Strategic practices and italian opera houses’ performance: the innovation dilemma

Titolo Rivista MERCATI E COMPETITIVITÀ
Autori/Curatori Giulia Cancellieri
Anno di pubblicazione 2015 Fascicolo 2015/3
Lingua Italiano Numero pagine 21 P. 39-59 Dimensione file 548 KB
DOI 10.3280/MC2015-003003
Il DOI è il codice a barre della proprietà intellettuale: per saperne di più clicca qui

Qui sotto puoi vedere in anteprima la prima pagina di questo articolo.

Se questo articolo ti interessa, lo puoi acquistare (e scaricare in formato pdf) seguendo le facili indicazioni per acquistare il download credit. Acquista Download Credits per scaricare questo Articolo in formato PDF

Anteprima articolo

FrancoAngeli è membro della Publishers International Linking Association, Inc (PILA)associazione indipendente e non profit per facilitare (attraverso i servizi tecnologici implementati da CrossRef.org) l’accesso degli studiosi ai contenuti digitali nelle pubblicazioni professionali e scientifiche

In this article it is explored the effect of innovation on Italian opera houses’ performance. Innovation is measured as the number of new opera productions staged by a theatre (i.e., "new" in terms of set designs, costumes and stage directions not previously used by any other opera house). Opera houses’ performance is measured as occupancy rate and ability to attract private grants. Our sample includes two Italian operatic institutions: 1) lyric and symphonic foundations, and 2) teatri di tradizione. Data collected from 2007 to 2009 show that among the sampled institutions, only the lyric and symphonic foundations are able to increase their occupancy rate from new opera productions. Moreover results highlight that the ability of opera houses to collect private grants is positively affected by the number of new opera productions, meaning that innovation plays a key role in strengthening opera houses’ fundraising capabilities. This is particularly important in the Italian opera scenario where the severe consequences of the economic crisis and decreased public funding to opera houses have sharpened competition for scarce financial resources.;

Keywords:Teatri d’opera Italiani, innovazione, fondazioni lirico-sinfoniche, finanziamento privato, performance

  1. Abbé-Decarroux F. (1994). The perception of quality and the demand for services: empirical application to the performing arts. Journal of Economic Behavior and Organization, 23(1): 99-107, DOI: 10.1016/0167-2681(94)90100-7
  2. Agid P., Tarondeau J.C. (2008). Les performances des maisons d’opéra: une explication statistique (No. DR 08019). ESSEC Research Center, ESSEC Business School.
  3. Aiken L.S., West S.G. (1991). Multiple regression: testing and interpreting interactions. Newbury Park, London: Sage.
  4. Austen-Smith D. (1980). On the impact of revenue subsidies on repertory theatre policy. Journal of Cultural Economics, 4(l): 9-17, DOI: 10.1007/bf00240641
  5. Austin B.A. (1981). Film attendance: why college students chose to see their most recent film. Journal of Popular Film and Television, 9(1): 43-49.
  6. Baumol W.J., Bowen W.G. (1966). Performing Arts: The Economic Dilemma. New York: Twentieth Century Fund.
  7. Bradford G., Gary M., Wallach G. (2000). The politics of culture: policy perspectives for individuals, institutions and communities. New York: New Press.
  8. Brooks A.C., Kushner R. (2001). Cultural policy and urban development. International Journal of Arts Management, 3(2): 4-15.
  9. Brunetti G. (2000). I teatri lirici. Da enti autonomi a fondazioni private. Etas, Milano. Castañer X., Campos L. (2002). The determinants of artistic innovation: bringing in the role of organizations. Journal of Cultural Economics, 26(1): 29-52, DOI: 10.1023/A:1013386413465
  10. Cloake M. (1997). Management, the Arts and Innovation. In M. Fitzgibbon and A. Kelly (eds.), From Maestro to Manager. Critical Issues in Arts and Culture Management. Oak Tree Press, Dublin.
  11. Colbert F. (2003). Entrepreneurship and leadership in marketing the arts. International Journal of Arts Management, 6(1): 30-40.
  12. Colbert F. (2009). Beyond branding: contemporary marketing challenges for arts organizations. International Journal of Arts Management, 12(1): 14-20.
  13. Cori E. (2004). Aspetti istituzionali e dinamiche organizzative del teatro d’opera in Italia. Milano: FrancoAngeli
  14. Cummings M.C., Kartz R.S. (1987). The Patron State. New York: Oxford University Press.
  15. Dennehy J. (1997). Marketing in the arts: the manager’s perspective. In Fitzgibbon M., Kelly A. From maestro to manager. Critical issues in arts and culture management. Dublino: Oak Tree Press DiMaggio P.J., Stenberg K. (1985). Why do some theatres innovate more than others? An empirical analysis. Poetics, 14 (1-2): 107-122, DOI: 10.1016/0304-422X(85)90007-5
  16. Donato F. (2004). Il management degli enti lirici. Ricerca degli equilibri e sistemi di misurazione. FrancoAngeli, Milano.
  17. Dubini P. (1999). Economia delle aziende culturali. Etas, Milano.
  18. EDT / CIDIM. 2006. Opera 2006: Annuario dell’opera lirica in Italia, EDT, Torino.
  19. EDT / CIDIM. 2007. Opera 2007: Annuario dell’opera lirica in Italia, EDT, Torino.
  20. EDT / CIDIM. 2008. Opera 2008: Annuario dell’opera lirica in Italia, EDT, Torino.
  21. EDT / CIDIM. 2009. Opera 2009: Annuario dell’opera lirica in Italia, EDT, Torino.
  22. Forbes D. P. (1998). Measuring the unmeasurable: empirical studies of nonprofit organization effectiveness from 1977-1997. Nonprofit and Voluntary Sector Quarterly, 27 (2):183-202, DOI: 10.1177/0899764098272005
  23. Fuchs P.P. (1969). Psychology of Conducting. MCA Music, New York.
  24. Gainer B., Padanyi P. (2005). The relationship between market-oriented activities and market-oriented culture: implications for the development of market orientation in nonprofit service organizations. Journal of Business Research, 58(6): 854-862, DOI: 10.1016/j.jbusres.2003.10.005
  25. Gilhespy I. (1999.) Measuring the performance of cultural organizations: A model. International Journal of Arts Management, 2(1): 38-52.
  26. Guler I. (2007). Throwing good money after bad? Political and institutional influences on sequential decision making in the venture capital industry. Administrative Science Quarterly, 52: 248-285.
  27. Hair J.F., Anderson R.E., Tatham R. L., Black W.C., (1995). Multivariate Data Analysis. Fourth Edition, Prentice Hall, Englewood Cliffs, New Jersey.
  28. Hellbrun J. (1993). Innovation in art, innovation in technology, and the future of the high arts. Journal of Cultural Economics, 17(1), 89-98, DOI: 10.1007/BF00820769
  29. Heilbrun J. (2001). Empirical evidence of a decline in repertory diversity among American opera companies 1991/2 to 1997/8. Journal of Cultural Economics, 25(1): 63-72, DOI: 10.1023/A:1007694030922
  30. Heilbrun, J., C.M. Gray. (1993). The Economics of Art and Culture: An American Perspective. Cambridge University Press, New York.
  31. Jensen M., Kim B.K., Kim H. (2011). The importance of status in markets: a market identity perspective. In J.L. Pearce (Eds.), Status in Management and Organizations (p. 87-117). UK: Cambridge University Press.
  32. Jensen M., B.K. Kim. (2013). Great, Madama Butterfly again! How robust market identity shapes opera repertoires. Organization Science, 25, 1: 109-126., DOI: 10.1287/orsc.2013.0836
  33. Kotler P., Scheff J. (1996). Crisis in the arts: the marketing response. California management review, 39(1).
  34. Mahajan V., Muller E., Kerin R.A. (1984). Introduction strategy for new products with positive and negative word-of-mouth, Management Science, 30 (12): 1389-1404, DOI: 10.1287/mnsc.30.12.1389
  35. Mariani M., Cattani G., Ferriani S. (2010). Resource dependence, audiences degree of experimentation: evidence from the classical music sector, working paper, Stern School of Business, New York University.
  36. Martorella R. (1977). The relationship between box office and repertoire: a case study of Opera. The Sociological Quarterly, 18, 3: 354-366, DOI: 10.1111/j.1533-8525.1977.tb01420.x.
  37. Moir L., Taffler R.J. (2004). Does corporate philanthropy exist?: business giving to the arts in the UK. Journal of Business Ethics, 54: 149-161, DOI: 10.1007/s10551-004-1777-1
  38. Ni Bhradaigh E. (1997). Arts marketing: a review of research and issues. In Fitzgibbon M., Kelly A. 1997. From maestro to manager. Critical issues in arts and culture management. Oak Tree Press, Dublino.
  39. Philips D.J., Zuckerman E.W. (2001). Middle-Status Conformity: Theoretical Restatement and Empirical Demonstration in Two Markets. American Journal of Sociology, 107(2): 379- 429, DOI: 10.1086/324072
  40. Pierce J. (2000). Programmatic risk-taking by American Opera Companies. Journal of Cultural Economics, 24, 1: 45-63, DOI: 10.1023/A:1007588802339
  41. Radbourne J. (1998). Benchmarking performing arts centers in Australia. Brussels: WCVM Journal and Research Data Center.
  42. Santoro M. (2010). Constructing an artistic field as a political project: lessons from La Scala. Poetics, 38: 534-554, DOI: 10.1016/j.poetic.2010.10.001
  43. Schuman W., Stevens R.L. (1979). Economic Pressures and The Future of the Arts. New York: The Free Press.
  44. Sicca L.M., Zan L. (2005). Much Ado About Management: Managerial Rethoric in the Transformation of Italian Opera Houses. International Journal of Arts Management, 7(3): 46-64.
  45. Steinberg M.P. (2006). The politics and aesthetics of operatic modernism. Journal of Interdisciplinary History, 36: 629-648, DOI: 10.1162/jinh.2006.36.4.629
  46. Stuart T.E., Hoang H., Hybels R. . (1999). Interorganizational endorsements and the performance of entrepreneurial ventures. Administrative science quarterly, 44(2), 315-349, DOI: 10.2307/2666998
  47. Throsby D. (1990). Perception of quality in demand for the theatre. Journal of Cultural Economics, 14(1): 65-82, DOI: 10.1007/BF02268198
  48. Turrini A., O’hare M., Borgonovi F. (2008). The border conflict between the present and the past: programming classical music and opera. The Journal of Arts Management, Law, and Society, 38(1): 71-88, DOI: 10.3200/JAML.38.1.71-88
  49. Voss Z.G., Voss G.B. (2000). Exploring the impact of organizational values and strategic orientation on performance in not-for-profit professional theatre. International Journal of Arts Management, 3(1): 62-76.

Giulia Cancellieri, Strategic practices and italian opera houses’ performance: the innovation dilemma in "MERCATI E COMPETITIVITÀ" 3/2015, pp 39-59, DOI: 10.3280/MC2015-003003