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Programmatic Risk-Taking by American Opera Companies

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  • J. Pierce

Abstract

This study explores the relationships between culture,politics, and the decision-making process of theAmerican opera company. It combines socio-economicdata with the financial and program data of key operacompanies to explore important influences inprogramming decisions. It tests the hypothesizedrelationships between risk-taking by opera companiesand socio-economic variables such as wealth,government funding, and donor involvement. This studyfinds that local government funding encourages programconventionality, while federal support such as the NEAencourages program risk-taking. Socio-economicvariables such as conservatism, wealth, and educationlevel were also found to affect opera programming. Copyright Kluwer Academic Publishers 2000

Suggested Citation

  • J. Pierce, 2000. "Programmatic Risk-Taking by American Opera Companies," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 24(1), pages 45-63, February.
    • Handle: RePEc:kap:jculte:v:24:y:2000:i:1:p:45-63
    DOI: 10.1023/A:1007588802339
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    Cited by:

    1. Kristien Werck & Bruno Heyndels, 2007. "Programmatic choices and the demand for theatre: the case of Flemish theatres," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 31(1), pages 25-41, March.
    2. John O’Hagan & Adriana Neligan, 2005. "State Subsidies and Repertoire Conventionality in the Non-Profit English Theatre Sector: An Econometric Analysis," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 29(1), pages 35-57, February.
    3. Achten-Gozdowski, Jennifer, 2018. "Geschichte und Politökonomie deutscher Theatersubventionen [History and Political Economy of Public Subsidies for German Theatres and Operas]," MPRA Paper 85087, University Library of Munich, Germany.
    4. Giulia Cancellieri & Massimo Riccaboni, 2015. "From La Bohème to La Wally: How Organizational Status Affects the (Un)conventionality of Opera Repertoires," Working Papers 5/2015, IMT School for Advanced Studies Lucca, revised May 2015.
    5. Xavier Castañer & Lorenzo Campos, 2002. "The Determinants of Artistic Innovation: Bringing in the Role of Organizations," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 26(1), pages 29-52, February.
    6. Karol J. Borowiecki & Trilce Navarrete, 2017. "Digitization of heritage collections as indicator of innovation," Economics of Innovation and New Technology, Taylor & Francis Journals, vol. 26(3), pages 227-246, April.
    7. Gałecka Małgorzata & Smolny Katarzyna, 2019. "Criteria for the optimal financing model of public theatres," Review of Economic Perspectives, Sciendo, vol. 19(2), pages 119-136, June.
    8. Ruth Towse, 2011. "Opera and Ballet," Chapters, in: Ruth Towse (ed.), A Handbook of Cultural Economics, Second Edition, chapter 43, Edward Elgar Publishing.
    9. Bruce Seaman, 2004. "Competition and the Non-Profit Arts: The Lost Industrial Organization Agenda," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 28(3), pages 167-193, August.
    10. Jeffrey Pompe & Lawrence Tamburri & Johnathan Munn, 2011. "Factors that influence programming decisions of US symphony orchestras," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 35(3), pages 167-184, August.
    11. Adriana Neligan, 2006. "Public funding and repertoire conventionality in the German public theatre sector: an econometric analysis," Applied Economics, Taylor & Francis Journals, vol. 38(10), pages 1111-1121.
    12. Chiara Carolina Donelli & Ruth Rentschler & Simone Fanelli & Boram Lee, 2023. "Philanthropy patterns in major Australian performing arts organizations," Journal of Management & Governance, Springer;Accademia Italiana di Economia Aziendale (AIDEA), vol. 27(4), pages 1367-1396, December.
    13. Alan Collins & Antonello E. Scorcu & Roberto Zanola, 2009. "Distribution conventionality in the movie sector: an econometric analysis of cinema supply," Managerial and Decision Economics, John Wiley & Sons, Ltd., vol. 30(8), pages 517-527.
    14. Alexander Cuntz, 2023. "Grand rights and opera reuse today," Oxford Economic Papers, Oxford University Press, vol. 75(1), pages 206-232.
    15. William A Luksetich, 2011. "Orchestras," Chapters, in: Ruth Towse (ed.), A Handbook of Cultural Economics, Second Edition, chapter 44, Edward Elgar Publishing.
    16. Mafalda Gómez-Vega & Luis César Herrero-Prieto, 2019. "Measuring emotion through quality: evaluating the musical repertoires of Spanish symphony orchestras," Journal of Cultural Economics, Springer;The Association for Cultural Economics International, vol. 43(2), pages 211-245, June.
    17. Giulia Cancellieri, 2015. "Strategic practices and italian opera houses? performance: the innovation dilemma," MERCATI & COMPETITIVIT?, FrancoAngeli Editore, vol. 2015(3), pages 39-59.
    18. Ioannis Poulios & Efrosini Kamperou, 2022. "Business Innovation in Orchestra Organizations Supported by Digital Technologies: The Orchestra Mobile Case Study," Sustainability, MDPI, vol. 14(7), pages 1-18, March.
    19. Michael Jensen & Bo Kyung Kim, 2014. "Great, Madama Butterfly Again! How Robust Market Identity Shapes Opera Repertoires," Organization Science, INFORMS, vol. 25(1), pages 109-126, February.

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    Keywords

    arts; economics; music; NEA; opera;
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