorus Master Christopher van Tuinen
Orpheus Russell Harcourt
Eurydice & Amor Prudence Sanders
FEATURING
Circa Ensemble
West Australian Opera Chorus
West Australian Symphony Orchestra
Local
Distinctiveness:
Rigour:
Cultural Contribution: It provides an important addition to the cultural life of the area
Place: It made me feel proud of my local area
Innovation: It was introduced to the audience in a new way
Qualities
Cultural Outcomes Community Outcomes
5,418
Attendees
Insights: Orpheus & Eurydice audiences were most likely to agree with the ‘Local Impact’ and ‘Rigour’ dimensions, followed by ‘Cultural Contribution’ and ‘Innovation’.
These findings indicate that audiences felt strongly that it was important the production was happening here, it was well thought through and put together, that it positively contributed to the cultural life of the area and that it was innovative in the way it was introduced.
The production’s success is evident in its high satisfaction rating and Net Promoter Score (NPS), signalling not only a deeply engaging experience but also a performance audiences were eager to share.
14 – 16 November 2024
West Australian Opera was proud to present Opera in the Quarry, a Gala Concert at the Quarry Amphitheatre.
Audiences spent a romantic evening under the stars listening to much-loved opera and musical theatre favourites, including popular hits by Puccini (La bohème, Madama Butterfly) and Leonard Bernstein (Candide).
They gathered with friends, packed picnics, dressed up (or down), and encountered beautiful music that nurtured their souls and allowed their spirits to soar!
The concert featured beautiful music performed by West Australians Paul O’Neill, Naomi Johns, Caitlin Cassidy, Jessica Blunt, Brett Peart, Kohsei Gilkes, and Tommaso Pollio.
Music Director Tommaso Pollio
Tenor Paul O’Neill
Soprano Naomi Johns
Mezzo-soprano Caitlin Cassidy
Soprano Jessica Blunt
Tenor Kohsei Gilkes
Baritone Brett Peart
Insights: Audience feedback for Opera in the Quarry followed a similar trend to other 2024 productions with ‘Local Impact,’ ‘Rigour’ and ‘Cultural Contribution’ emerging as the top-rated dimensions. Respondents demonstrated that they felt that the production was well thought through and put together, that it was important it was happening here and that it significantly contribution to cultural life of the area.
The majority of survey respondents reported having a positive overall experience, while the series’ high Net Promoter Score (NPS) suggests a strong likelihood that audiences would recommend it to others.
West Australian Opera thrives on the power of collaboration, fostering meaningful connections with arts companies and organisations across the state, ensuring opera continues to captivate audiences, amplify the transformative power of opera enriching the state’s cultural fabric.
Collaboration
14 March, 30 May, 29 August, 28 November
Hacket Hall, WA Museum Boola Bardip
West Australian Opera and Australian Baroque took audiences on an exquisite musical journey, celebrating the grandeur of the Baroque era with four beautiful concerts.
Australian Baroque, a Perth-based ensemble with a never-ending spirit of enquiry, performs on historical instruments and captivates audiences with recordings by ABC Classic, Tall Poppies, and Master Performers. As Ensemble-in-Residence at John Curtin Art Gallery, the Balingup Arts and Cultural Hub, and Aquinas College, they specialise in unique programs such as Space Music, Bach and Beer, and The Coffee Cantata.
West Australian Opera artists brought the timeless works of Handel, Bach, Purcell, and Vivaldi to life under the direction of Helen Kruger in Hackett Hall.
In association with West Australian Symphony Orchestra
13 & 14 September
Perth Concert Hall
A work of imaginative genius, Mahler’s monumental Symphony was a joyous celebration of the creative spirit and an uplifting testament to eternal love and our shared humanity.
Performed for the first time in Western Australia, this astonishing sonic spectacle offered a once-ina-generation concert experience.
Calling for huge orchestral forces, massed choirs, and a host of exceptional soloists, the sheer magnitude of this unparalleled music left an indelible mark on the soul.
Audiences did not want to miss these awe-inspiring performances of a legendary masterpiece.
The West Australian Symphony Orchestra presented this concert in association with the Australian National Academy of Music, Aquinas College Schola Cantorum, WA Opera Chorus, UWA Symphonic Chorus, and Voyces.
Local Impact: It’s important that it’s happening here 95/100
Rigour: It was well thought through and put together 94/100
Qualities
Social Outcomes
2,942 (99% capacity)
Cultural Contribution: It provides an important addition to the cultural life of the area
93/100
Access: It gave me the opportunity to access activities I would otherwise not have access to
87/100
Attendees Were satisfied with their overall experience 97%
Insights: Created in collaboration with the West Australian Symphony Orchestra (WASO), Mahler 8 received an overwhelmingly positive response, with almost all attendees surveyed providing a positive overall experience score.
The production achieved some of the highest dimension results across WAO’s 2024 suite of programs, with ‘Local Impact,’ ‘Rigour’ and ‘Cultural Contribution’ attracting the highest average agreement results. These findings provide insight into the opera’s importance to the local area, the excellence of its production and its cultural impact.
20 September 2024
York Festival
West Australian Opera and York Festival presented a concert performance of Wundig wer Wilura, a Wesfarmers Arts commission by Gina Williams and Guy Ghouse.
Sung in Noongar, this powerful opera from awardwinning songwriters and storytellers Gina Williams and Guy Ghouse, and performed by the West Australian Opera, lit up Avon Park under the stars to open The York Festival 2024.
Family and connection to country, obligation and rebellion, adoration and betrayal, love and war. In the face of catastrophic consequences, how far would you go for love?
Composers Gina Williams and Guy Ghouse
Arrangement Dr Chris Stone
Director Matt Reuben James Ward
Music Director Joshua Haines
Sound Designer Noah Ivulich
Mandi Wundig’s betrothed Bella McGill
Mubarn (Clever man) David Laha
Kabaarli Kalyat (Nanna Cheek, Wilura’s nanna)
Gina Williams AM
Gulambiddi Wilura’s betrothed Jarrad Inman
Wundig (Hills Moort) Jarred Wall
Wilura (Valley Moort) Jess Hitchcock
Maambart (Wilura’s father) Benjamin Gath
Maamyok (Wundig’s mother) Teresa Moore
Kongk (Wundig’s father) Tyrone Brownley
Bworan Old Man, Ensemble Ronald Dick
Ngaank (Wilura’s Mother) Charley Caruso
AUDIENCE & EXPERIENCE
362
Attendees
Guitar Guy Ghouse
Double Bass Dr Nick Abbey
Percussion Dr Daniel Susnjar
Piano Joshua Haines
City of Karratha, Red Earth Arts Festival
Written and composed by Gina Williams and Guy Ghouse
Koolbardi the magpie and Wardong the crow are very proud, vain, jealous brothers. Their cunning, rivalry and one-upmanship bring them unstuck in spectacular fashion. Journey back to the Nyittiny, the time of Creation, where love, loyalty, betrayal and jealousy are all stretched to their limits.
Award-winning songwriters and storytellers, Gina Williams and Guy Ghouse, weave magic in this beautiful tale where pride always comes before the fall.
A Wesfarmers Arts Commission.
All music composed by Gina Williams and Guy Ghouse © 2020 Wanjoo Pty Ltd. All rights administered by Perfect Pitch Music Publishing (APRA), on behalf of Wanjoo Pty Ltd. All rights reserved. Used by permission.
AUDIENCE & EXPERIENCE
Composers Gina Williams and Guy Ghouse
Arrangement and Orchestration Dr Chris Stone
Director Matt Reuben James Ward
Music Director Joshua Haines
Sound Designer Noah Ivulich
Wardong Jarred Wall
Koolbardi Jarrad Inman
Djidi Djidi Tyrone Brownley
Miss Djidi Djidi Natasha Eldridge
Ngaank Boodja Gina Williams AM
Guitar Guy Ghouse
Double Bass Dr Nick Abbey
Percussion Dr Daniel Susnjar
Piano Joshua Haines
Attendees
West Australian Opera provides support for students, teachers and the wider community to engage with opera. We recognise the place West Australian Opera occupies in the study of music in Western Australia and we work to offer the best possible learning experiences.
Through the power of song and voice, WAO aims to reach across social and economic barriers to encourage healthier lives for WA communities. In partnership with Healthway, Lotterywest, Minderoo Foundation and the Feilman Foundation, WAO’s Education program provides opportunities for students from across metro and regional WA to connect through the power of the human voice.
In 2024, West Australian Opera delivered a range of education initiatives aimed at increasing accessibility to opera and the arts for students and the wider community and focused on the integration of social and emotional pedagogies developed through the Social and Emotional Wellbeing in the Arts (SEW Arts) research by The Kids Research Institute of Australia (formerly Telethon Kids Institute). These initiatives demonstrated WAO’s commitment to fostering accessibility, innovation, and meaningful community engagement whilst continuing to build connections through the power of opera and music.
Some key education and community outreach projects this year included:
Presented at the heritage-listed Liberty Theatre in the City of Perth, this production featured a variety of opera, art song and musical theatre pieces and was designed to address elements of secondary school West Australian Curriculum across a range of subjects.
This year, our adult singing classes culminated in a community performance, ‘Songs in the Quarry,’ alongside the West Australian Young Voices at the Quarry Amphitheatre. This concert allowed participants to showcase their learnings to friends and family and offered them the unique and valuable experience of performing for an audience.
This performance was supported by the Estate of Noreen Riordan.
Presented in association with Perth Festival – A Wesfarmers Arts Commission
Through a partnership with the City of Perth, West Australian Opera was able to offer fully subsidised tickets to a ‘community performance’ at the general rehearsal of a new Noongar-language opera from Gina Williams and Guy Ghouse, Wundig wer Wilura. This community initiative provided access to opera for numerous community groups, including many First Nations organisations, and contributed to introducing new audiences to the theatre.
Supported by Feilman Foundation
In 2025, West Australian Opera will launch an exciting three-year pilot program, WAO Sings, with the generous support of the Feilman Foundation.
Running from 2025 to 2027, this program will provide comprehensive music education through choral singing to Grade 5 and 6 students at four schools in the Ellenbrook area: Malvern Springs Primary School, Aveley Primary School, Bullsbrook College, and Ellenbrook Primary School. Led by Choral Director Dr Emma Jayakumar, the program will include weekly sessions at each school, teaching music and choral skills alongside songs in English, French, Italian, German and Noongar.
In 2024, West Australian Opera worked closely with Dr Jayakumar and the pilot schools to design a program that integrates core primary curriculum objectives with social and emotional wellbeing outcomes, informed by the company’s partnership with The Kids Research Institute of Australia.
WAO Sings represents an exciting step forward in delivering meaningful music education and fostering connections through the transformative power of opera.
Cultural Contribution: It provides an important addition to the cultural
Meaning:
Rigour: It was well thought through and put together
Diversity: It engaged people from different backgrounds
Local Impact: It’s important that it’s happening here
Innovation: It was introduced to the audience in a new way
Place: It made me feel proud of my local area
Qualities
Cultural Outcomes
Community Outcomes
561
AttendeesWere satisfied with their overall experience 96%
Insights: Similar to WAO’s performances, the 2024 Opera in Education series received excellent feedback in the areas of ‘Cultural Contribution,’ ‘Rigour’ and ‘Local Impact,’ demonstrating that participants thought it was an important additional to the cultural life of the area, that it was well produced and presented and that it was important it was happening there.
An outstanding 96% of respondents reported a positive overall experience. These results highlight the program’s success in not only introducing new participants to opera but also in making it an engaging and enriching experience – one that many felt was an important and valuable cultural offering provided by WAO.
Over the last 18 months, across 2023 and 2024, West Australian Opera presented the Act Belong Commit Community Outreach Program; a multifaceted community outreach program delivered to young people in the City of Cockburn (metro), City of Gosnells (metro), and the North Midlands (regional, in collaboration with The North Midlands Project).
This program was provided at no cost to each community, thanks to the generous support of Healthway and Lotterywest, which ensured that there would be no financial barriers to participation. As part of this project, WAO also collaborated with The Kids Institute of Australia to contribute to their Social and Emotional Wellbeing in the Arts (SEW Arts) research, as well as piloting the integration of related SEW Arts pedagogies into the program design and evaluation.
The program effectively ran in three parts:
1. Community Consultation
2. Introductory workshops to build trust and awareness within the communities
3. Incursions within local primary schools and short-term Choral Programs aimed to create sustainable programs that the community may continue following the conclusion of the partnership.
See at links below videos from West Australian Opera’s
Act Belong Commit Community Outreach Program 2024
Act Belong Commit Workshop Series –Cockburn
Trailer created by local young photographer, Leila Diaz
Act Belong Commit Sing out Loud! Incursion Series
Delivered for primary schools in Cockburn and Gosnells, and later for primary schools in the North Midlands area.
Act Belong Commit Don Russell Performing Arts Centre Community Choir
Theatre tour of ‘Rusalka’ for participants of our Gosnells choral series, shot by Owen Gregory.
The program primarily engaged with the following demographics:
Workshops and Choral Series: Young people aged 10 to 24
Incursions: Primary school students aged 4 to 13
Additionally, the program broadened its impact by engaging local artists and professionals through professional development opportunities, welcoming adult audience members to related concerts, and including adult participants in accessible workshops tailored for people living with disabilities.
The evaluation further highlighted the program’s reach to a diverse range of participants, including those born overseas or speaking a language other than English at home, individuals who identified as Aboriginal and/or Torres Strait Islander, and members of the LGBTQIA+ community.
Organisation: The project was well organised 93/100 PROGRAM OUTCOMES
Rigour: It was well thought through and put together
Access: It gave me the opportunity to access cultural activities
Enjoyment: I had a good time 85/100
Local Impact: It’s important that it’s happening here
Belonging: It helped me feel part of the community
Wellbeing: It had a positive impact on my physical health and mental wellbeing
Meaning: It moved and inspired me
Qualities Social Outcomes
Cultural Outcomes
AUDIENCE & EXPERIENCE
3,141
Attendees New audience (survey) 55% Were satisfied with their overall experience 96%
Insights: WAO’s Act Belong Commit Community Outreach Program continued to make a meaningful impact, successfully engaging young people in opera while fostering an inclusive, supportive and fun learning environment.
Survey results reflect this success, with the majority of respondents aligning with key dimensions such as ‘Organisation’, ‘Rigour’, ‘Access’ and ‘Enjoyment’. This suggests that participants in this program felt that it was well organised, it was well thought through and put together, the program gave them the opportunity to access cultural activities and that they had a good time.
96% of program attendees reported satisfaction with their overall experience, reinforcing the program’s effectiveness in delivering enriching and accessible cultural engagement.
West Australian Opera offered adult singing classes that immersed participants in a traditional opera chorus environment. Workshop leaders of 2024 included principal soprano and vocal technician, Lisa Harper-Brown, conductor and violinist Laurissa Brook, and rising stars Beth Redwood and Aria Scarlett. These leaders provided professional insight into vocal and performance techniques and introduced participants to a diverse range of repertoire.
These classes offered a unique learning opportunity for participants to attend the theatre and develop their vocal and musical skills and understanding, creating meaningful connections within the community to opera and song.
In 2024, participants of these classes were offered the rare and exciting opportunity to showcase their learnings to friends and family at ‘Songs in the Quarry’ at the Quarry Amphitheatre.
West Australian Opera is dedicated to bringing the art of opera to as many people as possible across Western Australia through community events, appearances, and activations.
In 2024, with the support of See Subiaco, West Australian Opera saw the return of Cooking with Opera, where the artistry of opera and the culinary artistry of Subiaco’s most beloved restaurants and bars collide.
For centuries, opera has inspired chefs to create decadent dishes in its honour, illustrating the
profound cultural influence of this timeless art form. Cooking with Opera celebrated this connection through a series of engaging activations and exclusive menu offerings that paired music, flavours and aromas, for a sensory experience worth singing about.
The year also saw the introduction of Opera 101, a series of lectures with Artistic Director Chris van Tuinen at the University of Western Australia. These sessions explored the evolution of operatic history from the Baroque period to the 20th Century, offering a deeper understanding of the art form’s history and significance. These lectures were very well-received, highlighting the community’s strong interest in learning more about opera and its rich history.
The company is committed to providing opportunities for all to enjoy and access opera. West Australian Opera operates tactile tours and audio-described performances per opera season.
West Australian Opera is dedicated to nurturing the next generation of opera talent by providing young people with opportunities to experience the joy of performance. Through children’s auditions, participation in mainstage productions and performances in Wundig wer Wilura and community outreach programs, WAO remains committed to developing young voices and fostering local talent.
In 2024, WAO supported several key performance opportunities for children, including:
• Participation in Wundig wer Wilura, presented as part of the Perth Festival
• Multiple performances and concerts for participants of the choral series’ operating in Cockburn, Gosnells and the North Midlands as part of our Act Belong Commit Community Outreach Program
• A collaborative performance with the West Australian Young Voices and our Wesfarmers Arts Singing Class participants at the Songs in the Quarry concert.
In 2024, West Australian Opera was proud to present a variety of adult learning opportunities designed to engage and inspire lifelong learners.
These included Cooking with Opera, which blended culinary and operatic artistry; Opera 101, which explored the evolution of opera with Artistic Director Chris van Tuinen; and our Wesfarmers Arts Singing Classes, which culminated in the Songs in the Quarry concert.
Additionally, adult participation was incorporated into the Act Belong Commit Community Outreach Program, which offered workshops inclusive of people over 18 years old and included accessible workshops tailored for social groups supporting people living with disabilities.
The Wesfarmers Arts Young Artist Program is committed to nurturing the next generation of opera talent.
The program offers a mentorship experience for Western Australian artists that includes coaching, masterclasses and performance. The program aims to develop technical skills and stagecraft.
The support of Wesfarmers Arts and the Bendat Family Foundation, who support the Bendat Scholarship, has seen graduates build successful careers on opera stages locally, nationally and internationally.
The 2024 Wesfarmers Young Artists were Jessica Blunt (soprano), Benjamin Del Borrello (baritone), Ruth Burke (mezzo-soprano), Kohsei Gilkes (tenor) and Brett Peart (baritone).
The Roberts Emerging Artist Program empowers early and mid-career artists to develop their craft through professional development opportunities, mentorship, specialist coaching, role preparation and training support.
The visionary support of The Roberts Emerging Artist Program has enabled this program to come to fruition and support aspiring artists.
Inclusion: It made me feel welcome and included
Rigour: It was well thought through and put together
Wellbeing: It had a positive impact on my physical health and mental wellbeing
Access: It gave me the opportunity to access cultural activities
Cultural Contribution: It provides an important addition to the cultural life of the area
Belonging:
Meaning:
Qualities
Cultural Outcomes
AUDIENCE & EXPERIENCE
21,307
Insights: WAO’s Reach and Accessibility programs were highly successful in attracting new audiences, achieving the highest new audience engagement in 2024.
Participants responded most positively to key dimensions within the Qualities and Social domains, particularly ‘Inclusion,’ ‘Wellbeing’ and ‘Rigour.’ These results highlight the program’s outstanding impact, with participants overwhelmingly agreeing it made them feel welcome and safe, that it positive impact on their physical health and mental wellbeing, and that the series was wellproduced.
Overall WAO’s Reach and Accessibility programs achieved an impressive overall satisfaction score of 95%. Additionally, it received a Net Promoter Score (NPS) of 49 – a strong result, just shy of the 50+ benchmark considered excellent, reinforcing its effectiveness in engaging and resonating with audiences.
Opera has the power to transform lives, speaking to the heart and soul. Thanks to the generosity of our supporters, West Australian Opera can continue to tell stories in theatres, schools, communities and regions and support the next generation of opera talent.
West Australian Opera deeply appreciates those who choose to make an annual gift. This ongoing support underpins our ability to plan and deliver the highest quality performances and keep opera live and an accessible art form in Western Australia. We thank our wonderful Donor family for their vital contributions.
We are grateful to all those who have included a gift to West Australian Opera in their Will. We acknowledge The Estate of Noreen Riordan for a generous bequest in 2024, and thank Noreen for her vision and understanding of the importance of the Arts in our community in Western Australia.
In 2011, the company gratefully received a gift of FMG shares which provide an income stream through dividends each year.
VISIONARY CIRCLE
The Roberts Emerging Artist Program
ARTISTIC DIRECTOR CIRCLE ($25,000+)
Bruce & Charmaine Cameron
LEADERSHIP CIRCLE ($10,000+)
Jock & Kate Clough
Dr Robert Larbalestier AO
Ken & Yuko Lucas
Margaret & Rod Marston
Dr Peter Simpson OAM
Leanne & Sam Walsh AO
Anonymous (1)
PRINCIPAL PATRON ($5,000+)
Stewart Candlish & Bianca Panizza
Warwick Hemsley AO
The Estate of Robert Kimpton
Francis Landels
Annie & Neil Patrick
Anne Seghezzi & Gene Tilbrook
Helen & Michael Tuite
BENEFACTOR ($2,500+)
Gaysie Atkinson
Neil Archibald & Alan R Dodge AM
Lorraine Ellard
Catherine Ferrari
Christiaan Heyning
Eleanor John
Dr Maria Kailis
Ross & Fran Ledger
Patrick Lilburne
Andreas W Merk
Marie Mills & Anthony Crocker
Mark & Fiona Newman
John S Paterson
Bill & Barbara Reid
Kerry Sanderson
Ruth Thorn
Joy Wearne
Anonymous (3)
SUPPORTER ($1,000+)
Dr Carol Anderson
Cathy Bardon & Bob Cassie
Prof Colin Binns AO & Dr Mi Kyung Lee OAM
David & Lois Black
Christine Burson
Joan Carney
Helen Carroll
Frank Cooper AO
Peter & Christene Dalla Riva
Tim & Wendy Davis
John & Ann Dawson
Brian Lindberg & Graham Douglas
Michelle & Bill Edwards
Peter Edwards
Robyn Edwards
Thomas Gerner
Dr Barry Green
Dr Rosalind Hampton
Steven Heath & Andrée Horrigan
Dr Penny Herbert
Luke Hoare
Kathryn Hogan & Graham Droppert
Peter Ingram
Ulrich & Gloria Kunzmann
Kay Lee & Richard Murphy
Karen Parfitt
Mary Petrie
Jennifer Rankin
Wayne Robinson
Kim & Keith Spence
Gail Spiers
Jan & Alan Stewart
Ruth Stratton
Robyn Tamke
Clare Thompson SC & Brad Power
Tessa Tieleman
Agatha van Der Schaaf
Dr Chris & Mrs Vimala Whitaker
Peter & Hilary Winterton
Anonymous (12)
($500+)
Tom & Mary-Anne Aram
Ron & Sue Bates
Sue Boyd AM
Carolyn Chard AM
M & K Chester
Douglas Clifford
Robert Clifton
Prudence Cowan
Janina Ivy Cusack
Peter Eadington
Peter Flanigan & Rosemary Grigg
David Hanly
V Harvey
Enid Hopps
Jessica Iannello
Dr Susan M Joubert
Jock & Jennifer Laurie
Warren & Gillian Lilleyman
Allison Low
Dr Hamish McGlashan
Anthony Munro
Liane Papaelias
Roger Paterson
Steve & Jane Sherwood
Lindsay & Suzanne Silbert
Diane Smith-Gander AO
Margaret Stockton
Warren & Katharina Surtees
Richard Tarala & Lyn Beazley AO
Sue Thomas
Leonard Walker
Diana Warnock & the late Bill Warnock
Alison Woodman
Anonymous (7)
($200+)
Thank you to all our donors who support us and help us create and present the highest quality of opera in Western Australia.
Bendat Family Foundation supporting Jessica Blunt, Ruth Burke, Ben Del Borrello, Kohsei Gilkes, Brett Peart
The James Galvin Foundation
Stan Perron Charitable Foundation
Wright Burt Foundation
LIFETIME RECOGNITION
DONORS
Neil Archibald & Alan R Dodge AM
Bruce & Charmaine Cameron
Warwick Hemsley AO
The Kimpton Family
The Kailis Family
Dr Robert Larbalestier AO
Annie & Neil Patrick
Helen & Michael Tuite
The Roberts Emerging Artist Program
Leanne & Sam Walsh AO
Anonymous (1)
ANDREW FORREST AO
NICOLA FORREST AO
The generous gift of FMG shares supports a strong and vibrant arts sector in Western Australia.
Thanks to the leadership donors of the Bel Canto Fund.
Cassandra Charlick & Stepan
Libricky
Anita & James Clayton
Lorraine Ellard
Shane Pavlinovich
Ailsa West
Anonymous (5)
The Estate of Wendy Scanlon
The Estate of Clive Wannell
The Estate of Joyce E Young
The Estate of Noreen Riordan
Listing correct at time of publication.
Join our cast of supporters by donating online at waopera.asn.au. All donations over $2 are tax deductible.
VICE REGAL PATRON
His Excellency the Honourable Chris Dawson AC APM, Governor of Western Australia
Executive Director Carolyn Chard AM
Artistic Director Chris van Tuinen
Production Manager Mandy Farmer
Accountant Debbie Byrnes
Artistic Administrator Kate Larkins
Partnerships Manager Terasa Letizia
Philanthropy Manager Jane Campbell
Marketing Manager Dharshini (Dee) Murugiah
Audience & Insights Manager Danielle Barlow
Marketing & Events Coordinator Rebecca Bencivenni
Media Consultant Daniele Foti-Cuzzola
Education Manager Olivia Ferguson
Choral Director, WAO Sings Emma Jayakumar
CRM Coordinator Rachel Sait
Special Projects Ginny van Tuinen
Financial Consultant Kris Adrian
Stage Manager Karen Farmer
Music Librarian Allison Fyfe
Dario Amara
Richard Bonynge AC CBE
Julie Bishop
Terry Bowen
Frank Cooper AO
Catherine Ferrari
Erich Fraunschiel
Colin Goddard
Warwick Hemsley AO
Francis Landels
Bruce Martin AM
Margaret McManus
Dr Richard Mills AO
Annie Patrick
Marilyn Phillips
Patron, Wesfarmers Arts Young Artist Program
Emma Matthews AM
Wesfarmers Arts Commission
Gina Williams AM and Guy Ghouse
In 2024, WAO delivered events across the Perth metropolitan area and regional Western Australia, attracting visitors and expenditure that would not have otherwise occurred. These activities generated economic stimulus, benefiting local economies and demonstrating the positive financial impact of WAO’s engagement with communities.
This Economic Impact Assessment, compiled by Culture Counts, outlines the direct and multiplied economic effects of WAO’s 2024 live season in Perth. It is based on event evaluations that included economic impact metrics, focusing on four key Mainstage productions: Wundig wer Wilura, Dido & Aeneas, Rusalka, and Orpheus & Eurydice
It is important to note that this assessment does not account for WAO’s additional city and regional programs delivered in 2024. As such, the findings represent a conservative estimate of the organisation’s total economic contribution to Western Australia.
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
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 WAO event. This information is used to calculate the ‘Additionality Adjustment’, which is the weighted percentage of spending that is considered additional.
Calculation - Locals
What would you have done if you didn’t attend the event?
Wundig wer Wilura Dido & Aeneas Rusalka
Calculation
Did the event influence your decision to travel to the local area?
wer Wilura Dido & Aeneas Rusalka
Event expenditure includes money that attendees spent at the event or in the local area immediately before and after attending the event. This can include categories such as food and beverages, entertainment and transport.
Event Spend
Wundig wer Wilura Dido & Aeneas Rusalka
& Eurydice
Total Expenditure at Events = $1,277,473
Respondents to a selection of event surveys were asked whether they stayed away from home overnight while attending the West Australian Opera event, how many nights they stayed and how much they spent on accommodation per person, per night. This data is used to calculate the ‘Accommodation Impact’. Respondents from outside of Western Australia were also asked how much they spent in the area as part of their visit (excluding spending at the event or on event tickets). This is referred to as the ‘Trip Impact’.
Accommodation and Trip Wundig wer Wilura Dido & Aeneas Rusalka Orpheus & Eurydice
Total Accommodation Expenditure = $721,496 Total Trip Expenditure = $493,268
*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, and adjusted based on if the event was a significant reason for the respondent’s visitation to the area (the ‘Primary Reason Adjustment’).
At WAO events where a robust dataset was available, attendee spending on tickets, accommodation, and other trip-related expenses combined with organisational expenditure generated an estimated $9.5 million in direct economic impact for the Western Australian community during the 2024 season.
This expenditure benefits multiple sectors as it circulates through the economy. For instance, customer spending at venues supports suppliers, staff wages, and other operational costs. A common method for estimating this broader impact involves applying a multiplier to the direct economic impact.
Using this approach, WAO’s total multiplied economic impact for 2024 is estimated at $26.7 million.
For this analysis, output multipliers from the ABS Input-Output Tables 2012-13 have been applied to total direct expenditure.
Footer:
1. Output multipliers are derived from ABS Input-Output Tables 2020-21.
2. The multiplier for Trip Spend is the average of the national Food and Beverage (3.04) and Retail multipliers (2.85).
3. Accommodation expenditure has been scaled by an output multiplier of 2.83, the national Accommodation multiplier, and Organisation Spend by the Arts and Culture multiplier (2.75).
4. Organisation Expenditure scaled by an output multiplier of 2.92, an average of the national Retail & Hiring Services multiplier (3.17) and the Australian National Heritage, Creative and Performing Arts multiplier (2.67).
5. Direct and Multiplied economic impact results are a conservative estimate, representing the impact assessment of four of West Australian Opera’s 2024’s suite of programs (solely), where economic impact was available.
for the year ended 31 December 2024
Your Directors submit the financial report of The Western Australian Opera Company Incorporated (“West Australian Opera” or “the Association”) for the year ended 31 December 2024.
1. Directors during the financial year and until the date of this report:
Mr Andrew Pascoe (Chairman)
Mr Darren Lewsen (Deputy Chair)
Ms Alison Gaines
Mr Anthony Gianotti
Mr Christiaan Heyning
Ms Jan Stewart
Ms Gina Williams (appointed 1 January 2025)
Ms Janet Barnes (resigned 2 November 2024)
2. Principal Activities
The principal activity of The Western Australian Opera Company Incorporated is the presentation of opera.
3. Significant Changes
Contributions to the Opera Conference (a partnership between Opera Australia, West Australian Opera, Opera Queensland and the State Opera of South Australia) resumed in 2024. Contributions had been paused in 2022 and 2023 to allow each company to retain the funds towards recovery from the effects of Covid-19 pandemic. Payments to the Opera Conference during 2024 totalled $318,640.
4. Operating Result
The operating surplus from ordinary activities for the financial year was $299,588 (2023: surplus of $199,977).
5. Auditor’s Independence Declaration
The auditor’s independence declaration under section 60-40 of the Australian Charities and Not-forprofits Commission Act 2012 is included in this Annual Report and forms part of the Directors’ Report of The Western Australian Opera Company Incorporated for the year ended 31 December 2024.
Signed in accordance with a Resolution of the Board
Andrew Pascoe (Chairman)
Dated 10 April 2025
Darren Lewsen (Deputy Chair)
The accompanying notes form part of these financial statements
the year ended 31 December 2024
9,321,340 The accompanying notes form part of these financial statements
a) Basis of preparation
(a) The Financial Report is a general purpose financial report that has been prepared 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 and the Australian Charities and Not-for-profits Commission Act 2012.
The financial report covers The Western Australian Opera Company Incorporated (“West Australian Opera” or “the Association) 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 Association during the financial year was the presentation of opera.
The financial report is presented in Australian dollars, which is the Association’s functional currency.
The financial report is prepared on an accruals basis and is based on historical costs. It 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 following new Accounting Standards applicable to the Association are not mandatory for the 31 December 2024 reporting period. The Association has elected not to early adopt the standards.
• AASB 18 Presentation and Disclosure in Financial Statements – application date 1 January 2028
• AASB 2023-5 Amendments to Australian Accounting Standards – Amendments to Australian Accounting Standards – Lack of Exchangeability – application date 1 January 2026
• AASB 2024-2 Amendments to Australian Accounting Standards – Classification and Measurement of Financial Instruments – application date 1 January 2026
• AASB 2024-3 Amendments to Australian Accounting Standards – Annual Improvements –application date 1 January 2026
When AASB 18 is first adopted for the year ending 31 December 2028, the presentation of the financial statements will change. The other standards are not expected to have a material impact on the Association
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.
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.
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:
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.
Liabilities for wages and salaries, including non-monetary benefits and annual 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. Past history indicates that on average, sick leave taken each reporting period is less than the entitlement accrued. Expenses for sick leave are recognised when the leave is taken and are measured at the rates paid or payable. No liability for unused sick leave entitlements is recognised.
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.
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
The Association 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).
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 statement of cash flows 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)
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
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).
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
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.
i)
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.
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.
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.
The Association 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 Association presents right-of-use assets in ‘property, plant and equipment’.
The Association has elected not to recognise right-of-use assets and lease liabilities for leases of low value assets and short-term leases. The Association recognises the lease payments associated with these leases as an expense over the lease term.
The Western Australian Opera Company Incorporated 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 Association
(b)
amounts are non-interest-bearing receivables.
6 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
7 FINANCIAL ASSETS AT FAIR VALUE THROUGH OTHER COMPREHENSIVE
9,838,365
The Association placed funds in a managed investment portfolio in 2021. During 2022, further funds including restricted cash representing the Bendat Family Foundation Deed of Gift and Bel Canto Fund were transferred to this investment portfolio. Approval was granted by the Bendat Family Foundation and was not required under the terms of the Bel Canto Fund. Refer to Note 11 for more details.
In 2011 the Association acquired an investment in ASX-listed shares of Fortescue Metals Group (FMG) by donation.
The fair value of the shares and managed investments is determined by reference to published market price quotations.
PROVISIONS
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.
The Association has a lease agreement for business premises for a 5-year term from 1 July 2024. A market valuation rent increase applies from 1 January 2025.
Refer to Note 6 for information about the right-of-use asset associated with the lease.
Restricted Funds Reserves:
Bendat Family Foundation Deed of Gift
This $500,000 (2023: $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 income earned on the funds to be used to fund scholarships.
Bel Canto Fund Reserve
This $150,000 (2023: $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 income earned on the funds to be used to assist local artists.
Unrestricted Funds Reserves:
The unrestricted funds reserves were transferred to the retained surplus during 2024.
Reserve Incentive Scheme Agreement
This reserve (2023: $300,000) 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 surplus ($100,000).
Production Loss Reserve
This reserve (2023: $500,000) was 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.
Capacity Building Reserve
This reserve (2023: $675,000) was established to provide against additional development costs incurred in the presentation of additional production seasons in future years.
Other Reserves:
Investment Revaluation Reserve
This $2,830,268 reserve (2023: $4,215,479) is used to record increases and decreases in the fair value of financial assets through other comprehensive income.
At 31 December 2024 the Association had committed to financial commitments totalling $663,250 (2023: $759,907) for principal artists and creative and production teams for The Pirates of Penzance in March 2025, Madama Butterfly in July 2025, and Il trovatore in October 2025. The majority of these planned expenditures are dependent on the productions taking place.
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:
The Association does not enter into any form of hedging instruments to mitigate this risk.
At 31 December 2024, if there was a 0.5% (2023: 0.5%) movement in interest rates and all other variables were held constant, there would have been a $2,447 impact on profit and equity (2023: $3,856).
(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 in the statement of financial position. There are no long outstanding trade receivables.
(c) Equity price risk
The fair value of the Association’s equity investments is subject to changes in market prices. The Association manages equity price risk through diversification within the JB Were managed portfolio.
(d) Liquidity risk
The Association manages liquidity risk by monitoring forecast cash flows.
(e) Foreign exchange risk
The Association is not exposed to fluctuations in foreign currencies.
(f) Fair values
The carrying amount of the Association’s financial assets and financial liabilities approximate their fair value.
14 CASH FLOW INFORMATION
a) Reconciliation of Cash
For the purposes of the Statement of Cash Flows, cash includes cash at bank and short-term deposits at call, including cash held for investment by an advisor but which can be immediately recalled. Cash as at the end of the financial year is as follows for the purposes of the Statement of Cash Flows:
b) Reconciliation of Cash Flows from Operations with Surplus from Ordinary Activities
The Association has no credit stand-by or financing facilities in place.
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 (the 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.
No matter or circumstance has arisen since 31 December 2024 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.
Directors perform their duties on an honorary basis.
The auditor of The Western Australian Opera Company is KPMG The audit by KPMG is a donation in-kind.
The principal place of business of the Association is:
Level 3, His Majesty’s Theatre 825 Hay Street PERTH WA 6000
In the opinion of the Board the accompanying accounts as set out on pages 2 to 20:
(b) Represent a true and fair view of the financial position of The Western Australian Opera Company Incorporated as at 31 December 2024 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-profits Commission Act 2012.
(c) 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)
Dated 10 April 2025
Darren Lewsen (Deputy Chair)
the Directors of The Western Australian Opera Company
We have audited the Financial Report, of The Western Australian Opera Company Incorporated (the Registered Association).
In our opinion, the accompanying Financial Report of the Registered Association is in accordance with Division 60 of the Australian Charities and Not-forprofits Commission (ACNC) Act 2012, and the Associations Incorporations Act 2015 including:
• Giving a true and fair view of the Registered Association’s financial position as at 31 December 2024 and of its financial performance and its cash flows for the year ended on that date; and
• Complying with Australian Accounting Standards and Division 60 of the Australian Charities and Not-for-profits Commission Regulations 2022 (ACNCR)
The Financial Report comprises:
• Statement of financial position as at 31 December 2024;
• 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 material accounting policies; and
• Directors’ declaration of the Registered Association.
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 Registered 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 these requirements
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 is financial and non-financial information in The Western Australian Opera Company Incorporated’s annual report which is provided in addition to the Financial Report and the Auditor’s Report. The Directors are responsible for the Other Information.
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.
The Directors are responsible for:
• Preparing the Financial Report that gives a true and fair view in accordance with Australian Accounting Standards - Simplified Disclosures Framework and the ACNC;
• Preparing the Financial Report in accordance with the Associations Incorporations 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 registered 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 registered Association or to cease operations, or have no realistic alternative but to do so.
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 skepticism 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 10 April 2025
I declare that, to the best of my knowledge and belief, in relation to the audit for the financial year ended 31 December 2024 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 10 April 2025
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.