Swot Analysis of the English National Opera

Topics: Opera, Richard Wagner, Opera house Pages: 7 (1774 words) Published: April 12, 2005
SWOT analysis of the English National Opera


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, new for 2004, 500 seats at £10 and under for all weekday performances.

Regular attendees see Opera as high value.
Those willing to pay higher prices are those who are regular attendees, usually ‘friends of the ENO'. The ENO have secured this market for the higher ticket prices, these are the tickets they make more profit from. These people are those that see Opera as high value and therefore are generally willing to pay higher prices.

Low turnover of main staff body.
ENO is a large Opera Company; therefore they do have many full-time positions. Examples of these are, administration, box office, personnel, press, marketing, management, education and design are all full time positions that are filled by one or more members of staff. They also have full-time employees for the principal roles. Part-time employees include the chorus and orchestra. Because these people have a high interest in Opera, they are loyal to their employer and changes of employees are minimal.

The management structure is strong and respected.
The ENO is directed by a board. It works in a hierarchy of department managers and employees. ‘Many of the individuals who work for the ENO have an interest in Opera', John Nelson, they are all working to a similar goal and there is a great deal of respect for the company within the company. Expertise among employees is high and many employees attend training courses in management. Most of the employees from nearer the top of the hierarchy are graduates or have years of experience.

Motivation is high.
Employees and directors have a shared interest in Opera...

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.
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