<abstract xmlns="http://www.w3.org/1999/xhtml"><p> Today, opera houses are confronted by new (global) digital media offers that enable people to remain outside the opera house while attending a live-opera, e.g. via livestreamed opera performances in the cinema. This is a challenge for media managers in these fields because they need to find new ways to work with these new opportunities. Within a cultural marketing context, branding is highly relevant. Based on the brand image approach by Kevin Lane Keller (1993), we use a complex qualitative-quantitative study in order to investigate if, and how, the brand images of live-opera performances and live-streamed operas differ between countries and cultural contexts. By comparing Estonia and Germany, we found that the perception of live-opera is rather a global phenomenon with only slight differences. Furthermore, the ‘classical’ opera performance in an opera house is still preferred, with a corresponding willingness to pay, while the live-streamed opera offer may provide a modern touch. The study may help media managers in adapting their brand management to include new digital product offers and to find targeted differentiation strategies for increasingly competitive markets.</p></abstract>

Today, opera houses are confronted by new (global) digital media offers that enable people to remain outside the opera house while attending a live-opera, e.g. via livestreamed opera performances in the cinema. This is a challenge for media managers in these fields because they need to find new ways to work with these new opportunities. Within a cultural marketing context, branding is highly relevant. Based on the brand image approach by Kevin Lane Keller (1993), we use a complex qualitative-quantitative study in order to investigate if, and how, the brand images of live-opera performances and live-streamed operas differ between countries and cultural contexts. By comparing Estonia and Germany, we found that the perception of live-opera is rather a global phenomenon with only slight differences. Furthermore, the ‘classical’ opera performance in an opera house is still preferred, with a corresponding willingness to pay, while the live-streamed opera offer may provide a modern touch. The study may help media managers in adapting their brand management to include new digital product offers and to find targeted differentiation strategies for increasingly competitive markets.

The Branding Potential for the Digital Transmission of Live-Operas to the Cinema: An International Comparison of Estonia and Germany

Baltic Screen Media Review

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

Today, opera houses are confronted by new (global) digital media offers that enable people to remain outside the opera house while attending a live-opera, e.g....

The Branding Potential for the Digital Transmission of Live-Operas to the Cinema: An International Comparison of Estonia and Germany

Publié en ligne: 29 déc. 2017

Pages: 90 - 109

DOI: https://doi.org/10.1515/bsmr-2017-0014

© 2018

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.