2017 annual report€¦ · dubai and our ever-responsive die burger, cape times, cape argus, cape...
TRANSCRIPT
2 0 1 7 A N N U A L R E P O R T
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V I S I O N & VA L U E ST O B E T H E L E A D I N G O P E R A C O M P A N Y O F I T S T Y P E
I N T H E W O R L D , A N D A S O U R C E O F P R I D E T O A L L S O U T H A F R I C A N S .
O U R M I S S I O N
To promote and develop the appreciation, enjoyment and understanding
of opera amongst all South Africans, and respect for its practitioners;
To mobilise all available local, national, regional and global artistic, financial and managerial resources in support of CTO’s vision;
To contribute to committed and innovative stewardship of opera and the operatic arts in South Africa;
To show sensitivity to the needs and requirements of the broad-based opera community in South Africa.
To engage with and inspire future generations
O U R V A L U E S
Excellence and integrity in all our undertakings;
Committed and innovative stewardship;
Sound and ethical governance;
Open engagement with stakeholders.
O U R G O A L S
Provide a full and varied programme of world class opera and operatic productions with South African and international artists in South Africa;
Provide training and skills development opportunities for South African singers and operatic arts practitioners in South Africa and abroad;
Provide performance opportunities for South African singers and operatic arts practitioners in South Africa and abroad;
Encourage and support the creation and production of new operatic and musical works that reflect South Africa’s cultural diversity and explore African identity.
C O N T E N T S
V I S I O N & V A L U E S
C H A I R P E R S O N ’ S R E P O R T
M A N A G I N G D I R E C T O R ’ S N O T E
D E P A R T M E N T A L R E P O R T S
F A C T S & F I G U R E S
A R T I S T I C D I R E C T O R ’ S R E P O R T
A C T I V I T I E S B Y M O N T H
G L O B A L R E A C H
S T A F F
Y O U T H D E V E L O P M E N T & E D U C A T I O N
D I R E C T O R S & T R U S T E E S
F I N A N C I A L R E P O R T
F U N D E R S & S P O N S O R S
P A T R O N S & B E Q U E S T S
2 0 1 8 S E A S O N
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A R T F U L LY C O N S T R U C T E D U P O N
A S E R I E S O F A N T I T H E S E S , C A P E
T O W N O P E R A’ S N E W P R O D U C T I O N
O F WAG N E R ’ S E A R LY M A S T E R P I E C E
H A S C O M P L E X I T Y A N D A R E S O N A N C E
B E YO N D T H AT O F A N O P E R AT I C V E R S I O N
O F A N O L D M Y T H .
B E V E R L E Y B R O M M E R T O N
D E R F L I E G E N D E H O L L Ä N D E RC A P E T I M E S
C H A I R P E R S O N ’ S R E P O R T
I find uplifting the way Cape Town Opera embraces each new year with such positive energy, and the start of 2017 was no different. As the year unfolded however, the Company would also draw deeply on its resilience to confront the huge challenges that faced everyone from mid-year. The separate cancellation of two major overseas revenue-generating tours by host venues, due to their internal management problems, had significant repercussions for the Company.
Cape Town Opera embarked on the difficult process of restructuring to become leaner, and to concentrate all resources on realising the purpose for which it exists – to perform, promote and develop opera sustainably, and to provide outreach programmes which nurture a love of this inspiring performing art.
Board and management were resolute that Cape Town Opera should not stop singing. Patrons and benefactors concurred and their strong support was critical to this end. The Board and I are deeply appreciative of their belief in the Company and of their generosity, in particular the foresight of leading classical arts philanthropist, Mrs Wendy Ackerman.I commend management, singers and staff for the courage, sheer grit and determination they showed throughout this unsettling period; for the professionalism and confidence with which they continued to present world-class opera on stage at home and abroad, and deliver outreach programmes locally and nationally. I encourage you to read the reports by the Managing Director and the Heads of Department to appreciate the wide scope, variety and richness of Cape Town Opera’s work.
I appreciate the generous grants and contributions from trusts, foundations, and corporate and government entities, including the National Lotteries Commission and the Western Cape Government Department of Cultural Affairs and Sport, and welcome our new international relationships with opera companies and festivals.
I thank our many opera lovers in South Africa and abroad for their unwavering loyalty and understanding of the complex challenges to be faced in sustaining a permanent opera company in South Africa.I appreciate the strong support and insight from our Trustees in Cape Town and in the UK.
I thank warmly my fellow Directors for their unswerving support, collegiality and hard work in maintaining the equilibrium necessary to effect significant change while simultaneously enabling the company to focus with purpose.
I look ahead to 2018 reassured that our experiences have tempered Cape Town Opera to emerge stronger, facing the future with confidence and conviction.
S U S A N S M I T H
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M A N AG I N G D I R E C T O R ’ S R E P O R T
Cape Town Opera delivered an ambitious program of opera, musicals, concerts, educational and outreach projects in 2017. The year-round programming featured three classic works reimagined as a reflection of our life in South Africa, a large scale new musical, and our first tours to Dubai and Hong Kong. I am pleased to report that the staff of Cape Town Opera remained committed to mounting world class opera productions and creating new work with predominantly South African artists.
Our training program continues to be one of our most rewarding and successful enterprises. Several singers from the CTO Studio won prizes in 2017, most notably Mandla Mndebele who came third in The Hans Gabor Belvedere Competition in Moscow and also won the Audience Prize; Cecilia Rangwanasha won Second Prize in the UNISA National Singing Competition and First Prize at ATKV Muziqanto National Competition; and Siphamandla Yakupa won the Mbokodo Award 2017 for Opera, awarded to Women in Arts and Culture. The high standard of our young artists is a testament to the artistic team in general, and to Lize Coetzer and her staff of vocal coaches, in particular. An important part of our program is our Outreach and Education work. Under the leadership of Christine Crouse, the Outreach team travelled to the Eden
district, Free State province, the Eastern Cape and KwaZulu Natal on their annual South African School Choral Eisteddfod tour. These activities continue to encourage new audiences to attend opera, develop emerging artists, and enable CTO’s Studio artists to gain valuable teaching experience.
In the second half of 2017 CTO made its debut at the Dubai Opera and the Hong Kong Cultural Centre Grand Theatre with our production of Mandela Trilogy. We were pleased to tour with the Cape Town Philharmonic Orchestra who provided sparkling accompaniment under the baton of Tim Murray. As part of the Hong Kong Arts Festival we were commissioned to create an exhibition on Nelson Mandela. Mandela – Voice of the Nation was installed in the foyer of the Grand Theatre for the duration of the Africa Festival and was viewed by over 10 000 visitors. Unfortunately the tours of Porgy & Bess to the new venue Le Seine Musical in Paris in September and the opera house in Fuessen in December were cancelled at short notice. This meant a 30% drop in income for 2017 which produced a serious shortfall in our operational budget for 2017. Cost saving measures were implemented and we are grateful for the loans from Duet and CTO Endowment.
Critical to our success last year has been the partnerships alongside other organizations with similar goals to our own. The Wales Millennium Centre produced a new musical, Tiger Bay, in association with Cape Town Opera. This was our largest project to date and we were proud to host a West End creative team who took up residence in Artscape for five weeks to deliver a thrilling season of a large scale musical. We collaborated with the Cape Town Philharmonic Orchestra and mounted a Gala concert which raised funds for the Duet Endowment.
Our collaboration with the University of Cape Town Opera School resulted in a sharing of resources, benefitting both our Studio members and University music students. The production of Mozart’s The Magic Flute proved to be a wonderful example of how popular youth culture can align with excellent musical values and high quality singing. Kamal Khan and Brandon Phillips did an exemplary job of conducting a double cast of young singers in this very popular Matthew Wild production. We were particularly pleased, after the disruption of our Magic Flute season with the UCT Opera School in 2016, to produce a sell-out season to critical acclaim.
This will be my final Annual Report for Cape Town Opera as I will be leaving the company to take up the post of CEO for the Buxton International Festival. Each year it has been a singular pleasure to write about the company which has been central to my life for the last twenty-eight years. I joined CAPAB Opera in 1990 as a young Staff Director and was part of the transition to Cape Town Opera in 1999. During that time Angelo Gobbato encouraged me to create South African operas, many of which were produced at Artscape. His mentorship enabled me to tackle the challenges facing a young company when I was appointed Managing Director in 2005. It has been an honour and privilege to work for Cape Town Opera and I wish to express my personal gratitude to all the staff and singers, our generous sponsors, patrons, the board members and trustees who have been so generous in their support of my tenure and who have made serving this exquisite art form such a pleasure.
M I C H A E L W I L L I A M S
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The 2017 season was a year of contrasts to satisfy all audiences. From the Broadway sounds of Tiger Bay the Musical to the sacred repertoire of Grace Notes, and from the Wagnerian majesty of Der Fliegender Holländer to the six sold out performances of The Magic Flute. CTO ventured into new venues as well, such as St George’s Cathedral in Cape Town, the Dubai Opera House and Hong Kong Grand Culture Centre Theatre. Our media footprint reached an international level with Opera Magazine, which featured CTO in its October issue, MTV.co.za, Times Live, Time Out Dubai and our ever-responsive Die Burger, Cape Times, Cape Argus, Cape Talk and FMR outlets. Over 40,500 audience members were reached around the world, and we look forward to widening our reach in 2018.
MARKETING AND PUBLICITY - L E S L E Y L I D D L E
BUSINESS DEVELOPMENT & FUNDRAISING - M E L A N I E DA N I E L S
PRODUCTION - M A R I T H A V I S AG I E
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My first year at CTO’s fundraising department was filled with excitement, fresh ideas and new experiences. Funds derived from government, individuals, foundations and corporates totalled R12,7 million, including generous bequests from the late JJL Bertin and Holger Arndt estates. Our patron scheme enjoyed a growth of ten new and reinstated members. Golf Day in February proved to be a popular event, with 24 x 4 balls participating at Stellenbosch Golf Club. The fundraising tours to Bonhams in London and Rotary Clubs in Germany cemented strong relationships with return visits planned for 2018. We are proud to announce that the UK Friends of Cape Town Opera have been entered into the UK Register of Charities as of November, ending the year on a high note.
2017 was a season that saw us bringing vastly different worlds to life on stage. We kicked the year with Marthinus Basson’s brightly coloured, contemporary Rigoletto. A minimal set design, dominated by clever use of the existing stage machinery and strong audio visual designs combined with Michael Mitchell’s slick and modern costume styling.The next production, Tiger Bay, the Musical took us back in time to the dockyards of Cardiff Bay. Our partnership with WMC brought together the talents of a UK and South African production team to create this brand new work. Realizing Anna Fleische’s set design, we created an almost life size ship prow on stage. This production was also not short of stage tricks with blood spurting prosthetic fingers, gunshot wounds and a magical crystal ball to name but a few.Staying with the theme of ships and dockyards, Michael Mitchell’s set and costume designs for Der Fliegende Holländer, brought us back to our home shores of Cape Town.
R I G O L E T T OG I U S E P P E V E R D I
1 1 - 1 8 F E B
D E R F L I E G E N D E
H O L L Ä N D E R
R I C H A R D WAG N E R
1 7 - 2 6 A U G
D I E Z A U B E R F L Ö T E
W. A . M O Z A R T
2 3 N O V - 9 D E C
T I G E R B AYDA F Y D D J A M E S
2 4 - 2 7 M AY
WA L E S M I L L E N N I U M C E N T R E I N C O L L A B O R AT I O N W I T H
C A P E T O W N O P E R A
1400South African leaners participating
in outreach activities
L EV E L 1Broad-Based Black Economic
Empowerment rating
81Shows performed
R4 ,908,17 1Paid to South African artists
6Countries performed in
40,501Audience members worldwide
A R T I S T I C D I R E C T O R ’ S R E P O R T
Our 2017 season was marked by a series of productions of classics which posed provocative questions about the role of opera, of Western music, and of music theatre in contemporary South Africa. Operas by Verdi, Wagner and Mozart were each presented in vividly theatrical productions, with underlying themes in each work finding surprising new resonances in the context of South Africa’s complex social fabric.
Legendary director Marthinus Basson’s hard-hitting production of Verdi’s Rigoletto opened the 2017 season. Reimagining Rigoletto as a person with albinism, treated with superstition and prejudice by his peers, the production also took aim at gender-based violence in SA. Three outstanding principal singers were recognized with Fleur du Cap Award nominations for the production – Fikile Mvinjelwa as Rigoletto, Vuvu Mpofu as Gilda and Lukhanyo Moyake as the Duke of Mantua. With strong support from Nonhlahla Yende’s Maddalena, and newcomer Thomas Mohlamme’s dark-voiced Sparafucile, the production also drew excellent contributions from CTO regulars Michael Mitchell (costume design), Kobus Rossouw (lighting design) and Maestro Kamal Khan.
An overdue composer’s return arrived with my
new production of Der fliegende Holländer, CTO’s first staging of an opera by Richard Wagner since Tannhäuser in 2000. With its unique narrative links to the Cape of Good Hope (the opera teases out the myth of the ghostly Flying Dutchman, a cursed mariner doomed to wander the oceans after failing in his rash attempt to round our native Peninsula), this is a work which demands a permanent place in CTO’s repertoire. With the Dutchman recast as the unquiet ghost of Jan van Riebeeck, the production invited viewers to question their relationship with the signs of symbols of our colonial past. Two notable South African Wagnerians returned home for the production – Jaco Venter as the Holländer and Johanni van Oostrum as Senta, alongside Lukhanyo Moyake as the Steersman and Violina Anguelov as Mary. Two visiting artists made powerful CTO debuts in the production: Gregory Frank as Daland and Sam Sakker as Erik. The production was conducted by CTO Associate Music Director Tim Murray, with the CTO Chorus on exceptional form, with hypnotic projections from Kirsti Cummings illuminating Michael Mitchell’s striking container-yard set design.
Our new production of Mozart’s Die Zauberflöte, slated to premiere in 2016 and postponed due to the #FeesMustFall closures at UCT, finally enjoyed its
belated premiere in November. Under the guise of a whimsically dream-like staging in beautiful all-blue designs by Michael Mitchell, my production told the story as the dream of a South African College of Music student (who stepped into the role of the hero Tamino in his fantasy), subtly confronting a debate still raging within the Faculty of Humanities at the University: do the works of European composers have a place in an African music school in the 21st century? With poised performances from its young cast, and a notable debut from Maestro Brandon Phillips (alternating with Kamal Khan), the production was a sell-out success, and drew high praise from local and international arts media.
Between these classics, our 2017 season was rounded out by two unusual and innovative projects reflective of CTO’s partnerships with organisations abroad.
The new musical Tiger Bay marked a high point in our ongoing relationship with Cardiff’s Wales Millennium Centre. With music by Daf James and book and lyrics by Michael Williams, this ambitious Welsh-South African collaboration looked at the role of African immigrants in the coal industry in turn of the century Cardiff. A high-profile creative team including director Melly Still, musical director David
Mahoney and designer Anna Fleischle came to Cape Town to stage the initial run of the production, before the production travelled to Cardiff for its official premiere. The exceptional cast of British and South African performers gave audiences a fascinating first glimpse of an international musical in the run up to its premiere season.
The intersection of European and African music was exquisitely explored in Grace Notes, an a capella concert of sacred music curated by Thuthuka Sibisi, juxtaposing music from two hemispheres and four centuries. With William Byrd next to Zulu hymns, and Palestrina alongside isiXhosa church music, the concert had its South African premiere in St George’s Cathedral, and built up a devoted audience as it moved to other churches around the peninsula.
Our 2017 season was rounded off with our annual gala in support of the Duet Endowment, headlined by Levy Sekgapane and Vuvu Mpofu, in an effervescent programme of music inspired by fairytales, and the theatre works of Beaumarchais.
M AT T H E W W I L D
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J U N EA P R I L
NATIONAL SCHOOLS TOUR
6 - 23 APRILCAPE TOWN, GEORGE, DE AAR,
BETHLEHEM, DURBAN, KOKSTAD, UMTATA, PHILIPPI
AFRICAN ANGELS12 - 16 APRIL
GERMANYSWITZERLAND
M A R C HF E B R U A R YJ A N U A R Y
G VERDI
RIGOLETTO11 - 18 FEBRUARY
CAPE TOWN
GOLF DAY FUNDRAISER24 FEBRUARY
STELLENBOSCH
M A YEDEN DISTRICT
CHOIR FESTIVAL11 JUNE
GEORGE
D JAMES
TIGER BAY20 - 27 MAYCAPE TOWN
FLEUR DU CAP AWARDS19 MARCH
CAPE TOWN
PROVINCIAL PARLIAMENT CONCERT
17 FEBRUARYCAPE TOWN
KONSERT VAN HOOP27 APRIL
CAPE TOWN
J U L Y O C T O B E R
GRACE NOTES13 - 27 JULY CAPE TOWN
KNYSNA WOMEN’S DAY CONCERT
9 AUGUSTKNYSNA
R WAGNER
DER FLIEGENDEHOLLANDER17 - 26 AUGUST
CAPE TOWN
UK FUNDRAISING CONCERT
11 SEPTEMBERLONDON
DUET GALA CONCERT24 OCTOBERCAPE TOWN
SOCIETY FOR THE BLIND CONCERT
4 OCTOBERSALT RIVER
W A MOZART
THE MAGIC FLUTE23 - 25 NOVEMBER
CAPE TOWN
A U G U S T S E P T E M B E R N O V E M B E R D E C E M B E R
SANDERS CONCERT6 AUGUST
CAPE TOWN
GERMAN FUNDRAISING CONCERTS
6 - 9 SEPTEMBERHANOVER, ESSLINGEN,
HAMBURG, NIENBURG-NEUSTADT
SIMONSIG CONCERT22 SEPTEMBER
WESTERN CAPE
OUTREACH CONCERTS13 - 15 OCTOBER
ROBERTSON, MONTAGUE, SWELLENDAM
M CAMPBELL & P L VAN DIJK
MANDELA TRILOGY9 - 19 NOVEMBER
DUBAI, HONG KONG
LA FUGUE CONCERT16 NOVEMBER
CAPE TOWN
W A MOZART
THE MAGIC FLUTE5 - 10 DECEMBER
CAPE TOWN
OUDE LIBERTAS CONCERT
21 DECEMBERCAPE TOWN
CTO PATRON EVENT12 DECEMBERCAPE TOWN
SINGING GARDEN OUTREACH CONCERTS
19 . 21 SEPTEMBER
VREDENBURG, KHAYELITSHA
ARCHBISHOP TUTU CELEBRATION
7 OCTOBERCAPE TOWN
HANSEL & GRETEL YOUTH PERFORMANCE
11 - 21 OCTOBERCAPE TOWN AND NYANGA
U N I T E D A R A B E M I R AT E S
D U B A IC H I N A
H O N G KO N G
G E R M A N YB E R L I NE S S E N
E S S L I N G E ND O R T M U N D
D U S S E L D O R FF R A N K F U R T
H A M B U R GE N G L A N DLO N D O N
V R E D E N B U R GP H I L I P P I
S A LT R I V E R
E A S T E R N C A P EM T H AT H A
W E S T E R N C A P EC A P E T O W N
C O N S TA N T I AG E O R G E
G U G U L E T H UK N YS N A
M O N TAG U EF R E E S TAT EB E T H L E H E M
K WA - Z U L U N ATA LD U R B A N
KO K S TA DN O R T H E R N C A P E
D E A A R
H A N O V E RKÖ L N
L E I P Z I GM A N N H E I M
M U N I C HN I E N B U R G - N E U S TA D T
S T U T T GA R T
N YA N GAR E T R E AT
R O B E R T S O NK H AY E L I T S H A
S T E L L E N B O S C HS W E L L E N DA M
S W I T Z E R L A N DB A S E L
GL
OB
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RE
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HS O U T H A F R I C A
ST
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FMANAGING DIRECTOR Michael Williams
ARTISTIC DIRECTOR Matthew WildFINANCIAL MANAGER Elise Brunelle
MARKETING MANAGER Lesley LiddleHEAD OF PRODUCTION Maritha Visagie
COMMUNITY AND EDUCATION MANAGER Christine Crouse
DEVELOPMENT MANAGER Melanie DanielsEXECUTIVE PERSONAL ASSISTANT Alicia Killian
PRODUCER Roy HunterCHORUS MASTER Marvin KernelleASSOCIATE MUSIC DIRECTOR Tim MurrayARTISTIC ADMINISTRATOR / COACH Lize CoetzerVOCAL COACH / REPETITEURS Juan Burgers & Paul FerreiraMUSIC ADMINISTRATOR & YOUTH DEVELOPMENT COORDINATOR Madré LoubserREHEARSAL PIANIST/ COACH Samantha RiedelOUTREACH / EDUCATION ASSISTANT Faith Zungu
TECHNICAL DIRECTOR / LIGHTING DESIGNER Kobus Rossouw
HEAD DESIGNER Michael MitchellTECHNICAL CO-ORDINATOR / ASM Donovan Kleinhans
TECHNICAL ASSISTANT Ivor CloetePROPS MASTER Louis Niemand
WARDROBE MANAGER Rabia CloeteWARDROBE ASSISTANT Nasreen Nasiep
TRANSPORT MANAGER / PRODUCTION RUNNER Yaghya Karriem
MARKETING: SALES AND FUNDRAISING Dawn KennedyMARKETING ASSISTANT & YOUTH DEVELOPMENT
COORDINATOR Masixole Makwetu
ACCOUNTS MANAGER Shammy DesaiBOOK KEEPER Mark HeynsHUMAN RESOURCE ADMINISTRATOR Gerald PetersenEPWP INTERNS Mubeen Cloete (Wardrobe), Mawonga Gala (Education), Christiaan Harris (Design), Jade Holmes (Administration & Fundraising)HHANZEHOGESCHOOL GRONINGEN (HOLLAND) INTERNSBerber Pieterson NORTHEASTERN UNIVERSITY (USA) INTERNJon Zhang (Artistic)
C H O R U S
S O P R A N O SFrances du Plessis
Cecilia Rangwanasha
M E Z Z O - S O P R A N OAnnemarie Steenkamp
T E N O R SNkululeko Masuku
Johannes Slabbert
B A S S E S & B A R I T O N E SMartin MkhizeThando Zwane
S O P R A N O S Jodi Khan
Babongile MangaTina Mene
Pumza MxinwaErnestine Stuurman
Bukelwa Velem
M E Z Z O - S O P R A N O SAbongile FumbaNonkululeko NkwintiDanielle SpeckmanMiranda Tini
T E N O R S Xolani MadalaneSimphiwe Mayeki
Mthunzi MbombelaLula Nqadini
Andile Tshoni
B A S S E S & B A R I T O N E SGarth DelportLindile Kula Jr.Lindile Kula Sr.Paul MadibengThando MpusheNkosana Sitimela
O P E R A S T U D I O
S TA F F S O L O I S T S
S O P R A N OSiphamandla Yakupa
M E Z Z O - S O P R A N ONonhlanhla Yende
T E N O RLukhanyo Moyake
B A S S E S & B A R I T O N E SMandisinde Mbuyazwe Mandla Mndebele Thomas Mohlamme Xolela Sixaba
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T H E P R E M I E R E U N V E I L I N G O F T I G E R B AY T H E M U S I C A L ,
C U R R E N T LY R U N N I N G AT T H E A R T S C A P E , I S A S TA R K
R E M I N D E R T H AT S O U T H A F R I C A H A S A F I R M S P O T I N T H E
G L O B A L A R T S S C E N E . I T ’ S S O R A R E T O G E T T H E F I R S T S H O T
AT S E E I N G S O M E T H I N G T H I S G O O D A N D W I T H S O M U C H
P R O M I S E ; D O A N Y T H I N G YO U C A N T O G E T A T I C K E T.
B E N N VA N D E R W E S T H U I Z E NA R T S P O K E N & R E V I E W S
28 29
YO U T H D E V E L O P M E N T & E D U C AT I O N
With a growing interest from all spheres of life and backgrounds, Opera Is My First Language plays a vital role in eliminating the gap between rural areas and the city, where our operas take centre stage. For the Youth Development and Education (YDE) department of Cape Town Opera, 2017 started with visits to Karitas School of Learners with Special Educational Needs (LSEN), Vredenburg and Lathi-Tha School of Skills, Khayelitsha. A music therapist accompanied us on regular visits to both schools, giving deeper insight into learners with special needs and how to integrate music into their overall development. Following these visits, we commenced rehearsals at both schools and staged a vibrant edition of The Singing Garden; a story of a beautiful garden where insects sang different arias from well-known operas. Performances were attended by their peers, teachers, parents, community members, and members of the West Coast Education Department.
The Singing Garden was shortly followed by an intense preparation for the 2017 South African Schools Choral Eisteddfod (SASCE) vocal boot camp and workshops. Cape Town Opera’s team embarked on a journey that saw eight singers and Maestro Juan Burgers travel to the Western Cape, Northern Cape, Free State, Kwa-Zulu Natal and Eastern Cape provinces. This is the highlight of the YDE team’s annual workshops, as it reaches over 1400 learners around the country who have great interest in opera as a career and participate in the annual schools choral competitions. Cape Town Opera started a school choir at Masiphatisane Primary School, Vredenburg, and appointed facilitators to assist the choir. This choir obtained first position in all the categories they had taken part in during the 2017 regional eliminations of SASCE in the West Coast.
As part of audience development, we extended an invitation to the Society for the Blind in Salt River, Athlone School for the Blind, Noluthando School for the Deaf in Khayelitsha, Thembalethu School of LSEN in Gugulethu and hearing impaired adult patrons to attend a performance of Tiger Bay the Musical, Der Fliegende Holländer and The Magic Flute. For the first time, Cape Town Opera had an audio describer provide commentary for our blind patrons using the newly bought Sennheiser headsets. We also had a sign language interpreter from Jazz Hands who made opera more accessible for our deaf patrons.
In the second half of 2017 we worked with St Mary’s Primary School, Retreat and Kuyakhanya Primary School, Nyanga on Hansel and Gretel by Humperdinck. Five professional singers collaborated with the school’s learners to create staged performances of Hansel and Gretel. St Mary’s Primary School also performed Hansel and Gretel in the Artscape Chandelier Foyer, as part of Artscape’s Lunch Hour Concert Series, while Kuyakhanya performed in their school hall in Nyanga. Throughout the year, six community choir leaders and music teachers from around the Cape Peninsula worked with Maestro Juan Burgers during our keyboard and music theory lessons. Participants were provided with keyboard and weekly instruction free of charge.
At the end of 2017, we visited all the schools we worked with during the season and completed assessments to monitor and evaluate the impact of our involvement with the learners. We wish to say a sincere thank you to Christine Crouse and Faith Zungu, whose dedication to the YDE department over the past five years allowed for a seamless transfer to our new co-ordinating team.
M A S I XO L E M A K W E T U & M A D R É L O U B S E R
D I R E C T O R S A N D T R U S T E E S
– 30 –
Mrs Wendy AckermanAdv Willie Duminy (SC) Mr Andrew Ovenstone Ms Aviva PelhamMs Carien RasMrs Susan Smith
CAPE TOWN OPERA BOARD OF DIRECTORS
CAPE TOWN OPERA ENDOWMENT TRUSTEES
Mr Africa Melane
VICE CHAIRPERSON
Lady (Mary) Hatch, ChairpersonMartin Campbell-WhiteIvan G. FallonNiall GallagherPeter RoganSusan Smith
UK FRIENDS OF CAPE TOWN OPERA TRUSTEES
Mrs Susan Smith
CHAIRPERSON
Prof. Virginia Davids
MEMBER
Adv. Willie Duminy
(S.C.)
MEMBER
Mr Francois-Jacques
Malan
MEMBER
Prof. Enrico Uliana
MEMBER
Mr Michael Williams
MEMBER
Mr Derek Gosen
MEMBER
F I N A N C I A L SD I R E C T O R S ’ R E P O R T
The directors have pleasure in submitting their report on the annual financial statements of The Cape Town Opera Company NPC for the year ended 31 December 2017.
1. Review of Activities
Main business and operations: the company continued to promote and develop opera, with 43 full and concert performances taking place in Cape Town, its surrounds and around the world. Significant outreach and educational initiatives were launched and completed in Western Cape and other communities nationwide, attended by over 2150 learners drawn from three South African provinces. The company toured internationally with productions and concerts in five countries including United Arab Emirates, China, Germany, England and South Africa. The directors are pleased with the company’s performance standard overall, the investment in new, local productions and the diversity and geographic reach of overseas tours that took place during the period under review. The company’s educational work in community schools reached a significant number of learners, providing music training at no cost for over 550 beneficiaries at rural and government schools.
Generous grants from the National Lotteries Commission and the Western Cape Government Department of Cultural Affairs and Sport were the principal sources of government funding. Altogether, grants and contributions from over 120 local and international patrons, trusts, foundations, corporate and government entities provided 38% of the company’s income for the year under review. The remaining income was derived from local box office income and programme sales (11%) and international touring fees (51%).
A major portion of revenue is utilized to fund the cost of opera productions, which include in their casts singers of the Cape Town Opera chorus, Staff Soloists and the Opera Studio program. Participation in these productions form an indispensable part of the training, development and education of the singers.
Cost of sales (productions) decreased by 27% from 2016 to 2017 due to significantly fewer international touring productions taking place. This also resulted in a 37% decrease of production sponsorship and touring fee income from the prior financial year. Two major international tours were cancelled mid-year due to technical and ownership issues of the host venues overseas. This had a significant impact on the company’s income for the year; however, the company was able to secure sufficient loans and new grant sources to continue operations through 2018. Excluding project-specific Lotteries grants, donated income from government, corporate, trust and foundations grew by 22% from the prior financial year. There was no change in aggregate operating expenses.
CTO developed noteworthy new international relationships with opera companies and festivals in Dubai and Hong Kong, a first for the company in the Middle East and Asia. Ties with the United Kingdom and Germany remained strong with Young Artist concerts in both countries. In conjunction with local operations, these relationships contributed to the development and growth of the staff, provided international exposure for CTO’s productions and resulted in employment for 214 South African artists and performers during the year.
The operating results and state of affairs of the company
are fully set out in the annual financial statements and do not required any further comment.
Net loss of the company in the 12 months ending 31 December 2017 was R2,680,559, due primarily to the loss of two income-generating international tours during the year as noted above.
2. Directors
The directors in office during the period under review is as follows:
SM Smith, ChairpersonA Melane, Vice ChairpersonWRE DuminyVC DavidsDG GoosenFJ MalanEO UlianaMR Williams
3. Borrowing powers
In terms of the Articles of Association of the company, the directors may exercise all powers of the company to borrow money as they consider appropriate.
4. Events after the reporting period
The directors are not aware of any other material event which occurred after the reporting date and up to the date of this report other than any matters disclosed in the notes.
5. Going concern
The directors believe that the company has adequate financial resources to continue in operation for the
foreseeable future and accordingly the annual financial statements have been prepared on a going concern basis. The directors have satisfied themselves that the company is in a sound financial position and that it has access to sufficient borrowing facilities to meet its foreseeable cash requirements. The directors are not aware of any new material changes that may adversely impact the company. The directors are also not aware of any material non-compliance with statutory or regulatory requirements or of any pending changes to legislation which may affect the company.
6. Auditors
Meredith Harington Incorporated has audited these annual financial statements for the period under review in terms of a resolution passed by the directors.
7. Secretary
The company had no secretary during the 12 months.
8. Liquidity and solvency
The directors have performed the required liquidity and solvency tests required by the Companies Act 71 of 2008.
9. Approval
The financial statements were approved by the board of directors and are signed on their behalf by the following two directors on 21 June 2018:
- SM Smith and A Melane
– 33 –
STATEMENT OF FINANCIAL POSITION
2017R
2016R
ASSETS
NON-CURRENT ASSETS
Property, plant and equipment 7,974,913 6,529,212
CURRENT ASSETS
Trade and other receivables 234,106 873,800
Cash and cash equivalents 4,568,578 4,251,339
4,802,684 5,125,139
TOTAL ASSETS 12,777,597 11,654,351
EQUITY AND LIABILITIES
EQUITY
Accumulated surplus / (deficit) 4,498,220 7,178,779
LIABILITIES
CURRENT LIABILITIES
Trade and other payables 2,360,577 2,856,772
Other financial liabilities 5,918,800 1,618,800
8,279,377 4,475,572
TOTAL EQUITY AND LIABILITIES
12,777,597 11,654,351
STATEMENT OF COMPREHENSIVE INCOME
2017R
2016R
Revenue 31,268,288 41,110,650
Cost of sales -18,243,759 -24,769,245
GROSS PROFIT 13,024,529 16,341,405
Other income 1,961,860 3,062,566
Operating expenses -17,838,481 -17,852,409
OPERATING PROFIT -2,852,092 1,551,562
Investment revenue 171,533 281,256
PROFIT FOR THE YEAR -2,680,559 1,832,818
STATEMENT OF CHANGES IN EQUITY
ACCUMULATED SURPLUS /
(DEFICIT)
TOTAL EQUITY
Balance at 01 January 2016
5,345,961 5,345,961
Loss for the Year 1,832,818 1,832,818
Balance at 01 January 2017
7,178,779 7,178,779
Profit for the Year -2,680,559 -2,680,559
Balance as at 31 December 2017
4,498,220 4,498,220
STATEMENT OF CASH FLOWS
2017R
2016R
CASH FLOWS FROM OPERATING ACTIVITIES
-625,384 5,410,197
Interest income 171,533 281,256
NET CASH FROM OPERATING ACTIVITIES
-453,851 5,691,453
CASH FLOWS FROM INVESTING ACTIVITIES
Purchase of property, plant and equipment
-3,628,910 -4,091,632
Sale of property, plant and equip-ment
100,000 0
NET CASH USED IN INVESTING ACTIVITIES
-3,528,910 -4,091,632
CASH FLOWS FROM FINANCING ACTIVITIES
Movement on other financial liabilities
4,300,000 -3,155,586
NET CASH FROM (USED IN) FINANCING ACTIVITIES
4,300,000 -3,155,586
Total cash movement for the year 317,239 -1,555,765
Cash at the beginning of the year 4,251,339 5,807,104
TOTAL CASH AT END OF FINANCIAL PERIOD
4,568,578 4,251,339
The Cape Town Opera Company NPC(Registration number 1999/017712/08)Annual Financial Statements for the 12 months ended 31 December 2017
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F I N A N C I A L M A N AG E R ’ S R E P O R TCTO’s recent financial history tells a tale of market demand: our singers and productions are in unique demand on stages around the world, and our internationally-derived income has become an increasingly large part of what finances operations and productions in South Africa. When two major tours cancelled mid-year, as took place in 2017, the knock-on effect of losing tour income (and performance opportunities for our artists) was drastic. In response, we tackled a number of items to trim our costs going forward. The full time staff compliment was reduced, general administration expenses were cut, and development efforts were broadened to secure 22% more in donated income from more sources than the prior financial year. We also felt it necessary to focus our 2018 South African productions primarily with titles of commercial, investment and touring appeal, such as Tsotsi the Musical, Grace Notes, Mandela Trilogy, etc. The generosity of individuals and our endowment have provided financial resources to see us through the coming years. In 2018, CTO will focus its energy on the continued training of young South African singers, who are at the heart of our work; securing new touring venues and diversifying our production offerings; mounting cost-effective productions at home and abroad; and using a more conservative risk management plan for financial stability.
E L I S E B R U N E L L E
Anonymous, E & M Osrin Charity Trust, Hintze Family Charitable Foundation, Kirsh Foundation, Lord and
Lady Lurgan Trust, Lorenzo and Stella Chiappini Charitable and Cultural Trust, Joan St. Leger Lindbergh
Charitable Trust, Mauerberger Foundation Fund, Philip Schock Charitable and Educational Foundation,
VEC Acorn Trust, The Susman Charitable Foundation Trust.
G O V E R N M E N T
T R U S T S &F O U N DAT I O N S
PA R T N E R S
F U N D E R S A N D S P O N S O R S
C O R P O R AT E S
– 36 – – 37 –
alta manefondation
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Uthando South Africa, Helderberg Sunrise Rotary Club, Bowman Gilfillan, capetownmagazine.com
PAT R O N S & B E Q U E S T S
PLATINUM
Raymond & Wendy Ackerman
Cape Union Mart
Laurie & Rita Chiappini
De Grendel Wines
Lady Mary Hatch
Dudley Heesom
Martin & Birgit Hess
Natie & Frances Kirsh
Tom & Helga Lewis
Ronnie Lubner
Hoosein Mohamed
Jerome O’Regan
Helmut & Laurel Prast
Simon Susman
Boetie & Caroline van Zyl
GOLD
Howard & Audrey Coffell
Ince & Co
Bill & Edith Jack
Johan Kriek
Sandra Ovenstone
Sanders South Africa
Uschi & Peter Stuart
Lyndsay Webster Rozon
That’s Travel luxury cruises
Dr Caroline White
SILVER
Libby Ardington
Katherina Bach-Pauli
John & Gill Blackman
Lilian Bron
Graham Couchman
Peter & Meg Davidson
Keith Doig
Dr Franca Falanga
Thys Greeff
Ken & Nicky Kinsey-Quick
Countess Sylvia Labia
David Luyt & Bill van Rensburg
Denis le Jeune
Graham & Bunty Money
Chris & Annie Mostert
Kate Owen
Ben Rabinowitz
Carien Ras
Edward Saunders
Michael & Nancy van Breda
Dr Johannes and Eleanore
van der Horst
Sue Lawley & Hugh Williams
Anonymous
BRONZE
Prof Justus & Annemie
Apffelstaedt
Toddie Atkinson
Angus & Anne Bean
Ivana Bucalina
Robin Crawford
Patrick de Bree
Pim den Hartog
Dr Lothar & Ursula Ehrhardt
Geoff & Rosemarie Evans
John & Anne Field
Angelo Fornara
Paul & Moyra Goldberg
David & Veronica Golder
Sir Alan & Lady Gillian Grose
Max & Lisa Hopfl
Gerda & Helmut Jung
Reg Lander
Richard & Catherine Lomberg
Francois Marais
Herman Nieuwoudt
Dr Tony & Vicki Norcliffe
Hartmut Nowak
Mack Rogan
Robert Silberman
Eleanor Simpson
George & Susan Smith
Lesley Sutherland
Prof Ben & Mary Turok
Henk & Iné van der Tak
Birgit Wagner
Anonymous
BEQUESTS
Mrs E B Manning
Mrs A M Goosen
Mr JJL Bertin
OTHER DONATIONS
David Gifford
F E B R U A R Y 2 0 1 8A R T S C A P E T H E AT R EC A P E T O W N
M A R C H 2 0 1 8S P I E R A M P H I T H E AT R ES T E L L E N B O S C H
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J U LY 2 0 1 8A R T S C A P E O P E R A H O U S EC A P E T O W N
A U G U S T 2 0 1 8B A X T E R T H E AT R EC A P E T O W N
S E P T E M B E R 2 0 1 8A R T S C A P E O P E R A H O U S EC A P E T O W N
2 2 N O V E M B E R 2 0 1 8A R T S C A P E O P E R A H O U S EC A P E T O W N
1 - 1 0 D F M A L A N S T , C A P E T O W N 8 0 0 1P O B O X 4 1 0 7 , C A P E T O W N 8 0 0 0
S O U T H A F R I C A
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