ANNUAL REPORT 2025
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).
WestAustralian Opera is proud to call WesfarmersArts our Principal Partner
WesfarmersArts is WesternAustralia’s leading corporate supporter of the arts with a demonstrated leadership position inAustralia and is the Principal Partner of the state opera company.
WesfarmersArts 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.
WesfarmersArts and WestAustralian Opera first worked together in 1998 and in 2009 Wesfarmers became Principal Partner of WestAustralian 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), plus a new commission by Gina Willams-Ghouse AM and Guy GhouseAM.They have also supported WesfarmersArtsYoungArtists program, WesfarmersArts Singing Classes, WesfarmersArts Make-up Workshops as well as 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.
Founded in 1967, WestAustralian Opera is the state’s premier opera company, presenting world-class performances at His Majesty’sTheatre. While celebrating the rich tradition of classical opera, the company also commissions and develops innovative new works, bringing fresh voices and stories to the stage.
Beyond its mainstage productions, WestAustralian Opera offers a range of programs that engage the community and nurture emerging talent.These include the WesfarmersArts Singing Classes, WAO SINGS, school workshops, concerts, and masterclasses.Artist development is supported through initiatives such as the WesfarmersArtsYoungArtist Program, the Bendat Scholarship, and the Roberts EmergingArtist Program.
The company is led by an eight-member board chaired by Darren Lewsen, with Carolyn ChardAM serving as Executive Director and Chris vanTuinen asArtistic Director. Its operations are supported through a combination of federal and state government funding, ticket sales, philanthropic donations, and corporate sponsorships.
WestAustralian Opera gratefully acknowledges the support of theAustralian Government through CreativeAustralia and the Government of WesternAustralia, as well as the vital contribution of its Principal Partner, WesfarmersArts.
“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 2025.
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 have contributed in a profound way to our success.
We are grateful to the Western Australian Government and the Federal Government through Creative Australia for their ongoing support through the National Performing Arts Framework. We are deeply indebted to our valued Principal Partner, Wesfarmers Arts, for their continued generosity, courage and values.
Thank you to patrons who offer personal contributions and continued commitment to the company through the Philanthropy Program. We are grateful for all Trusts and Foundations who give their support, including the The James Galvin Foundation, the Wright Burt Foundation, the Stan Perron Charitable Foundation and the Feilman Foundation.
We thank our generous supporters who enable the Wesfarmers Arts Young Artist Program, the Bendat Scholarship, the Bel Canto Fund, the MM Electrical Ensemble Artists Program and the Roberts Emerging Artist Program.
We remain deeply grateful for the gift of FMG shares in 2011 from which we benefit through ongoing dividends.
I thank my fellow directors for their support, time and expertise. Thank you to Andrew Pascoe who retired from the Board as Chair in June 2025.
I acknowledge and thank the Vice Regal Patron of West Australian Opera, His Excellency the Honourable Chris Dawson APM, Governor of Western Australia.
Darren Lewsen CHAIR WEST AUSTRALIAN OPERA
3. Executive Director’s Report
“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 WesfarmersArts, who have enabled three commissioned works in Noongar language from Guy GhouseAM and Gina Williams-GhouseAM.The newest work is in development for future presentation.
On the mainstage in the gorgeous His Majesty’sTheatre, we were pleased to present the enduring Gilbert and Sullivan production, The Pirates of Penzance; the beautiful Moffat Oxenbould production of Madama Butterfly and the late Elke Neidhardt’s production of Il trovatore
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 thought 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 while maintaining passion and energy and commitment.
I acknowledge and thank all of the company’s stakeholders, patrons, supporters, partners, sponsors, trusts and foundations.
It is the aim of WestAustralian Opera to deliver excellence both on and off the stage, and I wish to acknowledge and thank the Chair and Board. Particular thanks toAndrew Pascoe who retired as Chair in June 2025 and welcome to Darren Lewsen who succeeded as Chair.
My grateful thanks toArtistic Director, Chris vanTuinen and to staff and colleagues with whom I work closely all yearround at WestAustralian Opera, WesfarmersArts, His Majesty’sTheatre, Government of WesternAustralia, Arts and CultureTrust, CreativeAustralia, Lotterywest, Healthway and industry colleagues.
1
HON. DR CAROLYN CHARD AM EXECUTIVE DIRECTOR WEST AUSTRALIAN OPERA
"We sought to captivate, challenge, and inspire audiences, reinforcing opera’s vital place in the cultural life of Western Australia."
WestAustralian Opera has once again demonstrated the power of storytelling, creativity, and connection through music.This year, we embraced a season of diverse repertoire, blending cherished classics with innovative new works, each performance a testament to the passion and dedication of our artists and creative teams.Across stages both in Perth and the regions, we sought to captivate, challenge, and inspire audiences, reinforcing opera’s vital place in the cultural life of WesternAustralia.
Our mainstage offerings took audiences on a journey through beloved classics and captivating stories. From the comedic delight of The Pirates of Penzance to the heartwrenching drama of Madama Butterfly and the soaring intensity of Il trovatore, each production showcased exceptional talent, stunning design, and compelling storytelling. In the regions, Wundig wer Wilura brought a First Nations story to life, connecting communities inAlbany and Bunbury with a narrative deeply rooted in the lands of Ballardong country.
Innovation continued with our Secret Opera performances, offering intimate and immersive experiences that challenged conventional presentation and delighted audiences with opera in unexpected settings.These performances demonstrated the versatility and vibrancy of the art form, engaging both loyal patrons and new audiences alike.
Community engagement remains central to our mission. In 2025, we launched WAO SINGS in its inaugural year, bringing music education directly into schools in Ellenbrook under the expert direction of Dr Emma Jayakumar.
Collaborations with local artists, creative companies, and community partners enriched our work and strengthened the cultural fabric of WesternAustralia. We are excited to build on 2025’s successes and continue to inspire, challenge, and delight audiences across the state.
We extend our heartfelt thanks to our artists, staff, patrons, and stakeholders for their unwavering support.Together, we celebrate another remarkable year of opera, and we look forward to sharing many more extraordinary stories on our stages.
CHRISTOPHER VAN TUINEN ARTISTIC DIRECTOR WEST AUSTRALIAN OPERA
Darren Lewsen
Board Director (appointed April 2017)
Chair (appointed 1 July 2025)
Chair, Finance and Audit Community
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 25 years’ 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.
Anthony Gianotti
Board Chair (appointed January 2018)
Deputy Chair (appointed 11 March 2026)
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.
Jan Stewart
Emma Cundale
Adam Santa Maria
Alison Gaines FAICD, BA, BLaws, MA, Grad Dipl Leg Pract, Professional Certificate ESG and Social Responsibility Board Director (appointed April 2022)
Artistic and Marketing Committee
Alison leads boutique board governance 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 an active NED and chair of boards and remuneration, nomination and governance committees, as well as a finance, audit and risk committee member.
Over more than 25 years, her governance experience has included serving as Deputy Chancellor of Murdoch University, President of AIMWA, Deputy Chair of the 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 the independent Chair of the Nominations Committee for Hockey Australia, an independent member of the Nominations Committee of auDA Ltd, and an independent member of the Nominations Committee of the Noongar Advisory Company. She received an honorary doctorate from Murdoch University for her contribution to the University and the community, and is an INSEAD Certified Director.
Christiaan Heyning
Board Director (appointed August 2018)
Chair, Artistic and Marketing Committee
Christiaan is Director of Decarbonisation at Fortescue, responsible for realising Fortescue’s decarbonisation commitments. Prior to Fortescue, Christiaan co-founded the Perth office of McKinsey and led its Sustainability and Digital Practices, and the O&G practice inAmsterdam 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 specialisation in Material Science at the University of Groningen.
Jan Stewart PSM, Hon D Phil (UWA), GAICD
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 WesternAustralia with a Bachelor ofArts, Master’s Degree in Social Work. 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 LotteryAssociation for more than eight years and was the inaugural position of President of theAsia Pacific LotteryAssociation 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 UWAfor 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.
Emma Cundale
Board Director (appointed July 2025)
Finance and Audit Committee
Emma is a Special Counsel in the Projects group at DLAPiper, specialising in project delivery for major projects across the infrastructure, energy, resources and transport sectors. With over 12 years' experience working across both private practice and inhouse legal positions, she advises clients on complex contractual arrangements for largescale developments and transactions. Emma holds a Bachelor of Laws (Hons) and Bachelor ofArts from the University of WesternAustralia.
Gina Williams-Ghouse AM
Board Director (appointed January 2025)
Gina Williams-Ghouse 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 husband and collaborator, guitarist Guy Ghouse AM, Gina has written & sings songs almost exclusively in Noongar language, with a 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-times 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 was the 2025 Gallop House resident, as part of the Peggy Glanville Hicks Composers House Prelude Program. She is a member of the British Council for the Arts’Accelerate Alumni (2012) and a proud Ambassador for the Australasian Performing Rights Association (APRA).
Adam Santa Maria
Board Director (appointed July 2025)
Artistic and Marketing Committee Finance and Audit Committee
Adam Santa Maria is an experienced company executive and corporate advisor, having held senior roles including Chairman, CEO, General Counsel and Company Secretary to publicly listed companies. He is also a leading Western Australian entrepreneur, investment banker and advisor to industry. Adam has founded multiple ventures and created global networks through his work in innovation including establishing Stanford University’s global SPARK programme in Western Australia and his Executive MBA at Oxford.
Adam has deep experience in M&A, equity capital markets and private equity and has built, acquired and run a number of successful companies in the resources, manufacturing, supply chain, corporate finance and technology industries. Adam has advised on some of Australia’s most prominent matters and has managed a number of WA’s most successful IPOs and mergers.
Having commenced his career as a lawyer, Adam brings a successful track record to business matters with a capacity to conceive, structure, advise and execute. Adam is also a Justice of the Peace for Western Australia, a winner of the 2021 WA Business News 40under40 award and remains active in the arts and on multiple pro-bono & philanthropic initiatives.
6.2025 KeyAchievements
In 2025, West Australian Opera delivered a year of artistic and community engagement, reaching over 110,000 people across mainstage, regional, education, community program, activation and appearances and broadcast.
The mainstage season of The Pirates of Penzance, Madama Butterfly, and Il trovatore welcomed over 21,600 attendees, with an impressive 18,900 paid tickets and strong participation in free community performances, supported by the City of Perth. The innovative Secret Opera series delighted audiences in unique spaces including Liberty Theatre, Fremantle Prison, and Wesfarmers Arts Collection, attracting over 930 attendees.
Education and community programs flourished, engaging more than 8,000 participants, with highlights including World Opera Day supported by the City of Perth workshops, WAO SINGS, in-school performances, tours, and Wundig wer Wilura regional presentations in Albany and Bunbury. Adult learning and participation remained strong with Opera 101 lecture series and Wesfarmers Arts Singing Classes drawing 947 ticketed participants, while the Wesfarmers Arts Young Artists Program delivered eight professional masterclasses.
Beyond the theatre, West Australian Opera extended its reach through performances, major public appearances including Opera Month in the City of Perth and televised appearances for Telethon at RAC Arena and the AC Milan game at HBF park, connecting opera with tens of thousands across Western Australia and beyond.
110,000
reached across performances, tours, education programs, community workshops, public events and broadcast
TOTAL PERFORMANCES AND EVENTS
mainstage attendees at His Majesty’s Theatre TOTAL REACH
110 performances, workshops, and activations
REGIONAL
5
26,616
regional centers engaged: Albany, Bunbury, Kalgoorlie, Geraldton, and Carnamah
BROADCASTS/LIVESTREAM
2,000+
70,000+
viewers engaged via Livestream and community collaborations broadened access to regional audiences.
viewers reached via televised appearances for Telethon at RAC Arena and the AC Milan game at HBF park
LEARNING AND EDUCATION
8,000+ 600
participants in education and learning programs
Children engaged via the inaugural WAO SINGS program
Wundig wer Wilura, Albany 2025. Photo by Nic Duncan
In 2025, West Australian Opera (WAO) advanced its commitment to the First Nations First pillar. Our programs demonstrated a deep commitment to collaboration, cultural integrity, and community connection.
Wundig wer Wilura Regional Tour
The acclaimed Noongar-language opera, Wundig wer Wilura, by Gina WilliamsGhouseAM and Guy GhouseAM, successfully toured to regional WesternAustralia, bringing this vital story to new audiences and communities.
Tour Highlights
Regional Reach:The production toured toAlbany and Bunbury, extending the opera's impact beyond the metropolitan area.
Community Engagement:Associated programs included community engagement classes and Noongar language workshops, deepening local understanding and participation.
DigitalAccess:Adedicated Livestream expanded access, ensuring audiences across the state and beyond could experience the work.
Schools:Astrong focus was placed on engaging young people through targeted schools activity. InAlbany, Great Southern Grammar students participated in an incursion andAlbany Senior High School’s Follow the Dream students attended the performance, while in Bunbury the program reached over 100 students, expanding access to live performance and creative learning experiences.
Dimension Results
Strongly Agree
Comments and Feedback
It was a wonderful treat to gain free access to this outstanding production. We attended the performance live in Perth at a past Perth Festival and absolutely loved it. We really enjoyed revisiting it and found the subtitles very easy to follow and added easy access to depth of understanding of the emotional tenor and gravitas of the story. - Livestream respondent
The live stream was incredible! Very professional, so easy to sign up and watch. I was completely enthralled from the opening scene through to the ending. It was a world class performance and to have it sung in Noongar on Noongar land made it even more impactful. I learnt and I grew and now feel more connected to our beautiful state. I felt like I was there and it is such a brilliant performance. Before this show I would not have considered myself and Opera fan but now without a doubt I am, turns out I just had to find the right one! WAO should be so proud of what they've achieved and I'll be keeping an eye out for future new works like this. Thankyou so much for making this performance so accessible to everyone. - Livestream respondent
I watched it with my 5 yr old. Her first opera, she loved it. Lots of questions about who the characters were. She loved hearing the piano playing. I thought thr Noongar language was beautiful to listen to being sung. Wilura’s voice was exquisite. - Livestream respondent
Congratulations for the cultural experience, the telling of a story of time and our country. It was unique and wonderful. - Albany performance respondent
Was amazing. I have a young daughter who wants to be an opera singer and its all we have heard come out of her mouth for years now. She is amazing. Watching her face watch this was amazing. - Albany performance respondent
The entire production was an amazing experience, to hear Noongar Language and stories was truly special and I have to mention the musicians on the instruments they were excellent. A great experience thank you to everyoneBunbury performance respondent
I loved the celebration of noongar culture and the sharing of stories relevant to our shared country - Bunbury performance respondent
WAO SINGS / Noongar Language Classes
West Australian Opera continued to embed Noongar language, culture and knowledge into its education programs through WAO SINGS. Malvern Springs Primary School students in Years 1–4 participated in a Noongar language classes led by Mrs Tamara Tucker, exploring the concept of Country, respect for Boodja (land), and the animals that live on Country. Through song and storytelling, students were immersed in the language and cultural perspectives of the Whadjuk Noongar People, deepening their understanding of connection to place. By the conclusion of the program, every child was able to speak a full sentence in Noongar and identify the qualities of the animals represented in their school factions, demonstrating meaningful learning outcomes and cultural engagement.
WestAustralian Opera and Breaksea began development on a newAlbany-focused project for presentation as part ofAlbany 2026.Through workshops, creative development, and consultation with community, the project will celebrateAlbany’s rich and complex history, creating a work that is shaped by the people ofAlbany
Community-Led Development: Commission developed in collaboration with Breaksea and Menang Noongar Elders, ensuring a profound connection to the community and place ofAlbany.
Creative Workshops: Creative workshops were integral to the development process, involving local artists and elders as well as youth writers’groups, fostering local talent and authentic narrative creation.
WAO Reconciliation Action Plan (RAP)
West Australian Opera (WAO) respectfully recognise and honour the Whadjuk Noongar people on whose land we are based. As WAO journeys on its path of reconciliation we recognise the significant importance of cultural heritage, values, beliefs, and their journey to establishing self-determination. The RAP signifies a formal, long-term commitment to embedding reconciliation principles across West Australian Opera's operations and programming. View the WAO RAP plan here. The Albany Project (Work
Pillar 2 - A Place for Every Story
Reflecting the breadth of our stories and the contribution of all Australians as the creators of culture.
West Australian Opera (WAO) believes that the power of opera lies in its ability to tell human stories, transcending barriers of time, language, and culture. In 2025, our programming was defined by a commitment to bold diversity, ensuring that our season provided a place for every story—from beloved European classics to contemporary voices and powerful First nations works. This strategic balance ensured WAO connected with a broad cross-section of the Western Australian community, inviting them to see themselves and their world reflected on our stages.
A Balanced Repertoire: 2025 Program Diversity
The 2025 season was intentionally curated to offer a balanced reach across the operatic spectrum:
Program Stream
Beloved Classics (Mainstage)
Operetta
First Nations New Presentations
Productions/Events
Madama Butterfly (Puccini), Il trovatore (Verdi)
The Pirates of Penzance (Gilbert & Sullivan)
Wundig wer Wilura (Gina WilliamsGhouse AM and Guy Ghouse AM)
Key Highlights
These iconic works met subscriber demand while showcasing world-class and local talent and celebrating the art form's dramatic core.
A joyful, high-energy operetta brought new audiences into His Majesty’s Theatre and allowed us to showcase Australian talent.
This Noongar-language opera toured to regional centres, deepening our commitment to sharing stories from here and connecting with diverse geographical communities.
Regional
Education and Community
Secret Opera (assorted)
A new and innovative series launched that delivered opera in an intimate format for an audience of only 100 people per show, fostering curiosity and accessibility for non-traditional operagoers.
Mandurah Arts Festival, Wesfarmers
Arts Singing Workshops, Wesfarmers
Arts Opera 101 series Opera Gala Concerts (Regional Tour)
Presented in regional WA, these concerts offered accessible entry points to the repertoire and strengthened WAO's presence outside the metropolitan area.
These programs expanded access to opera through participatory learning and development.
Audience and Impact Metrics
Our diverse programming drove strong engagement across all segments of our audience.
(FY 2025)
Total Attendance (paid, free, in person and via broadcast)
Culture Counts Measures
Through the Culture Counts we measured how successfully our diverse programming resonated with audience perception:
Impact Measure
Local Impact: It is important that it is happening here
Cultural Contribution: It provides an important addition to the cultural life of the area
Meaning: It moved and inspired me
Diversity: It engaged people from different backgrounds
Belonging: It helped me feel part of the community
Comments and Feedback
An absolute joy to attend. Voices were amazing, humour was witty and well received Props were outstanding as were the costumes We need more fun operas here in Perth to attract another generation of culture lovers. - Pirates of Penzance respondent
It was a marvellous production and wonderful to see it staged at such a fine level Most heartening was the strong involvement of the audience - laughs, applause and such strong approval of really good theatre! - Pirates of Penzance respondent
I took my daughter & 13 year old granddaughter to the show. They both loved it! Gilbert & Sullivan is a great way for the 13 year old to experience opera and we would attend similar productions together in the future. A great production; thank you! - Pirates of Penzance respondent
Metric
The staging, lighting and costuming of this Opera were magnificent My husband and I were transported from the opening scene until the final scene, into world of subtle nuance and rich emotion The lead was fantastic, and all cast superb. Well done WAOpera ! :) - Madama Butterfly respondent
I was very impressed with the sets, costumes, voices, authenticity of culture, interpretations of the musical score and the skills of singers in expressing the emotions of each character. All of which created a truly wonderful evening - Madama Butterfly respondent
Great culture boost to the community in WA - Madama Butterfly respondent
Beautiful venue, loved the show My sister came with us, her first opera - I commented that I thought it was a great 1st show Hugely dramatic, had a couple of unexpected laughs, great sets, and beautiful performances. - Il trovatore respondent
The production, as well as the quality of singing and performance by the orchestra, was of an exceptionally high standard It is wonderful that such a great performance is available in Perth. - Il trovatore respondent
Extremely proud of the quality of classical voice and musicianship in Perth Was able to evoke spontaneity in the audience, a near impossibility in this city - Il trovatore respondent
Pillar 3 - Centrality of the Artist
Wesfarmers Arts Young Artists 2025. Photo by Alana Blowfield
Supporting the artist as worker and celebrating artists as creators.
In 2025, we strengthened our commitment to the Centrality of the Artist, ensuring that we not only provide meaningful, high-quality employment but also actively celebrate and develop the next generation of Australian talent. Over 90% of our artists employed on stages in 2025 were Australian. For a full list of artists who performed and worked with WAO in 2025, please visit our site here.
National Collaboration and Repertoire Refresh
Collaboration is essential to refreshing the operatic repertoire and ensuring the viability of new productions. By working closely with our colleagues across the country, WAO continues to contribute to the creation of compelling opera that is shared nationally, providing extensive employment opportunities for Australian singers, directors, and designers.
In 2025, WAO’s footprint was visible across multiple Australian stages:
National Touring Co-Productions: We continued to strengthen our partnership with other state companies, with WAO contributing to successful productions that toured nationally, including:
La traviata to Opera Australia (A collaboration between WAO, State Opera South Australia (SOSA), and Opera Queensland (OQ)).
Rusalka to Opera Australia (An Opera Conference production).
La bohème to Opera Queensland (A co-production between WAO and Opera Queensland).
Roméo & Juliette opened in Adelaide (a coproduction between WAO and SOSA)
Investing in Future Creators & Workers
Developing a robust pathway for young and emerging artists remains a core strategic priority. In 2025, West Australian Opera’s suite of development programs provided essential mentorship and supported the careers of artists from diverse backgrounds. This growth is further strengthened by the contribution of our experienced and principal artists, who perform across Western Australia while maintaining national and international profiles, offering leadership that inspires, mentors, and shapes the next generation of singers.
About The Program
Wesfarmers
Intensive mentorship, training, and performance opportunities, supported by Wesfarmers Arts.
This partnership supports the establishment of an ensemble of singers with whom WAO can work on a regular basis.
Empowering early career artists to develop their craft through professional development, mentorship and support.
The Bendat Family Foundation supports this scholarship offering travel assistance to young artists.
Program Highlights and Metrics
The 2025 Wesfarmers Arts Young Artist Program yielded significant real-world results, embedding emerging talent directly into our mainstage season:
Artists Mentored Training
Provided intensive, long-term career support.
Elevated technical skills and industry knowledge.
Provided vital stage credit in mainstage productions.
Featured Young Artists in Opera in Regions and Morning Melodies concerts.
Provided ongoing employment outside mainstage work.
Artists - Dimension Results
NPS = 50
A high proportion of respondents would recommend WAO to a friend or colleague
Comments
and
Feedback
+ excellent overall experience
Thank you to each and every person at WAO! Everyone was so kind, helpful and very welcoming I am so grateful to have been apart of the 2025 season. It was a wonderful experience!
Just keep doing what you’re doing! Create culture first and art second Let all the company’s creative endeavours grow from supported individuals who believe in the process and the art you can make!
The most fun I've had onstage this decade :)
Pillar 4 - Strong Cultural Infrastructure
WAO SINGS, Malvern Spring Primary School
Photo by Leila Diaz
Providing support across the spectrum of institutions which sustain our arts, culture and heritage.
In 2025, WAO focused on building capacity across the sector, ensuring the sustainability of opera by nurturing artists, developing our production skills, and strengthening key partnerships essential for ambitious programming.
Sector Collaboration
WAO significantly deepened its ties with state and national organisations:
Partner Type
National Opera Partners
State Arts Pillars
Collaborating Institutions
Opera Australia, State Opera South Australia (SOSA), Opera Queensland (OQ)
West Australian Symphony Orchestra (WASO), Perth Festival, Australian Baroque, Breaksea
Focus Area & Impact
Production Sharing and Employment: Co-producing major works (La traviata, Rusalka, La bohème) and sharing resources (staging Madama Butterfly).
Collaboration with WASO ensures the highest orchestral standard for mainstage productions. Partnerships with Perth Festival (e.g., Secret Opera) and Australian Baroque facilitate innovative, cross-genre programming.
Capacity Building: Artist Development
WAO invested in focused educational and professional development initiatives throughout the year.
Masterclass Program
A number of high-level Masterclasses were run across 2025, providing invaluable professional development opportunities. These sessions, led by visiting and local principal artists and conductors, focused on technical excellence, repertoire mastery, and professional interpretation.
Masterclasses provided intensive, specialised training to choristers, Wesfarmers Arts Young Artists, and emerging local singers, directly improving the talent pool feeding into WAO’s mainstage productions.
Nurturing the Opera Ecosystem
Beyond the stage, WAO’s efforts ensured the continued health of the broader infrastructure:
Chorister Development: Focused coaching sessions maintained the high standard of the WestAustralian Opera Chorus, as well as rotation of exceptional conductors such asAsher Fisch (Principal Conductor WASO) conducting the Il trovatore season.
Technical and Production Skills: Shared expertise with national partners (via coproductions) ensures that WAO's technical and production teams remain current with industry best practices.
Artist Survey
Impact Measure
Skills: I gained new skills
Practice development: It contributed to the development of my arts practice or business
Profile: It raised the profile of the artists
Collaboration: It provided opportunities for collaboration
WAO SINGS
In 2025, West Australian Opera launched WAO SINGS, a three-year choral education program (2025–2027) supported by the Feilman Foundation and the City of Swan. The program delivers weekly singing sessions to Year 5 and 6 students across three City of Swan schools, culminating in an end-of-year mass performance. Led by Choral Director Dr Emma Jayakumar, students explore diverse repertoire, including operatic languages and Noongar songs, while the program integrates the SEW ARTS framework to support wellbeing, creative confidence, and positive learning. WAO SINGS nurtures young voices, inspires a lifelong love of music, and strengthens community engagement in the arts.
Professional Development for Teachers
WAO SINGS also provided valuable professional development for classroom teachers, enabling them to actively participate alongside students in weekly sessions. Teachers reported increased confidence in delivering vocal and creative
learning, as well as deeper cultural understanding through engagement with Noongar language and perspectives. The opportunity to work closely with WAO artists and educators was widely valued, supporting sustainable skills development that extends beyond the life of the program.
To read the full impact report from 2025 WAO Sings, please click here.
WAO SINGS Survey Results
3 Schools engaged Student participants of students agreed at the conclusion of the program that they felt patient and encouraging with themselves and others when they sung of parents agreed that they were proud that WAO SINGS was bought to the City of Swan
Education
and Access
4
Teachers engaged of teachers agreed that music education is important for primary school students of students indicated the performance at His Majesty's Theatre made them feel happy of students agreed at the conclusion of the program, that they felt calm when they focused on their breathing
West Australian Opera continued its commitment to increasing access to opera for children and young people through the Opera in Education school tours and performances. In 2025, the Company toured a new school’s production, The Biggest Baddest Wolf, to metropolitan low socio-economic schools, aged care facilities, and regional communities, including Geraldton.
These tours provided meaningful exposure to live performance for students who may not otherwise experience opera, while also creating professional performance opportunities for early career artists. Through storytelling, music and live engagement, WAO’s schools program supported creativity, curiosity and connection to the art form across diverse communities.
I want to thank you again for bringing this absolutely delightful performance to our residents today. They haven't stopped speaking about how much they loved it – Aged care facility
The music and songs made the most positive impact on everyone present. Staff and students are still talking about your visit – Teacher, Beachlands
Primary
Adult Learning
West Australian Opera continued its commitment to building capacity across the arts sector through a range of professional and community learning initiatives designed to support audiences seeking personal development and skills growth.
In 2025, WAO delivered Find Your Voice in partnership with the Mandurah Arts Festival, alongside the Wesfarmers Arts Singing Classes and Wesfarmers Arts Opera 101 series. These adult learning programs provided accessible pathways for participants to develop vocal skills, deepen understanding of the art form and engage more confidently with opera. By supporting educators and curious audiences alike, WAO aimed to foster lifelong learning, strengthened sector capability and broadened participation in operatic practice.
Lisa who ran Discover your Voice was wonderful! She was very inspiring and it was a privilege to be taught by someone so talented - Participant, Find your Voice program
The course was really beneficial, and I am gratefully for the experience and teachings from Lisa. - Participant, Find your Voice program
Adult Singing Classes - Dimension Results
Pillar 5 - Engaging theAudience
by
Photo
Jessica Russell
Creating meaningful experiences for local and global audiences
In 2025, West Australian Opera (WAO) achieved a significant milestone in audience connection, recording a total attendance of 110,000 across all programs and platforms (paid & free audiences, live and broadcast audiences).
Measure
Net Promoter Score (NPS)
Target Goal Achieve >50
Result (FY 2025)
61 (aggregate)
Expanding Our Footprint: Digital, Education, and Regional Access
Engagement Stream
Mainstage Performances
Core Engagement: Satisfaction andAdvocacy 21,611 1,560
Events and Performance
Regional Engagement
Education and Youth
Adult Learning
Community Performances
Supported by City of Perth
Broadcast
Activations
Key Activities
The Pirates of Penzance, Madama Butterfly, Il trovatore
Secret Opera, Australian Baroque
Wundig wer Wilura Regional Tour, Regional Gala Concerts (Geraldton, Carnamah)
WAO SINGS, Opera in Education performances
Wesfarmers Arts Opera 101, Wesfarmers Arts Singing Classes, Mandurah classes, Noongar classes BREC, Masterclasses
The Pirates of Penzance, Madama Butterfly, Il trovatore
Livestream (Wundig wer Wilura), Televised WAO artist performance at AC Milan Game, Telethon Assorted fee for appearances
Photo by West Beach Studios.
Philanthropy Report
We strive to share the power of opera through transformative experiences that speak to the heart and soul. Thanks to the generosity of our supporters, West Australian Opera continues to breathe life into great music, share wonderful stories and present worldclass opera in this state.
Annual Giving
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 develop young talent, commission new works, take opera to the regions and to enable voices to soar in schools across WA.
We thank our wonderful donor family for their vital contributions.
Bequest
We are grateful to all those who have included a gift to West Australian Opera in their Will.
Fortescue Metals Group Shares
In 2011 the company gratefully received a gift of FMG shares which provide an income stream through dividends each year.
Partnerships
WAO gratefully acknowledges the support of our Principal Partner, Wesfarmers Arts whose commitment underpins the delivery of all our work. MM Electrical for our Regional Touring and Ensemble Artist Programs, Feilman Foundation for WAO SINGS which supports weekly singing classes in public schools within the City of Swan and all our partners for their generous contributions and ongoing support which strengthens our capacity to deliver across our key pillars and programs throughout the state.
Thank you, Donors
VISIONARY CIRCLE
The Roberts Emerging Artist Program
ARTISTIC DIRECTOR CIRCLE
($25,000+)
Bruce & Charmaine Cameron
LEADERSHIP CIRCLE
($10,000+)
Jock & Kate Clough
Lorraine Ellard
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
Wally & Beverley Knezevic
Francis Landels
Annie & Neil Patrick
Helen & Michael Tuite
Reto Vogel
BENEFACTOR ($2,500+)
Gaysie Atkinson
Neil Archibald & Alan R Dodge AM
Cathy Bardon & Bob Cassie
Prof Colin Binns AO & Dr Mi Kyung Lee
OAM Christine Burson
Dr Glenda Campbell-Evans & Dr Ken Evans AM
Peter & Christene Dalla Riva
Catherine Ferrari
Thomas Gerner
The Goodlad Family
Christiaan Heyning
Peter Ingram
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
Anne Seghezzi
Ruth Stratton
Clare Thompson SC & Brad Power
Ruth Thorn
Yannis Vrodos
Joy Wearne
Dr Chris & Mrs Vimala Whitaker
Anonymous (3)
SUPPORTER ($1,000+)
Dr Carol Anderson
Zelinda Bafile
David & Lois Black
Terry Budge & Anne Fraser
In Memory of Lynne Burford
Joan Carney
Robert Clifton
Frank Cooper AO
Tim & Wendy Davis
John & Ann Dawson
Brian Lindberg & Graham Douglas
Michelle & Bill Edwards
Peter Edwards
Robyn Edwards
Alison Gaines
Dr Barry Green
Steven Heath & Andrée Horrigan
Dr Penny Herbert
The Rev'd Luke Hoare
Kathryn Hogan & Graham Droppert
Enid Hopps
Dr Susan M Joubert
Ulrich & Gloria Kunzmann
Kay Lee & Richard Murphy
John & Beth McKechnie
Allan Miles & Steven Shadwell
Leeanda Paino
Dr Roger Paterson
Mary Petrie
Jennifer Rankin
Wayne Robinson
Kim & Keith Spence
Jan & Alan Stewart
Margaret Stockton
Warren & Katharina Surtees
Robyn Tamke
Tessa Tieleman
Agatha van Der Schaaf
Peter & Hilary Winterton
Anonymous (15)
FRIEND ($500+)
Ron & Sue Bates
Dr Sue Boyd AM
Jane & Jamie Campbell
Carolyn Chard AM
M & K Chester
Douglas Clifford
Prudence Cowan
Janina Ivy Cusack
Peter Eadington
Judy Evans
Bruno Fiannaca & Julie Grbavac
Peter Flanigan & Rosemary Grigg
Lee Goddard-Williams
Dr Rosalind Hampton
David Hanly
V Harvey
Catherine & Will Henwood
Jessica Iannello
Samuel Joyce
Lorraine Kousins
Warren & Gillian Lilleyman
Allison Low
Rhonda Miller
Anthony Munro
Jerry Pinnow
Steve & Jane Sherwood
Lindsay & Suzanne Silbert
Jon & Jayne Smeulders
Richard Tarala & Lyn Beazley AO
WA Opera Lovers Society
Leonard Walker
Diana Warnock & the late Bill Warnock
Robyn & Loren White
Janet Williams
Alison Woodman
Anonymous (15)
DONORS ($200+)
Thank you to all our donors who support us and help us create and present the highest quality of opera in Western Australia.
TRUSTS AND FOUNDATIONS
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
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
Dr Peter Simpson OAM
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.
BEL
CANTO FUND
Thanks to the leadership donors of the Bel Canto Fund.
BEQUEST CIRCLE
Cassandra Charlick & Stepan Libricky
Anita & James Clayton
Lorraine Ellard
Shane Pavlinovich
Ailsa West
Anonymous (5)
ESTATES
The Estate of Wendy Scanlon
The Estate of Clive Wannell
The Estate of Joyce E Young
The Estate of Noreen Riordan
9.The Company
Paul O'Neill and Naomi Johns, The Governors Ball 2025 Photo: West Beach Studio
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
Head of Marketing Danielle Barlow
Marketing Manager James Pratt
Marketing Coordinator Rebecca Bencivenni
Media Consultant Daniele Foti-Cuzzola
Education Manager Helen Dwyer
Choral Director, WAO SINGS Dr Emma Jayakumar
CRM Coordinator Rachel Sait
Financial Consultant Kris Adrian
Stage Manager Karen Farmer
Music Librarian Allison Fyfe
HONORARY LIFE
MEMBERS
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
Andrew Pascoe
Annie Patrick
Marilyn Phillips
Patron, Wesfarmers Arts Young Artist Program
Emma Matthews AM
10.Economic Impact Assessment
Madama Butterfly, 2025. Photo: West Beach Studio
In 2025, WAO held events across the Perth metropolitan area and regional WA, which attracted attendee visitation and spending that would not have occurred otherwise. The economic stimulus generated by these activities contributed to the local economies where the programs took place and when aggregated, demonstrate the positive economic impact that WAO’s activities have on the communities they engage with.
The following Economic Impact Assessment compiled by Culture Counts outlines the direct and multiplied impacts of WAO’s 2025 live season across Perth and WA. It focuses on event evaluations where economic impact questions were posed, encompassing five key programs, Madama Butterfly, Il trovatore, The Pirates of Penzance, Opera in the Regions and Secret Opera It is worth noting that as WAO produced additional programs in 2025 that were not assessed, this economic impact assessment can be viewed as a conservative estimate of the economic benefits that the organisation provided for communities across WA in 2025.
Attendee Expenditure
Public survey data has been used to calculate the average spend for visitors of each program. Attendance data supplied by organisers has been used to calculate attendance per visitor type.
Program Attendance
Additionality
Additionality excludes people who indicated that they would have done something else in the area even if they had not attended the event, because it is assumed that expenditure from those people would have occurred regardless of their attendance at a West Australian Opera event. This information is used to calculate the ‘Additionality Adjustment’, which is the weighted percentage of spending that is considered additional.
What would you have done if you didn't attend the event?
Stayed home or gone to work
Done something not in the local area
Something else in the local area
Did the event influence your decision to travel to the local area?
Yes it was the main reason
Partly, it was a contributing factor
No, but I changed or extended my original plans
No, but I did know about the event
No, I was not aware of the event
Event Spend
Average Event/Surrounding Area Spend
Additionality Adjustment
Total Event Impact
TOTAL EXPENDITURE AT EVENTS = $1,526,539
Accommodation and Trip Expenditure
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
Percent who stayed away as part of their visit
Average Nights Stayed
Total Nights Stayed
Average Spend per person per night
Accommodation Impact
Average Trip Spend per Person
TOTAL ACCOMMODATION EXPENDITURE = $716,918
TOTAL TRIP EXPENDITURE = $425,678
*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’).
Direct and Multiplied Economic Impact
At the events where this was measured; attendee event spending, accommodation spend and other trip spending, combined with organisation expenditure generated an estimated $2.7 million in direct economic impact from West Australian Opera’s 2025 season. The total expenditure as a direct result of West Australian Opera events also benefits a range of sectors as it flows through the economy. For example, customer spending at venues is then further spent on things such as supplies or staff wages.
A simplified method of estimating this involves applying a multiplier to direct economic impact. Based on this methodology, West Australian Opera’s multiplied total impact for the
For the purpose of this analysis, output multipliers derived from ABS Input-Output Tables 2020-21 have been applied to total direct expenditure.
Event Expenditure scaled by an output multiplier of 3.04, the national Food & Beverage multiplier.
Accommodation Expenditure is scaled by an output multiplier of 2.83, the national Accommodation multiplier.
Trip Expenditure scaled by an output multiplier of 2.95, representing an average of the national Retail, and Food & Beverage multipliers (2.88 and 2.96 respectively).
Organisation Expenditure scaled by an output multiplier of 2.75, an average of the national Retail & Hiring Services multiplier (3.17) and the Australian National Heritage, Creative and Performing Arts multiplier (2.67).
Direct and Multiplied economic impact results are a conservative estimate, representing the impact assessment of six of West Australian Opera’s 2023 suite of programs (solely).
11.Financial Report
fortheyearended31December2025
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
No matter or circumstance has arisen since 31 December 2025 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.
Statement by Directors
In the opinion of the Board, the accompanying accounts as set out on pages 2 to 17:
(a) Represent a true and fair view of the financial position of The Western Australian Opera Company Incorporated as at 31 December 2025 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
(b)
At the date of this statement, there are reasonable grounds to believe that The Western Australian Opera Company Incorporated will be able to pay its debts as and when they fall due.
This statement is made in accordance with a resolution of the Board and is signed for and on behalf of the Board by:
Darren Lewsen (Chair)
Dated 9 April 2026
otti (Deputy Chair)
IndependentAuditor’sReport
To the Directors of The Western Australian Opera Company Incorporated
Opinion
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-for-profits 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 2025, and of its financial performance and its cash flows for the year ended on that date; and
•
The Financial Report comprises:
• Statement of financial position as at 31 December 2025
Statement of profit or loss and other comprehensive income, Statement of changes in equity, and Statement of cash flows for the year then ended
Directors’ declaration of the registered Association •
Notes, including material accounting policies
complying with Australian Accounting Standards – Simplified Disclosures Framework and Division 60 of the Australian Charities and Not-for-profits Commission Regulations 2022 (ACNCR)
Basis for opinion
We conducted our audit in accordance with Australian Auditing Standards We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion
Our responsibilities under those standards are further described in the Auditor’s responsibilities for the audit of the Financial Report section of our report
We are independent of the registered Association in accordance with the auditor independence requirements of the ACNC Act 2012 and the ethical requirements of the APES 110 Code of Ethics for Professional Accountants (including Independence Standards) issued by the Accounting Professional & Ethical Standards Board Limited (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
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
Our opinion on the Financial Report does not cover the Other Information and, accordingly, we do not express an audit opinion or any form of assurance conclusion thereon, and our related assurance opinion
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 and ACNCR
•
•
• Responsibilities of the Directors for the Financial Report
Preparing the Financial Report in accordance with the Associations Incorporations Act 2015
Implementing necessary internal control to enable the preparation of a Financial Report that gives a true and fair view and is free from material misstatement, whether due to fraud or error
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 scepticism throughout the audit
Auditor’s responsibilities for the audit of the Financial Report
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 ofthe registered Association’s internalcontrol
Evaluate the appropriateness of accounting policies used and the reasonableness of accounting estimates and related disclosures made by the Directors
•
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 •
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 Reportor, 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
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
Graham Hogg Partner
Perth
9 April 2026
Auditor’s Independence Declaration under subdivision60-Csection60-40ofAustralianCharities andNot-for-profitsCommissionAct2012
To the Directors of The Western Australian Opera Company Incorporated
I declare that, to the best of my knowledge and belief, in relation to the audit for the financial year ended 31 December 2025 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 no contraventions of any applicable code of professional conduct in relation to the audit ii
KPMG Graham Hogg Partner
Perth 9 April 2026
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
Data and Insights by Report prepared for
This report has been prepared by Culture Counts. The authors would like to thank all stakeholders and staff for their participation in this research.
Approved by: Shelley Timms
Date of Approval: 16 April 2026.