• The Phantom of the Opera on Sydney Harbour
    The Phantom of the Opera on Sydney Harbour
Close×

Opera Australia’s longstanding partnership with philanthropist Haruhisa Handa will end in December, closing an association that helped establish its annual Sydney Harbour productions.

According to reporting by Michael Bailey in the Australian Financial Review, the company’s agreement with Handa’s International Foundation for Arts and Culture (IFAC) expires on 31 December. The relationship has brought more than $15 million in donations over 15 years.

Handa remains a supporter of former OA artistic director Lyndon Terracini’s Handa Opera at Millthorpe, which will run from 25–28 March 2027 near Orange in regional NSW.

The harbour season will also continue. OA has announced a revival of Gale Edwards’ Aida, with choreography by Lucas Jervies, from 27 March to 25 April 2027. It is being promoted as Aida on Sydney Harbour, without the Handa naming.

There have been reported disagreements over funding levels and the balance between opera and musical theatre, citing unnamed sources close to negotiations. Neither organisation has publicly detailed the reasons for the split. In a statement reported by the publication, OA acknowledged Handa and IFAC’s contribution to developing the harbour event and expressed gratitude for their longstanding support.

The departure comes after a substantial improvement in OA’s finances. Its 2025 results showed a near break-even operating position, with a $3.6 million surplus after including the company’s capital fund. OA attributed the improvement to stronger box office performance and tighter cost controls, acknowledging the work of then acting CEO Simon Militano and the wider team. Opera Australia’s financial results announcement.

Those results demonstrate progress in stabilising the company’s finances. The loss of a longstanding benefactor nevertheless raises a broader question about how that recovery will be sustained. Maintaining artistic ambition and donor and stakeholder confidence is part of the same task as balancing the books: decisions about repertoire and expenditure can shape relationships well beyond a single season.

comments powered by Disqus