Swot Analysis of the English National Opera
SWOT analysis of the English National Opera
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
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
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.