Swot analysis of the english national opera Essay -- essays research p

SWOT analysis of the English National Opera   Ã‚  Ã‚  Ã‚  Ã‚  STRENGTHS The product is definite. Although there are many different titles of shows and ways of performing Opera, on the whole the customer knows, when attending a performance, what to expect. Accessibility is improving. Through recent more widespread distribution of Videos/DVDs and CDs – in well known music stores. Also through Touring and Open-air Opera and to some extent educational workshops and talks, the English National Opera (ENO) has improved accessibility socially, geographically and physically. On a social level, Opera can be taken to the people, giving it a new and more innovative image therefore creating interest throughout a more widespread number and class of people. Thus allowing Opera attendees to begin to be stereotyped in a different way, which in itself improves accessibility to those who believed they simply were not of a high enough class to attend Opera. On a geographical level, people no longer need to travel to the only venue of the ENO – The London Coliseum, and on a physical level, the new Coliseum has full disability access and also have improved orchestra pit and stage doors from the workshop, allowing even more fantastic set designs to be constructed. Offer a varied range of performances all year round. The ENO have a full schedule of shows throughout the season. John Nelson, a board member said that this is a very positive thing as if there is a regular turnover of performances and events people can get into the habit of attending’. Communication links between interested parties are solid. Within the Opera ‘circle’ communication is frequent. The ENO has a long list of ‘friends’ and mailing recipients with whom there is frequent contact and updates about events, up and coming performances and invitations to preview nights, the opinions surveys regarding all aspects of the ENO are often posted to the ‘Friends of the ENO’. This regular contact makes people feel as if they are involved and play a role in the success of the Opera House. Price elasticity. Seat prices vary greatly so that more people can afford to attend the Opera. Typically those from social classes A and B attended the Opera, and this was partly to do with the cost of tickets. The ENO have made an effort to change this and have introduced more variable ticket pricing. For example... ...opportunities that may help to boost income. Reduction in government funding. Due to the increasing diversity and number of other Art forms in need of support and the ‘excessive amount upon which Opera Companies have begun to rely on government subsidy’ (Arts Council), the government has reduced it funding for Opera Companies. Although the ENOs funding has seen less of a cut than others, it has still been reduced. Growing statutory responsibilities of local authorities. Increased responsibility to finance other areas of local interest means the local authority has almost halved its financial support for the ENO in the last six years. Expensive legalities related to producing Opera. The increasing costs of insurance and applying to health and safety regulations is a threat to the future of the ENO. Bibliography Arts Council England (2002), http://www.artscouncil.org.uk/. UK: The National Lottery Commission Davies, Anita (2003), OPERA Cultural Trends. UK: Policy Studies Insitute English National Opera (2001), http://www.eno.org. UK: Emapdigital Thanks to- John Nelson, member of the Board of Directors of the English National Opera Company.