“I see it as a huge opportunity. I hope it can identify areas we can improve and where we might be falling short of best practice.”

Asked if the organisation would adopt all of Trainor’s recommendations Allan said, without knowing the outcome, Opera Australia committed to taking them “seriously”.

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Meanwhile, OA has begun recruitment of a music director, opera producer, and commercial director, effectively distributing the decision-making responsibilities previously invested in the artistic director.

“Having a music director alongside a complementary artistic production leadership role was often the norm in Opera Australia’s first 55 years, and returning to this model will bring OA back in line with comparable opera companies abroad,” Allan said.

“The addition of a commercial director role will further strengthen executive leadership, at a time when all arts companies are working hard to be more financially resilient.”

With the appointments of Rebecca Kitelinger, an experienced development director from Washington National Opera, and Julia Hughes as people and culture director, Allan said Opera Australia was well-placed to work towards a sustainable business model that maintains the highest standards of musical excellence while supporting a large and highly specialist workforce.

Last year OA posted a $7.8 million operating deficit which it blamed on cost-of-living pressures, high inflation and the lingering impacts of COVID on international tourism.

It cited a widening gap between costs – rising 70 per cent post pandemic – and income potential. It’s also managing ongoing disruptions to its Melbourne performances caused by renovations to the Arts Centre.

The company has committed itself to “continual efforts to cost optimisation, targeted audience and engagement strategies and a commitment to musical theatre productions that support the financial success of the company”.

But its tent-pole production of Guys and Dolls as part of OA’s annual Handa Opera on Sydney Harbour series has already raised the ire of competing commercial theatre producers and risks alienating some who prefer traditional opera repertoire.

It’s not known if the Trainor review will touch on the potential redevelopment of OA’s Surry Hills centre, currently valued in its annual report at more than $50 million.

Last year OA staged 454 performances of 14 operas, 13 concerts and recitals and three musicals, of which the biggest selling were Miss Saigon (145,845 people attended), Phantom of the Opera (94,354) and Madama Butterfly (44,697).

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