INTERNATIONAL JOURNAL OF ARTS MANAGEMENT

VOLUME 5, NUMBER 2 • WINTER 2003 69
François Colbert is full
professor of marketing at
HEC Montréal, Montreal,
Quebec, Canada, where he
holds the chair in Arts
Management and heads the
Graduate Diploma Program
in Arts Management. He is
Editor of the International
Journal of Arts Management.
In 2002 he was awarded the
Order of Canada for his many
achievements and his unique
contributions in developing
the field of arts management
These two phrases accurately reflect the key
objectives of the Sydney Opera House (SOH)
– human resources management based on
employee participation and an unwavering
focus on customer service.
A genuine Australian icon, the SOH building serves as a symbol of the city and the country, much like the Eiffel Tower in Paris, Tower
Bridge in London, the Coliseum in Rome and
the Empire State Building in New York City.
Every year approximately three million tourists visit the terraces surrounding the building.
Located in the heart of downtown Sydney,
beside the Royal Botanic Gardens on a strip of
land that juts out into the river, the SOH is an
eye-catching structure whose design has been
compared to the sails of a ship.
Both a continent and a country, Australia
has subtropical and tropical climates. Most of
its 19 million inhabitants are descendants of
British immigrants, but it also has a substantial
aboriginal population that predates the arrival
of the Europeans. The most densely populated
regions are located along the coastlines. It takes
almost five hours to fly across the continent,
from Perth in the west to Brisbane in the east.
With 1.5 million inhabitants, Sydney is the
largest city in Australia. A business centre, its
pace of life is similar to that of other major
commercial centres. The SOH plays a key role
in the highly developed cultural life of the city.
During the 2000 Olympic Games in Sydney,
the SOH was the focus of a great deal of television coverage. An estimated 201,924 people
attended the 293 events presented at the SOH
in conjunction with the Games, including
the fireworks display during the closing ceremonies. The SOH also received a substantial
amount of media coverage during celebrations
marking the dawn of the new millennium.
As the focal point of festivities on this occasion, the SOH figured prominently in footage
broadcast around the world.
Although the building is famous the world
over, the cultural mission and activities of the
SOH are not so well known. The challenge
that Chief Executive Michael Lynch has set for
himself is to ensure that tourists seek out the
SOH for its shows as well as for its architecture. This is not to suggest that the SOH lacks
an audience. It is open 363 days a year, and
its resident and touring companies generally
play to houses that are over 80% full. Lynch’s
challenge has more to do with branding and
positioning than with attendance figures. The
SOH wants to be acknowledged and recognized for what it is – a performing arts centre
that maintains very high artistic standards.
The Sydney Opera House:
An Australian Icon
François Colbert
C OMPANY PROFILE
“Making the House Zing”
Annual Report 2000
“Feel the Heart Beat”
Annual Report 2001
The Organization
T he SOH was created by an Act of the Parliament of New South Wales in 1961.
It is managed by an independent corporation
overseen by a board of directors whose 11
members are appointed by the NSW state
Parliament based on recommendations made
by the minister for the arts. The SOH must
report to Parliament annually. In fall 2003, the
centre will celebrate its 30th anniversary.
The organization comprises six departments: Performing Arts, Customer Relations,
Development and Marketing, Facilities, Finance
and Systems, and People and Strategy (Figure
1). The heads of these departments plus the
Chief Executive make up the Executive Team.
Previously general manager of the Australian
Arts Council, Michael Lynch has been Chief
Executive of the SOH since 1998. He was
already familiar with the SOH when appointed
to his current position, because prior to joining
the Australian Arts Council he served as general manager of the Sydney Theatre Company,
which performs at the SOH approximately 45
days a year. Lynch’s mandate upon assuming
the reins of this major performing arts centre
was to “change the way the place operated” and
to alter the public perception of the SOH.
Four companies call the SOH home:
the Sydney Symphony, Opera Australia, the
Australian Ballet and the Sydney Theatre
Company. Although each of these companies
is an autonomous organization with its own
board of directors, their offices are located in
the SOH complex. They are given first choice
of the available performance dates when planning their seasons.
One of the first things that Michael Lynch
did when he took over as Chief Executive was
to meet with the directors of these four companies to suggest forming a partnership. The
discussion focused on: sharing their respective
business plans, examining business opportunities that could be mutually beneficial and
exploring joint initiatives from which all could
profit. As the centrepieces of the SOH schedule, the productions of these four companies
are essential to the SOH’s vitality and image.
According to Lynch, the combined strength
of the partners creates a significant amount of
synergy.
The SOH has five theatres: the Concert
Hall (2,679 seats), the Opera Theatre (1,547
seats), the Drama Theatre (544 seats), the
Studio (300 seats) and the Playhouse (398
places). Every year, 2,230 events are held at
these venues (during the day or in the evening); 70% of the events involve the four
resident companies, and five or six other companies perform in the theatres on a regular
basis. The SOH serves as producer for approximately 25% of the events that take place
within its walls, including an annual series of
performances for children. Between 1.1 and
1.2 million tickets are sold for the various
events. If SOH productions staged outside the
centre are included, the total number of events
for the 2000–2001 season rises to 2,304, with
a total audience figure of 1,582,555. A fulltime staff of 214 and a large number of temporary employees ensure that the SOH runs
smoothly.
Its Chief Executive wants the SOH to be
recognized as a centre that offers quality shows
for all segments of the population. Opened
in 1999, the Studio was designed with this
objective in mind. The comedies and cabaretstyle shows staged at this venue have indeed
attracted a new audience. A survey conducted
The Sydney Opera House is famous the world over for its magnificent architecture and unique location in the
port of Sydney, Australia. The building has become the symbol of the city and attracts hundreds of thousands of
tourists each year. It is a thriving centre for the performing arts, with five theatres as well as indoor and outdoor
spaces that are open to the public 365 days a year. The challenge that the SOH director, Michael Lynch, has
set for himself is to make the Sydney Opera House a good place to work, where the employees are dedicated to
customer service. Another aim is to develop the Sydney Opera House brand and to position it internationally as
a place where people come not only to admire the structure but also to attend an event.
Arts management, human resources management, branding, positioning, presenter
ABSTRACT
KEYWORDS
70 INTERNATIONAL JOURNAL OF ARTS MANAGEMENT
VOLUME 5, NUMBER 2 • WINTER 2003 71

NSW GOVERNMENT (MINISTER FOR THE ARTS)
DIRECTOR
FINANCE &
SYSTEMS
Lance Favelle
DIRECTOR
PEOPLE &
STRATEGY
Joe Horacek
Facilitate setting of
the strategic direction
and drive a culture that
aligns our people and
strategies to realise our
business aspirations.
Provide strategic advice,
business services and
solutions that deliver
outstanding business
results.
• Finance
• Risk Management
• Information Technology
• Employee Services
• Business Services
• Information Management
• Strategic Planning
• Organisation Change
& Learning
• Human Resource
Management
• Governance
PUBLIC / CUSTOMERS / BUSINESS PARTNERS
Trust Committees
FIGURE 1 SYDNEY OPERA HOUSE ORGANIZATION PROFILE (JULY 2002)
in 1999 revealed that 33% of the Studio audience were visiting the SOH for the first time
(8,600 admissions for 31 performances). The
same survey indicated that audience members
at the various “popular” events had family
incomes of less than $45,000, that 25%
of them were between the ages of 25 and
34, and that the vast majority did not purchase tickets for other, more traditional shows.
Furthermore, 95% stated that “being at the
Sydney Opera House made the evening more
special,” indicating a high level of customer
satisfaction.
Another way that the SOH is attracting
new audiences and developing future ones is
by programming annual series of events for
children. The centre currently offers two such
series: the Kids at the House Program for children aged two to 12, and the Schools Program
for children aged six to 12. It plans to add a
third series, the Youth Program, for those aged
15 to 25. These events encompass all forms
of art, including theatre, dance, music and the
visual arts, and, in addition to formal shows,
they include group activities and opportunities for the children to experiment.
The SOH is first and foremost a performing arts centre. However, since there is a large
amount of public space around and facing the
building, the centre also hosts a broad range of
outdoor activities (film festival, world music,
community events), including a public market
every Sunday for Australian arts and crafts
(Sydney Opera House Markets). These free
activities complement the centre’s mission as
a performing arts presenter. The SOH also
serves as the venue for gatherings and conferences (some 140 a year). Renting out space
inside the centre allows the SOH to make
use of its surplus capacity and is a significant
source of additional income.
Linked to the downtown area by a pedestrian bridge with two levels, the lower of which
is lined by a row of restaurants and shops leading to the port, the SOH is located near the
boarding area for river cruiseboats, the Sydney
Aquarium and other attractions; it also faces
the Sydney Harbour Bridge, a major regional
attraction (Figure 2). The large number of
tourists drawn to the building represent a valuable potential clientele; as mentioned above,
every year approximately three million people
come to admire the imposing structure. To
serve this clientele, the management of the
Le Sydney Opera House s’est acquis une grande notoriété grâce à l’architecture magnifique de son bâtiment et à son emplacement dans le port de Sydney; il est même devenu le symbole d’une ville, attirant des centaines de milliers de touristes chaque
année. C’est un centre de diffusion des arts de la scène très actif, dont les cinq salles et les aires intérieures et extérieures
sont ouvertes au public presque 365 jours par année. Son directeur, Michael Lynch, nourrit l’ambition d’en faire un endroit où
il fait bon travailler, où les employés se préoccupent du service à la clientèle. Il désire aussi développer l’image de marque du
Sydney Opera House et la positionner au niveau mondial pour que le complexe ne soit pas seulement un lieu touristique, mais
aussi une destination spectacles et le cadre d’événements.
Gestion des arts, gestion des ressources humaines, image de marque, positionnement, présentateur
RÉSUMÉ
MOTS CLÉS
FIGURE 2 SITE MAP
72 INTERNATIONAL JOURNAL OF ARTS MANAGEMENT
VOLUME 5, NUMBER 2 • WINTER 2003 73
centre has opened a number of boutiques and
restaurants over the years. Visitors can dine
at the SOH and shop at a small number of
select boutiques: Purely Australia Clothing,
the Aboriginal Art Shop, Scribbly Graphics,
Costello’s Opal Centre and two Sydney Opera
House shops selling SOH merchandise and
products associated with the resident companies (gifts, souvenirs, books, CDs, videos,
etc.). The various restaurants operated by the
centre generate annual revenues of $1.4 million. According to its 2001 annual report,
the SOH’s share of the profits from the souvenir shops located in the lower foyer and the
lower forecourt was $548,173 in 2001, while
income from the licensing of the centre name
and logo amounted to $76,280; total revenues of the SOH were $61,595,000, of which
$28,687,000, or 46.7%, was in the form of
grants.
In addition, people who want a glimpse
behind the scenes can take a guided tour of the
SOH. A number of different tours are offered,
so visitors can choose the one that most corresponds to their interests. A total of 261,257
people visited the centre in 2000–2001, generating revenues of $2,816,000.
The stated objective of the SOH with
regard to these various commercial activities is
to generate additional income that can be used
to develop shows and other artistic endeavours
for which the centre must assume the production risks. Each year, approximately $5 million
from these various sources of revenue is reinvested in in-house productions. Collectively,
the activities of the centre are regarded as a
portfolio of products, with those that generate surpluses compensating for those that
involve greater commercial risks. This balance
allows the organization to offer the public
more varied programming and gives it the
freedom to stage productions with narrower
appeal. The efficiency of these business activities is served by the fact that they are overseen
by the Director of Commercial Performance,
who is responsible for retailing, merchandising, commercial activities, licensing, sponsorship and catering.
Human Resources Management
T o realize his goal of making the SOH “a place that works,” Lynch wanted to move
away from the traditional system of industrial
relations in order to create more inclusive
ways of working. He has attempted to achieve
his goals using various means, including the
Learning Teams Program, the Real Program
and a reorganization of management structures (Lynch, 2002).
For example, during the year 1999–2000,
when Learning Teams was implemented, 11
teams with a total of 89 members were formed.
The team members came from various parts
of the organization (executives, support staff,
security personnel, secretarial staff, programming, box office, etc.) and also included representatives from the four resident companies
(another aspect of the burgeoning partnership
between these companies and the centre). The
teams went to work and made recommendations on a broad range of issues, such as:
– improving communication and learning
in the workplace
– identifying shared values
– recognizing the challenges facing the
SOH and the changing focus of its business
– making the strategic partnerships work
– improving access for people with disabilities
La Opera de Sydney es famosa en el mundo entero por su espléndida arquitectura y su irrepetible ubicación en el puerto de Sydney,
Australia. El edificio se ha convertido en el símbolo de la ciudad y atrae a cientos de miles de turistas cada año. Es un centro
pujante de las artes escénicas, con cinco salas de teatro y espacios tanto cubiertos como al aire libre que se encuentran abiertos al
público durante todo el año. El desafío que se ha planteado su director, Michael Lynch, es el de convertir a la Opera de Sydney en
un lugar donde es agradable trabajar, donde los empleados asuman un compromiso de atención al cliente. Otro de sus objetivos
es desarrollar la Opera de Sydney como marca y proyectarla internacionalmente con la imagen de un lugar donde la gente venga
no sólo a admirar su estructura sino también a asistir a los eventos.
Gestión de las artes, gestión de los recursos humanos, desarrollo de marca, posicionamiento, presentador
RESUMEN
PALABRAS CLAVE
– feeding into the Strategic Building Plan
from an artistic, commercial and building perspective.
This process made employees throughout
the organization feel empowered to influence
the way things were done and to be directly
involved in the organization’s development.
Part of the Chief Executive’s plan was to
change the organizational culture.
This experience was followed by the implementation of a program designed to reinforce
the leadership and organizational abilities of
staff members. Named the Real Program
(REAL being an acronym for Relationships,
Empowerment And Leadership), it involved
the formation of multidisciplinary teams made
up of about a hundred employees, again representing all hierarchical levels and all departments. Their task was to propose practical
solutions to numerous problems or issues identified in the course of daily activities or by the
Learning Teams. All volunteers also attended
training seminars designed to enhance their
skills. This team involvement in the decisionmaking process and in the creation of a more
effective organization proved to be a rewarding experience for the staff, as the boxed testimonials included here make clear. Note that
the entire staff of the SOH is unionized.
Returning to Michael Lynch’s management
philosophy, the purpose of involving employees in the management of the organization was
to have them reach their full potential and give
their best to the SOH – incorporate vision and
creativity into their work rather than just passively observe as the season unfolded. Lynch
set out to attract the best employees by turning
the SOH into a truly worker-friendly performing arts centre. His philosophy also involved
making the four resident companies feel they
belonged at the SOH. This is not to suggest
that the administration renounced its leadership and decision-making functions; rather,
it sought to give the entire organization a
stake in its own destiny. The Chief Executive
would create the favourable conditions and
offer guidance, and the employees, using their
experience and creativity, would ensure that
the organization ran smoothly. The end result
would be a strong team spirit and a highly
effective organization.
In conjunction with these efforts to get
employees more involved and to elicit their
input, the structure of the organization was
also modified, with the creation of five departments responsible for five sets of closely related
functions. For example, Sales and Marketing
assumed responsibility not only for commercial
TESTIMONIALS
“This experience has given the workforce the opportunity to make a real input into the
organization. The goals are set out and we get involved in working out how they are
going to be achieved. It’s a radical change from the past, when we would just wait
until we were told what to do and then we’d go and do it. It’s made the organization
a better place to be.”
Con Despinidic, electrician
“I’ve learnt a lot about what other departments do through the involvement of the people
on the Real Program team. For many of them it’s their first experience at working as a
team, because they normally work on their own. I am used to working in a team and
I know how important feedback is. It’s like playing football…the whole team wins, not
just an individual.”
Jason Walton, fire and security officer
“What we have been targeting with the Real Program is a broader concept of leadership.
Rather than the traditional model of leadership from top down, we’ve defined leadership in
terms of everyone who has leadership responsibilities. We’re working towards establishing a
common language across the organization – around shared values and understanding people
– so that we’re all talking about the same thing and not going in different directions. We will
be successful when everyone sees leadership as part of their role.”
Chloe Hawcroft, team leader, organization learning
74 INTERNATIONAL JOURNAL OF ARTS MANAGEMENT
VOLUME 5, NUMBER 2 • WINTER 2003 75
activities but for all aspects of marketing
and customer relations. This was particularly
important given the SOH’s commitment to
adopting a customer-oriented approach.
Branding and Customer Service
Consumers, both current and potential, form an idea or a mental image of an
organization. Even for people who have never
set foot in Australia, the name Sydney Opera
House conjures up an image. Whether accurate or not, the image exists. Simplified mental
representations like this allow consumers to
synthesize the attributes of a product in a
concise way that facilitates memorization and
recall. An organization should thus seek to
incorporate two distinct but complementary
objectives into its branding strategy:
– ensure that its brand is among those considered by its target clientele – in other words,
that it springs to mind when the consumer
thinks about making a particular kind of purchase – bearing in mind that consumers can
remember only a limited number of brands of
any given product
– ensure that the consumer’s mental image
of its product is accurate and precisely corresponds to the nature of the product.
These are the two essential requirements for
the successful positioning of any brand in a
market.
These two conditions can be broken down
into the five qualities that form brand strength:
the brand name is well known; it is perceived
as offering very high quality; it is associated
with an appropriate set of elements (programming, special events, etc.); the visitors
are loyal (the centre is a key tourist destination); and tangible and intangible assets can be
identified (architecture of the building, prestigious donors, excellent service, etc.) (Caldwell,
2000). Where does the SOH stand with regard
to these qualities?
The SOH has almost all of these elements
in place. Its name is indeed known throughout the world, thanks in part to events such
as the Olympic Games and the millennium
celebrations; it is also prominently featured as
a symbol in tourist brochures for Sydney and
Australia.
The SOH brand is undeniably strong. Two
elements play a key role in establishing the
quality of the SOH brand: the striking architecture that has made the structure a symbol
of Australia, and the artistic excellence of
its resident companies. For example, the
Australian Ballet, the resident dance company, is acclaimed throughout the world
(Radbourne, 2000).
Visitors are loyal to the SOH brand. Indeed,
unlike loyalty regarding ordinary consumer
products, which is reflected in the frequency
with which people buy the same brand, loyalty to a performing arts centre corresponds
not only to the number of times local residents
buy tickets to the various shows but also – in
the case of an institution seeking to position
itself internationally – to its popularity with
tourists and its ability to position itself as a
must-see attraction. The three million people
who visit the site and the 1.5 million audience
members indicate that the SOH has been successful in both respects.
Lastly, the centre clearly has tangible assets.
As noted above, the unique architecture of
the building plays a key role in promoting
Australia itself and attracts a great deal of
attention from tourists.
The challenge that the Chief Executive has
set for the SOH is terms of branding has to
do with the second characteristic of a strong
brand – the perceptions of potential customers with regard to the quality of its products.
In the domestic market, there appears to be
no doubt about quality, given the solid reputations of the Australian companies that perform
at the SOH and the equally solid attendance
figures (85% capacity). For Lynch, the challenge is to ensure that foreign visitors want
to not only see the building but also buy tickets to a show, take a guided tour or purchase
SOH merchandise at one of the shops. He also
wishes to ensure that the SOH is perceived as
a venue that offers productions of such high
quality that they more than justify a special
trip. This involves clarifying the brand image,
bolstering perceptions of its quality and positioning it more effectively.
In the simplest terms, positioning can be
defined as “the place occupied by a product or
brand in the mind of the consumer” (Colbert,
Bilodeau and Rich, 2001). It is a matter of
perception and does not necessarily have much
to do with reality. A typical potential customer can, either spontaneously or with some
prompting, call to mind a relatively small
number of events in a given city. The customer will have assessed and ranked the various brands associated with this set of events
based on the appeal of their various characteristics, simultaneously comparing this ranking
with a set of personal preferences. Each brand,
event or tourist attraction will thus assume a
“position” in the consumer’s mind, based on
this set of preferences and the perceived characteristics of each of the products. The ultimate positioning corresponds to a synthesis
of the characteristics of each product and its
respective place in the market.
In the case of the SOH, this positioning
should reflect more than just the architecture
and location of the centre; it should also be
based on what happens inside the building.
The SOH clearly has assets that can help it
build brand strength and improve its position. A number of them have already been
mentioned: top-of-mind awareness, a prestigious and spectacular location, the unique
architecture of the building. To fine tune the
positioning of the SOH in the international
marketplace and to strengthen its market position within Australia, Lynch believes, it is
important to enhance international awareness
of the artistic quality of the centre’s programming, adopt a more customer-oriented
approach and make more effective use of computer resources. These are the goals that the
SOH is currently working towards.
As part of the Learning Teams Program, the
employees examined ways that customer service could be improved in order to make an
SOH visit a satisfying all-round experience,
not just an artistic one. As a result, physical
improvements were made to various parts of the
site: service areas, restaurants, reception facilities, signage and so on. Furthermore, all staff
members who deal with the public received
special customer-service training. Significantly,
the number of customer complaints fell by
50% (from 322 to 145) during the year following implementation of the program. This
exercise was also designed to encourage personnel to make visitors feel as welcome as possible. In the highly competitive culture and
tourism sector, the quality of customer service
can make a significant difference in terms
of satisfaction and repeat purchases. The quality of customer service should be considered
throughout each visit, from initial contact (via
the Internet, by telephone or in person) to
the visitor’s departure from the site; it is also
reflected in after-sales interaction with visitors
who contact the organization again. It therefore involves all staff members who come into
contact with the public – at the box office and
reception, in the bars and so forth. From the
point of view of customers, these people represent the organization – their interaction with
front-line staff is usually their only direct contact with members of the organization. It is of
course still important to ensure that the quality of the productions meets audience expectations, for even the most extraordinary service
cannot compensate for a substandard season.
However, the Chief Executive of the SOH is
more concerned about issues related to customer service, because the quality of its productions appears to be in no doubt.
In a further effort to improve customer service, for local residents as well as tourists, the
centre has set up an online ticket service. At any
time of the day, from anywhere in the world, a
potential customer can contact the centre and
make a reservation by consulting a list of available activities (www.sydneyoperahouse.com).
Visitors to the SOH Web site can also take virtual tours of the interior and exterior of the
building (a CD is also available), view the merchandise available in the various shops or consult the restaurant menus. The online ticket
service is very popular with consumers, if sales
during its first year of operation are any indication: from September 2000 to June 2001
the centre sold 29,756 tickets online, for a
total value of $1,375,613, and in June 2001
online sales accounted for 10.3% of all tickets
sold.
The Future
T he shift towards greater employee involve- ment and a stronger focus on customer
service is well under way at the Sydney Opera
House. An employee survey conducted in the
year 2000 indicates that the working atmosphere at the SOH has greatly improved, and
although the changes are ongoing, the staff is
76 INTERNATIONAL JOURNAL OF ARTS MANAGEMENT
VOLUME 5, NUMBER 2 • WINTER 2003 77
pleased with the progress that has been made
thus far. A Learning Team is currently analysing the results of this survey and working
towards the implementation of the employees’
recommendations.
Furthermore, for a number of years now,
Australia has been making a concerted effort
to create more opportunities for its aboriginal
populations. In keeping with this national initiative, the SOH has developed an Indigenous
Traineeship Program. Implemented in 1999,
this program has made it possible to train four
people currently employed by the centre – one
in the box office and three in technical positions. The SOH hopes to employ at least 10
members of aboriginal communities by 2003.
With regard to the future initiatives of the
SOH administration, it bears mentioning that
Jørn Utzon, the building’s architect, has been
hired as a consultant to work on a Statement
of Design Principle to ensure the long-term
integrity of his concept as changes are made
to the structure and the site. This is part of
a broader initiative known as the Strategic
Building Plan. Designed to protect the architectural heritage of the site, this plan will also
make it possible to deal with practical issues
such as acoustics, lighting and accessibility for
people with disabilities. For Utzon, who is
employed by the architectural firm Johnson
Pilton Walker, his involvement amounts to
long-overdue recognition of his work. As a
result of controversy regarding the costs of
this ambitious project and the exacting architectural requirements, he was not involved
in the actual construction of the building.
Originally budgeted at $7 million, construction ultimately cost $102 million. However,
since the building has become a source of
national pride, many people feel it is only fair
that Utzon be given recognition.
References
Annual Report 2000. Sydney: Sydney Opera House
Trust.
Annual Report 2001. Sydney: Sydney Opera House
Trust.
Caldwell, N.G. 2000. “The Emergence of Museum
Brands.” International Journal of Arts Management,
Vol. 2, n° 3 (Spring), p. 28–34.
Colbert, F., J. Nantel, S. Bilodeau and J.D. Rich.
2001. Marketing Culture and the Arts, 2nd Ed.
Montreal: Chair in Arts Management, HECMontréal (1st Ed. 1994).
Lynch, M. 2002. “Learning and Leadership: Cultural
Change and the Sydney Opera House.”
International Journal of Arts Management, Vol. 4,
n° 3 (Spring), p. 4–7.
Radbourne, J. 2000. “The Australian Ballet: A
Spirit of Its Own.” International Journal of Arts
Management, Vol. 2, n° 3 (Spring), p. 62–69.
Note
Michael Lynch left the Sydney Opera House in the summer of
2002 for a position in England. He takes up the post of Chief
Executive of London’s South Bank Centre.
VISION AND CORPORATE GOALS OF THE SOH
Vision
To be an internationally significant cultural landmark and centre for the performing arts
renowned for imagination, leadership and excellence.
Corporate Goals
To realize its vision, the SOH has seven corporate goals:
• to be a leader in the development and presentation of the performing arts and outstanding cultural events
• to provide first-class venues, facilities and services
• to attract a larger number and broader range of visitors to the SOH, and exceed their
expectations
• to be a leading, learning, innovative workplace
• to be an immaculately presented cultural landmark and architectural masterpiece
• to achieve outstanding business results
• to develop and leverage the SOH brand
APPENDIX

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