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Can Peter Gelb and his successors continue to financing this model? Can they get the donor/solution sales/expenses ratios back to historical levels or continue to maintain them at the new levels? Time, and the existing global financial meltdown, provide significant light to this subject. Exactly what does this mean for all of those other traditional music community?
It is early in the game for post-game evaluation but there are some interesting questions and conditions that are raised by the Mets activities. The Met hired a marketing wizard. He had never run a performing arts business. He replaced the ultimate insider – Joe Volpe. Under Volpe the business ran like clockwork but the audience is at decline.
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- Project scheduling
- 2 weeks hence from Florida
- Beat the living daylights out of anyone who fails to honour their side of the contract
Gelb may or may not be operational manager (signs are that he could be not) but he was the right man for the times. Under his management the Met has had a rebirth. Every important metric is also to the right up. The lesson is that each part of the classical music ecosystem must become excellent at the art and practice of marketing. This expands from the top managers of major organizations to specific artists. Competition for audience and donor attention is growing every day. While CDs are in rapid decline in the video game industry is experiencing unprecedented growth.
There are more options for how people spend their time. The other available choices are being perfectly marketed. If traditional music is to accomplish a turnaround like the Met it should take a high quality and suffered marketing effort by everyone mixed up in business. Others have tried to emulate the Met. San Francisco Opera and Chicago Lyric Opera, Covent Garden and La Scala created similar programs and the attendance was very unsatisfactory! One problem was that they delayed the performances to make the full hours more suitable for the audience.
This seems just like a good idea but in fact it had not been. One of the main destinations of the Met broadcasts is that it is not a recording – it is an event! You are viewing it in real time, like the audience in Lincoln center just. “Central to Mr. Gelb’s conception of the Met’s business was that broadcasts would be live: viewers in movie homes would vicariously experience the performance with patrons at the Met. It has a drawback for the reason that the broadcast is bound by it geography. That is why the matinee performances are broadcast – the timing can be made to work for Europe and the western US.
The Met has done several secondary shows plus they have made the HD broadcasts available online on a membership service. They are economically trivial, and seem sensible as an adjunct to a successful simulcast program but they would never standalone as a viable model. The key is to help make the performance into an event! Another factor would be that the Met was the first mover in the forex market! We are viewing many markets develop into a winner-take-all outcome.