Live In HD Analysis & Marketing Plan


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This was created with Joshua Lenihan and Osman Rathore for an Advanced Marketing Class at NYU, Stern.

This PDF is an in-depth analysis of the industry and competitive landscape of the Metropolitan Opera\'s Live in HD broadcasts, followed by the results of a questionnaire distributed to approximately 200 music lovers between 20 and 45.

Live In HD Analysis & Marketing Plan

  1. 1. Met: Live in HDLorraine Goodman, Joshua Lenihan Osman Rathore
  2. 2. Table of Contents • Industry Analysis & Competitive Landscape • Entertainment Industry trends, size, growth, market structure Upfront • Key Players & DistributionPreparation • Leisure Habits& Analysis • US Rates of Exposure / Age Demographics • Met Opera Position, Environment, Revenue Streams • Background HD • HD Attendance StatisticsOpera & HD • Customer Acquisition / Retention Profiles • Public Relations / Press • Best: LA PhilSmartest & • Worst: Invitation from Placido Domingo (see trailer) Dumbest • The Met: Live in HD’s current marketing Tactics • Wordles • Perceptual Maps Survey • Other Results • Business Objectives / SWOT
  3. 3. Table of Contents (cont’d) • Brand Positioning Statement • Sources of Volume / Product Line • Branding Strategies / Dedicated Website Branding • Pricing, Geography and Budget • Trade & Intermediary Plans • Direct Mail • Public Relations / Sample Press ReleaseTraditional Media • Trailers & Posters • Google Ads • Hallmark Holidays Newer • Experimental: Groupon, Brand Ambassadors, InMobi, Sweepstakes, Stealth / Viral / Buzz Media • Customer Touchpoints • Integrated Marketing Flowchart • PrioritizationConclusions • Risks & Hedges
  4. 4. Executive SummaryIn 2006, Peter Gelb, the new General Manager of the largest opera company in the world initiated a series ofreal-time transmissions of opera performances: Live in HD. The cinemacasts achieved instant success, and inthe subsequent years has grown in popularity by all metric standards. It has failed, however, to attract youngercrowds or change attitudes among younger, affluent and well-educated demographic – the demographic thattraditionally frequents cultural events."After an examination of the Metʼs current marketing strategy, we have determined one key issues that could beaffecting this trend: the Met currently views the HD series as a natural extension of the performances it showsin-house. While this is a natural extension, it fails to acknowledge the differences and opportunities the HDseries offers."Our marketing survey attempted to learn more about the entertainment choices of our target demographic (25 –45, urban, educated and relatively high-income) and elucidate the inherent barriers to opera attendance. "The results indicate that (A) young people still view opera as “Boring;” (B) they are generally unaware of theLive n HD broadcasts, and (C) a majority might be willing to try opera if the price is right. "The following marketing plan attempts to address these issues by: spreading awareness, rebranding the HDseries as a potent, separate form of entertainment, and, hopefully, reaching a younger, hipper demo andpsychographic.""
  5. 5. Background Industry Analysis Competitive LandscapeHistory of Met Opera & HD Best / Worst Practices
  6. 6. Industry Analysis
  7. 7. Entertainment Industry Share of Market: Revenue Share of Market by number of (Total = $30.4B) organizations (Total = 9231) Dance Companies Opera 2% Dance Symphony Companies Opera Companies Orchestras 2% Companies 6% 5% 2% Theater SymphonyCompanies Orchestras 15% 9% Spectator Sports 44% Theater Spectator Companies Sports 39% 76% •  By revenue, spectator sports dominates the industry. •  Opera companies are a small fraction of both the total number of firms and the share of market revenue Source: Harvard Business School, Case 9-509-033, Mar 2009.
  8. 8. US Market Structure Musical Theater Hollywood (filmed for big Blockbusters screen) At originating Cinematic Venue productions Independent Cinema Recorded consumer media Special events (DVD etc) Met Performances (Live and Encores)Spectator–oriented entertainment & Concerts (Live and Movie theaters recorded) Opera performing arts* All other Opera Companies Sporting events Internet/mobile (Live and recorded) Dance (Ballet) Performing Arts (Live Streaming Classical/ TV Orchestras and encores Broadway Musical Theater Broadway Theater (non-musicals) *This would exclude entertainment where the consumer participates in a hands-on way e.g. theme parks etc.
  9. 9. Live Music, Sports & Event Promotion in the US Key Industry Statistics (2010) Annual Growth Predicted Annual Revenue (06-11) Growth (11-16) •  $22.4 bn •  2.4% •  3.0%§  Lower ticket prices will boost attendance, sales of merchandise and concessions§  Attendance and ancillary spending at lower-priced events have boomed§  Promoter numbers have grown as the web makes it possible for almost anyone to enter the industry IBISWorld  Industry.  “Live  Music,  Sports  &  Event  Promotion  in  the  US:  71133”  IBISWorld  Industry   Report,      February  2011  (July  26,  2011)  
  10. 10. Live Music, Sports & Event Promotion in the US •  Consumers’ willingness and ability to attend events is heavily influenced by their disposable income •  Reduced average ticket prices is anticipated to lead to stronger earnings among the industry’s largest players •  Total revenue for the Live Music, Sports and Event Promotion industry is projected to grow at an average rate of 3.0% per year in the five years to 2016 •  Merchandise, food and beverages, are expected to continue to rise IBISWorld  Industry.  “Live  Music,  Sports  &  Event  Promotion  in  the  US:  71133”  IBISWorld  Industry   Report,      February  2011  (July  26,  2011)  
  11. 11. Live Music, Sports & Event Promotion in the USWhose Attending? What are they attending? IBISWorld  Industry.  “Live  Music,  Sports  &  Event  Promotion  in  the  US:  71133”   IBISWorld  Industry  Report,      February  2011  (July  26,  2011  
  12. 12. Consumer Spending on Admissions, 2009
  13. 13. Movie Theatersindustryin the USAnnual Growth(06–11) :0.8%Annual Growth Regal AMC Cinemark(11–16) : Entertainment Entertainment Holdings Inc.1.5% Group Inc. •  10.7% •  23.5% •  20.0% IBISWorld.  "Movie  Theaters  in  the  US:  51213"  IBISWorld  Industry   Report,  June,  2010  (July  26,  2011).  
  14. 14. Movie Theaters Industry in the US Key Players in the Where they make their Industry* $$Regal AMC CinemarkEntertainm Entertainm Holdingsent Group ent Inc. Inc.•  23.5% •  20.0% •  10.7% *For  information  on  joint  venture  with  Fathom,  please  see  slide  about  CineMedia  and  Fathom  Events   IBISWorld.  "Movie  Theaters  in  the  US:  51213"  IBISWorld  Industry  Report,  June,  2010  (July  26,  2011).    
  15. 15. Movie Theater TrendsØ  The 2 most important motivators to attend a movie are the movie-going experience itself and demand for a particular movieØ  At least 67% of Americans go to a movie at least once a yearØ  40% of movie goers are between the ages 12 and 24Ø  1/3 of parents attend movies with their teenagersØ  Adults who attend college go to movies more frequently than adults not college educated IBISWorld.  "Movie  Theaters  in  the  US:  51213"  IBISWorld  Industry   Report,  June,  2010  (July  26,  2011).  
  16. 16. Performing Artsand Hollywood’s push •  Surge of musical theater Broadway hits being released in Hollywood •  The influx of these movies has made Musical Theater appear “cool”, “hip”, and socially acceptable •  Last year, Black Swan pulled in $104 million from the box office Source:  
  17. 17. Percentage of U.S. Adult Population Attending Arts Performances 1982 – 2008*20%18%16%14%12% Musical Plays10% Plays Classical Music8% Opera6%4%2%0% 1982 1992 2002 2008 *Sarah Sullivan Tom Bradshaw, Ellen Grantham, and Kelli Rogowski "National Endowment for the Arts: Arts Participation 2008 Highlights from a National Survey," in National Endowment for the Arts, Office of Research & Analysis ed. Washington National Endowment for the Arts, DC. (Washington, D.C.: Sunil Iyengar, Director 2009).
  18. 18. Source:  As  printed  in  the  National  Endowment  for  the  Arts  NEA  Research  Note  #102   April  2011:  Time  and  Money:  Using  Federal  Data  to  Measure  the  Value  of  Performing   Arts  Activities  
  19. 19. Source:  As  printed  in  the  National  Endowment  for  the  Arts  NEA  Research  Note  #102  April  2011:  Time  and  Money:  Using  Federal  Data  to  Measure  the  Value  of  Performing  Arts  Activities  
  20. 20. Preferred  time  of   attending   Performing  Arts   Time  of  broadcasts  on  the  East  Coast  
  21. 21. Rate of Exposure to Live Performances 1982 – 2008   Attended Watched on Listened Listened on Accessed on Live TV / VCR / on Radio Recordings Internet DVD Classical 13% 25% 20% 22% Music1982 n/a Opera 3% 12% 7% 8% Classical 12.5% 26% 31% 24% Music1992 n/a Opera 3.3% 12% 9% 7% Classical 11.6% 18.1% 23.9% 19.3% 1.3% Music2002 (exploring Opera 3.2% 5.8% 5.7% 5.5% all music) Classical 9.3% 17.8% (all broadcasts or recordings) 30% Music2008 (exploring Opera 2.1% 4.9% (all broadcasts or recordings) all music) Source:  Tom  Bradshaw  and  Bonnie  Nichols,  "2002  Survey  of  Public  Participation  in  the  Arts,  Research  Division  Report   #45,"  ed.  National  Endowment  for  the  Arts  by  BBC  Research  &  Consulting  Prepared  for  the  Research  Division,  Denver,   Colorado  (Washington,  DC  2004).  2008  numbers:  Tom  Bradshaw,  "National  Endowment  for  the  Arts:  Arts  Participation   2008  Highlights  from  a  National  Survey."    
  22. 22. Competitive Landscape
  23. 23. Expenses: Met vs Rest of US Opera CompaniesØ  The Metropolitan Opera is by far the largest Opera company in the U.S. 2008Ø  Its expenses constitute nearly 2006 30% (and growing) of all 2004 expenses by professional opera companies, while performances 2002 constitute less than 20% of total 2000 performances 1998 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Everyone else Expense @ Met Number of Performances Met vs Rest of US Opera Companies 2006 2005 2004 2003 2002 2001 2000 1999 1998 0% 20% 40% 60% 80% 100% Everyone else No. Perf @ Met   Met  numbers  from  The  Metropolitan  Opera  Annual  Report,  2007-­‐2008   and  2008-­‐2009  
  24. 24. Competitors Metropolitan OperaLive Events in HD CineMedia / Rock Concerts Fathom Events Sports Events European Opera Emerging Pictures Ballet Sports Cinedigm Rock Concerts
  25. 25. CineMedia / Fathom EventsØ  FathomEvents broadcasts to more than 16,000 digital screens in more than 170 markets coast to coast,Ø  Delivers entertainment, sports events, and even religious gatherings to movie theaters across America.Ø  Broadcasts include Special event features like behind-the-scenes footage, backstage interviews and surprise bonuses at every Fathom event. 1Ø  Fathom Events division distributes live and recorded programs to theater screens, including concerts, sporting events, and corporate meetings. National CineMedia is a joint venture between theater operators Regal Entertainment (38%), AMC Entertainment (31%), and Cinemark (26%).2Ø  FathomEvents takes a 50% revenue share of all HD ticket sales. This deal is more favorable to the cinemas than for Hollywood movies, which typically pay anywhere from 10% to 50% of box-office receipts.3 Sources:  1.;      2.  Hoovers: competitiveLandscape.html?companyId=111850000000000;              3.  Harvard  Business  School    Case  Study,  Harvard   Business  School  9-­‐509-­‐033  (2009):  
  26. 26. Competitors: Key NumbersØ  National CineMedia and its Fathom division rule the market; it’s nearest competitor in the Opera caregory doesn’t even come close.Ø  12% of CineMedia’s revenues come from Fathom Events Hoover: earningEstimates.html?companyId=111850000000000
  27. 27. CineMedia Earning Projections Sources:  .  Hoovers: companyId=111850000000000  
  28. 28. Cinedigm Revenues Note: Although Cinedigm does broadcast live events (sports, rock concerts) in movie theaters we do not plan to source new users from the demographic they serve. (see "sources of volume" slide)
  29. 29. Source:  Marke,ng  to  Sports  Enthusiasts,  June  2011,  Mintel  
  30. 30. Key Information onMetropolitan Opera & HD initiative
  31. 31. Age of Consumers of Attending Live in HD Broadcasts 2% 2% 3% 9% Under 24 25-34 24% 60% 35-44 45-54 55-64 65+Ø Mean age: 65 years *Source: Shugoll  Report
  32. 32. The Met:Position &Environment Metropolitan Opera Ø  Largest & One of the oldest performing arts institution in the world Ø  Venue: 3,800 seats -- Annual attendance: 780,000 Ø  Average age of audience member = 65 à and rising My aim is to strip away the veil of elitism. This is opera for the widest possible audience. -Peter Gelb, General Manager, The Metropolitan Opera The  Metropolitan  Opera:,  
  33. 33. Technological Advances in Opera1849 • Paris Opera uses electric light in “Le Prophete” to create the illusion of a rising sun1878 • Don Pasquale transmitted from one room to another via telephone lines in Bellinzona, Switzerland1881 • Stereo sound demonstrated for the first time in history from the Paris Opera1891 • Opening of Massenet’s Le Mage in Paris transmitted to London via telephone1900 • Sound movies of opera arias demonstrated1910 • Lee De Forest broadcasts two live performances from the stage of the Met1931 • First network radio broadcast: December 25, 1931 — a performance of Engelbert Humperdincks Hänsel und Gretel.1938 • Cinderella opera commissioned for TV by the BBC1940 • First US opera telecast, W2XBS, NYC, “I Pagliacci.”1943 • First telecast of a complete opera (Hansel and Gretel), Schenectady, NY1951 • First opera written specially for television, Gian Carlo Menotti’s “Amahl and the Night Visitors” is broadcast in the US by NBC.1952 • Met Carmen cinemacast live to 31 theaters in 27 cities1973 • NBC broadcasts Carmen in color • Met Opera radio network goes stereo1976 • NYCO’s -- Barber of Seville starring Beverly Sills is the 1st ever live opera transmitted with subtitles1977 • Met begins a regular series of televising productions w/ “La boheme.”1986 • Lucia ‘plazacast in Basel, Switzerland1990 • Seattle Opera’s War & Peace – first opera broadcast in HDTV1991 • NYCO uses large Sony HDTV monitors on either side of the stage to offer the audience a closer • Met channel launched on Sirius Radio, presenting 3 – 4 live broadcasts of operas each week ; Met Butterfly ‘plazacast’ in HD; Dec 30: LIVE IN HD premiere of2006 Met’s Magic Flute
  34. 34. Metropolitan Opera’s Revenue Endowment, 7.30% Media, 7.80% Other Income, 6.50% Contributions, 45.30% Box Office, 33.10%Ø  Met’s current operating model is heavily reliant on contributed income (between 1997 – 2009, contributed income fluctuated from 33 – 45+% of annual budget) Source: Metropolitan Opera Annual Report, FY 2009
  35. 35. Background: HD Launch of Live in HD: Ø  launched December 30, 2006 with Julie Taymor’s popular production of The Magic Flute Ø  With 60 production assistants, 15 cameras -- costs approximately $1.1 million per opera Ø  First broadcast: 100 screens to ~ 21,000 people Ø  Initiative followed advent of Sports and Rock Concerts HD broadcasts Ø  Grew in revenue, number of screens, and tickets sold Ø  2010 Season: 1500 screens to more than 2.4 million people Ø  However the product has failed to appeal to a younger crowd. Ø  Average Age: 65 Met s Mission: …sustaining, encouraging, and promoting musical art, and educating the general public about music, particularly opera" Numerous Sources including: Met Annual Report, Metropolitan Opera Website, Various issues NY Times
  36. 36. Operas Transmitted Via Live In HD From The Met Dec 2006 – Sept 2007- Sept 2008 -- Sept 2009 – Sept 2010 – June 2007 June 2008 June 2009 June 2010 June 2011 La Damnation de Les Contes Barber of Seville La Bohème Das Rheingold Faust d’Hoffmann La Fille du Eugene Onegin Doctor Atomic Der Rosenkavalier Boris Godunov Régiment Lucia di The First Emperor Hansel & Gretel Carmen Don Pasquale Lammermoor Simon Magic Flute Macbeth Madama Butterfly Don Carlo Boccanegra Opening Night w/ La Fanciulla del I Puritani Peter Grimes Hamlet Renee Fleming West Manon Lescaut Il Trittico Orfeo ed Euridice Armida Nixon in China (Puccini) Iphigénie en Romeo & Juliette La Rondine Tosca Tauride Lucia di Tristan & Isolde Salome Aida Lammermoor La Sonnambula Turandot Le Comte Ory Thais Capriccio Cenerentola Il Trovatore Die Walküre
  37. 37. Numbers Of Live Operas Attended In Last 2 Years among HD Viewers None 10 or more 18% operas 25% 1 to 2 18% 5 to 9 22% 3 to 4 17% Shugoll  Research,  "Metropolitan  Opera  Live  in  HD  Survey.”2008,    page  13  
  38. 38. Customer acquisition-retention profilesPrevious research on the Live in HD program found the following:*Ø  Significantly higher percentage of individuals in the 22-54 yr old group (compared to the 55-64 yr and 65+ yr groups) had neither attended live Opera nor a previous Live in HD transmission.Ø  79% of those that have never attended Opera before indicate they are very likely to attend another broadcastØ  70% of First-time HD attendees indicate they are very likely to attend another broadcastØ  69% of 22-34 yr olds and 75% of 35-44 yr olds indicate they are very likely to attend another broadcastØ  The number above are reasonable estimates of future behavior as, overall, the Live in HD performances have a high return rate (74% had attended an HD transmission before). Implication for Marketing Plan New Customer acquisition will be our key focus since the data suggests that once the consumer has “sampled” the product the return rates are high. à Get them in the door!! *Based on Shugoll Report, Prepared for Opera America, July 2008
  39. 39. Best / Worst Practices
  40. 40. HD: The Launch Feature articles in: Best: Lots and Lots of PR Ø  The New Yorker Ø  Vanity Fair Ø  Variety Ø  Opera News Ø  New York Times Ø  Oprah Magazine Ø  Vogue Ø  Macleans Ø  And others…
  41. 41. Some Competitors Ø “Cinema” / “Movie” repeated several times Ø 3D -- prominent Ø Carmen: Link to buy tickets is clear Ø Giselle link for tickets?   Opera News, April 20 2011
  42. 42. One of the Best
  43. 43. One of the WorstØ  This online trailer, inviting music lovers to purchase tickets for the HD broadcast of the Jerusalem Philharmonic features World-famous tenor, Placido DomingoØ  While trailer does feature a “Star” in the Opera World, it is doubtful those outside the classical music scene recognize himØ  Trailer is poorly shot, lighting is terrible, and impact is negligible. ** One has to wonder at whom this ad was aimed. Demographic that will identify with Domingo may not be able to access this commercial.
  44. 44. Why did we chose this example asour “Best Practice?”Ø  The trailer, website and magazine ads have same, unique, identifying colors.Ø  Dudamel is an appealing, young, accessible personalityØ  Trailer gives glimpses backstage and of Dudamel’s engaging persona
  45. 45. The Met’s only mention ofthe broadcast in OperaNews:Ø  No full-page ad in Opera NEWS!!Ø  Live in HD is SOOO SMALLØ  Does not mention where to purchase ticketsØ  No identifying brand
  46. 46. Ø  There is currently no dedicated website for the Live in HD broadcasts.Ø  As a result, the only website lacks flavor and uniqueness, as well as important information such as how and where to purchase tickets (The “tickets” link above is for purchasing tickets to operas presented at the theater at Lincoln Center)
  47. 47. Ø  Site that hosts trailers and lists schedule is confusing and difficult to navigateØ  Ease of purchase is marred, discouraging newcomers
  48. 48. Trailers for HD (see DVD insert for actual trailers)Ø  Fathom Events Wimbledon Live in HDØ  Fathom Events: Royal ShakespeareØ  Fathom Events: MemphisØ  Fathom Events: The Met: Live in HD – Fifth Season:Ø  Fathom Events: The Met: Summer EncoresØ  Fathom Events: A Special Invitation from Placido DomingoØ  Fathom Events: Grateful DeadØ  Fathom Events: LA PhilØ  Intermission: Karita Matilla hits a high C and does the Splits
  49. 49. Observations Ø  Met Trailers are visually stunning but have no narration. o  While this differentiates them, it also alienates the crowd they want to attract. Ø  Unlike the LA Phil trailer, there is no hint of what differentiates this experience from a typical one in the Opera House. So, if young people aren’t going to the opera house, the trailer needs to show how this is different Ø  Met trailer barely even mentions movie theaters Ø  Growing medium – needs to be marketed differently than the Opera HouseThe simulcasts are not that different from Monday Night Football games. Just as sports teams have discovered that fans still want to come in and experience the live thing, this will only enhance our live performances in New York City,"
  50. 50. Survey Results Perceptual Maps Wordles Other Charts & Graphs Key Observations Implications
  51. 51. Perceptual Maps “Elitist” Opera Dance Classical/Instrumental Theater (non-musical) Independent cinema“Dull” “Fun” Musical theater/Broadway Live music concerts Sporting events “Common”
  52. 52. Perceptual Maps “Intellectual”“Dull” “Fun” “Popular”
  53. 53. Perceptual Maps Higher IncomeYounger Older Lower Income
  54. 54. What is your level of interest inthe following musical genres? N=210What is your level of interest in thefollowing types of entertainment? N=237
  55. 55. How would you describe the following types of entertainment? (mark all that apply) N=182
  56. 56. Theater (non-musical) “Wordle” Live Music Concerts “Wordle”
  57. 57. Sporting events “Wordle”Independent cinema “Wordle”
  58. 58. Musical Theater/Broadway “Wordle” Dance “Wordle”
  59. 59. Classical/Instrumental “Wordle” Opera “Wordle”
  60. 60. What would you guess is theaverage age group of thosewho attend the following? N=151What would you guess is theaverage household income of N=151people who attend thefollowing?
  61. 61. How often do you attendthe following live events? N=149How often do you watchthe following types ofentertainment ontelevision? N=142
  62. 62. How often do you listen onthe radio to these types ofmusic? N=142How often do you watch thefollowing forms ofentertainment online? N=142
  63. 63. When seeking information on entertainment options, i.e.performance schedules, where and how to buy tickets, etc., where do you turn? N=134
  64. 64. When choosing among entertainment options, which of the following factors influence your choice? Please assign a value of importance from 1 – 5, where 1 is not important and 5 is very important: N=140
  65. 65. How much would you expect to pay for a ticket to see the following? N=143 Answer Min Value Max Value Average Value Standard Deviation Theater (non- 0 195 55.85 29.53 musical) Live Music 0 263 62.09 42.65Best indicator of Concertswillingness to pay Independent 3 121 15.21 12.81 Cinemafor a movie theaterevent Sporting Events 0 200 53.95 38.26 Musical 0 240 84.91 42.78 Theater / Broadway Dance 0 211 49.81 35.76 Classical / 0 225 56.55 34.60 Instrumental Opera 0 300 85.45 56.18
  66. 66. How likely are you to pay between $20 – $25 to go see an independent film in a movie theater? N=128 How likely are you to pay between $20 – $25 to go see an opera performance? N=127
  67. 67. How likely are you to pay between $20 – $25 to go see a live music concert? N=127 How likely are you to pay between $20 – $25 to go see any show in a movie theater? N=127
  68. 68. What role do you generally playwhen deciding to purchase ticketsfor entertainment? N=127 How far in advance do you usually purchase tickets for entertainment?
  69. 69. If a live-streaming event of the following events where beingbroadcast near you, what would be your level of interest? N=123If the following were playing at your local movie theater, what would beyour level of interest? N=123
  70. 70. If you had the opportunity to see a live opera performance in anearby movie theater, which of the following would affect whether or not you decided to go? N=123
  71. 71. Have you ever heard of “The Met: Live in HD”? Have you seen a trailer for “The Met: Live in HD”? N=138
  72. 72. The first word that comes to mind when you think of opera is?
  73. 73. Gender, Age, Ethnicity N=136
  74. 74. Residence, Education, Martial Status N=138
  75. 75. What is your occupation?(“Wordle”) & Household Income
  76. 76. How frequently do you use Social Media? N=121 LinkedIn and Google+ were mentioned most often in “Other” category
  77. 77. Key Observations•  Demographics of survey: –  Gender: ~50% each –  Median age: ~35 yrs –  Median income: $66K-$86K range –  Education: 85% have Bachelor degree or higher –  Ethnicity: 75% Caucasian•  Opera is considered boring, elitist, intellectual, foreign. L•  Key drivers for consumers: (in order of stated importance) –  Cost of Ticket, Loyalty to Artist, Time of event, Ease of ticket purchase, Location, Entertainment is visually/intellectually stimulating.•  Only 17% of respondents willing to pay $20-25 to see a show at movie theater. –  Their average “willingness to pay” is $15.2 –  Cross-tabulation shows no dependence of willingness to pay $20-25 for a show in a movie theater on income level –  In another question, 37% indicated that if a live Opera performance was being shown in a nearby movie theater they would likely/definitely go if the tickets were discounted. The number increased to 52% if the tickets were free.•  52% would likely want to see an Opera performance at $20-25•  55% of respondents indicate their choice of which entertainment to attend is a joint decision with someone else –  In another question, 60% indicated that if a live Opera performance was being shown in a nearby movie theater they would likely/definitely go if their spouse or partner wanted to go•  52% of respondents purchase tickets 2 weeks or less in advance. Only 5% indicated purchasing tickets on the day of entertainment.•  34% indicated some or high interest in attending a live streaming broadcast of Opera near them (with only 5% indicating high interest). In comparison 57% indicated the same for popular music concerts (with 23% indicating high interest) –  Responses were similar when asked if they would have interest in attending Opera at a movie theater, however 11% indicated high interest.•  Nearly 50% had never heard of the Live in HD broadcasts and more than 70% claimed they’d never seen a trailer.
  78. 78. Business Objectives•  Substantially increase attendance of adults under 50 by re- positioning the brand•  Attract younger demographic to: §  Increase public awareness of Art form §  Promote brand sustainability and longevity §  Cultivate potential future donors•  Continue to “faithfully serve” audience, while also “reconnecting the Met to a broader public with a multi-faceted effort to restore the Mets musical and theatrical dominance, excitement, and glamour.”
  79. 79. SWOTStrengths Weaknesses §  Heavy reliance on donors to meet expenses limits§  Met Opera: One of the premier stages in the world ability to push initiatives that are not broadly w/ International name recognition / prestige and a approved by the donor base. long history §  Lack of star-driven recognition for productions, titles§  Largest performing arts institution in the world need to sell themselves limiting appeal to younger demographic§  Ability to attract top talent §  Have to plan productions 3 to 4 years in advance§  Strong Leaders: Peter Gelb / James Levine making it difficult to gauge what audiences may wantOpportunities Threats §  Younger demographic has a negative perception of§  Small percentage of American adults (2%) attend Opera (boring , elitist, foreign) opera – room for growth §  Not substantially expanding customer base: Primary§  Ability to build a younger audience base demographic attending Live in HD are older (avg age§  HD broadcasts are a way to introduce the concept of 65) who have previously attended live Opera. opera to larger and broader audience base §  Pressure on movie theaters to limit showings of§  Name prestige offers opportunity to differentiate by ‘special events ‘by movie studios in order to have commissioning new works and hiring directors from more showings of Hollywood movies. movie and Broadway §  Audience / donor base is aging.§  Customer retention: Majority of HD attendees §  Gelb could lose traditional audience base / support surveyed very interested in seeing future through changed programming performances. §  Other Opera houses are following the Live in HD model.
  80. 80. Implications of research Research Implications Observations for Marketing PlanOpera is considered boring, Must emphasize theelitist, intellectual, foreign. accessibility and unique features of Live in HDKey drivers for consumers Provide guidance in pricing,identified distribution A price point of $15 appearsWillingness to pay data appropriate, but flex-pricingcollected from consumers could help capture consumers with different price pointsInterest level of consumers in Provides a potential basis forlive opera at movie theaters calculating source of volumecaptured data
  81. 81. Implications of research (cont’d) Research Implications Observations for Marketing Plan Movie theaters are installing Live in HD must capitalize on HD and 3D technology to hold this growing trend and stay on to consumers ahead of the latest technological advancements People who have higher Live in HD needs to more education attend movies and effectively entice moviegoers performing arts events more to their showings frequently Consumers are finding less Live in HD must breakdown barriers of entry to other these barriers of entry to performing arts convert these consumers
  82. 82. The Plan Brand Positioning, Sources of VolumeProduct Line , Strategies, Budget Traditional Media Experimental
  83. 83. Brand PositioningTo young music lovers looking for an accessible, intellectually stimulating,entertainment experience, the Met’s Live in HD broadcasts provides anexperience that integrates world class music, theatre, dance, state-of-the-art special effects as well as an exclusive backstage pass at an affordableprice. You will walk away enlightened, thoroughly entertained, andcreatively satisfied! Target audience •  Ages 25-45 •  Accessible, intellectual, Point of reference entertainment experience •  Offers insights, interviews and Point of difference close-ups not available to live audiences •  Walk away enlightened, End Benefit entertained, and creatively satisfied
  84. 84. Sources of Volume% VOLUME FROM 2010* 2011NEW CUSTOMERS 18% 25% New to Opera genre 5% 8% Have not seen Live Opera in last 2 yrs but have seen before 13% 17%EXISTING CUSTOMERS 82% 75% Heavy users (10 or more Live Operas in last 2 yrs 25% 21% Medium users (5 to 9 Live Operas in last 2 yrs) 22% 21% Light users (1-4 Live Opera in last 2 yrs) 35% 33% *Estimates based on Shugoll Report, Prepared for Opera America, July 2008
  86. 86. Branding StrategiesSuggestions: Ø  Create dedicated website with an eye to a more youthful audience Ø  Crete new logo with emphasis on HD and a sleeker, more artistic feel Ø  Leverage star power of younger, attractive Opera Stars
  87. 87. Dedicated WebsiteCurrent Site: Ø  Small outpost on main Met website – we suggest a separate, dedicated website Ø  Only one trailer followed by short blurbs about each opera in the upcoming season. (Blurbs are not linked to broadcast schedule or further information) Ø  Link to order Radio Guide (not available by download) Ø  Small, undistinguished link brings interested consumers to another Met site that gives detailed information on how to buy tickets, directing consumers to – adding a step that inhibits ease of purchaseComments: By forcing interested consumers to order a Guide through the mail, the Met captures contact information for patron and subscriber pleas. However, the complications may inhibit newcomers. What’s Missing? Ø  Easy, obvious link to purchase tickets!!! Ø  Other trailers and or visuals Ø  Easy access to synopses Ø  Twitter , Blog or other community-interest feeds
  88. 88. DOWNLOADSEE SCHEDULE BUY TICKETS SYNOPSIS FAQS This space can be used for Blogs and customer reviews ALSO: FAQs should consider points like: Ø  Are there any "opera rules" I should know about before I go? Yes! Witty lyrics are SUPPOSED to make you laugh (please do). Sad endings will move you to tears (bring a handkerchief). Opera stirs the emotions so dont be shy ... laugh, cry and shout Bravo! (for the men) and Brava! (for the ladies). Ø  Is there an etiquette when were seated and watching the show? Turn off everything that can beep, buzz, ping or ring. How sweet it is to know that nobody can get at you until the show is over. Ø  What do we wear? Short of shorts and slippers, dress to suit yourself. You will see some suits, a tux or two, cultured pearls, shell lei, muumuu of several lengths, neat aloha shirts. So no matter if you like dressing up, or taking it easy, youll fit right in. .
  89. 89. PricingCurrent Pricing: Ø  The average price of $22 for a ticket is approximately based on twice the price of a regular movie ticket Ø  Many of the HD regular consumers used to be Met subscribers and will most likely be willing to pay a bit more Ø  According to our survey, however, younger customers might easily be enticed by lower pricesSuggestions: Create a two or three-tiered pricing system. Early purchasers will pay a premium and receive priority seating. This would be beneficial to elderly patrons who don’t want to wait on line. Younger customers, who tend to make purchasing decisions closer to the event, will have an option of purchasing lower-priced tickets. Encores Showings can be used for Groupon deals. *** As evidenced in the chart on the next slide, even with a modest increase, box office take could increase significantly.
  90. 90. Dynamic Pricing Seats Sold Box Office/ TOTAL REVENUE   Cost / Tkt Met Take* (based on 200 Cinema (based on 1500 screens) seats / cinema)         Current Pricing $22.00 $11.00 200 $2,200.00 $3,300,000.00                                 $35.00 $17.50 160 $2,800.00 $4,200,000.00     1st Model     $22.00 $11.00 40 $440.00 $660,000.00     Suggested Pricing     TOTAL TAKE: $4,860,000.00                             $35.00 $17.50 160 $2,800.00 $4,200,000.00     2nd Model     $20.00 $9.00 40 $360.00 $540,000.00     Suggested Pricing     TOTAL TAKE: $4,740,000.00                             $30.00 $12.50 180 $2,250.00 $3,375,000.00     3rd Model     $20.00 $9.00 20 $180.00 $270,000.00     Suggested Pricing     TOTAL TAKE: $3,645,000.00                             $40.00 $22.50 160 $3,600.00 $5,400,000.00         4th Model $27.00 $13.50 20 $270.00 $405,000.00         Suggested Pricing $20.00 $10.00 20 $200.00 $300,000.00         TOTAL TAKE: $6,105,000.00                        
  91. 91. GeographyØ  Pink “Buttons” indicate location and quantity of screens that broadcast Live in HDØ  Overlay indicates areas with highest concentration of Bands and Musical groupsØ  Geographic strategies currently target most major markets and then some Map  created  with  Batchgeo  from  zipcodes  culled  from: performingarts/event/doncarlo2011.aspx  
  92. 92. Budget BreakdownTotal Budget: $2.4million dollars Source: 10 – 15%(as indicated by Met source) of total average Marketing budget for the Metropolitan Opera as indicated in the Annual Report, 2009
  93. 93. Budgeting RationaleSuggestions: Ø  Survey Results indicate Website, Google and Trailers are the main sources of information for entertainment purchases Ø  70% of respondents, however, claim never to have seen an HD trailer, so current crop are not effective Ø  Banner ads are cost-efficient, but growth of “banner-blindness” suggests other online marketing tactics (such as Groupon, Competitions, etc.) might prove more effective. Ø  PR remains a potent source of “buzz” – but shifting to a star-driven strategy (reminiscent of Hollywood Studio promotions of the 1950s) could drive interest.
  94. 94. Traditional Media Direct Mail PR Trailers Posters
  95. 95. Trade & Intermediary PlanLive in HD performances A Weekend Event Ø  2 – 3 Encore performances directly after Premieres Ø  $20 Encore tickets Ø  Attracting consumers who prefer attending events in the evening Ø  Higher ROI from marketing drops
  96. 96. Trade & Intermediary Plan cont’d Combat Hollywood’s pull on Movie ScreensOffer Movie Theaters a larger percentage of revenue from ticket sales of Live in HD Encore performances Ø  Live in HD Encores performances costs little to produce Ø  Offers possibility of offering even lower price point ($20) Ø  Counteract Fathom potential objections by offering 80% of ticket sales ($5 increase per ticket) Ø  The average number of seats in a newer movie theater is 250 250 * $16 = $4000 revenue in one Encore performance 3 shows * $4000 = $12,000 revenue in one weekend $12,000 * 500 Movie Theaters = $600,000 profit
  97. 97. Direct MailSuggestions: Ø  Target consumers with Email Newsletters to facilitate dissemination of schedule information and promote electronic ticket purchases Ø  Feature performers, spectacle and connections to Broadway, Film or Pop Culture Ø  Lower cost of email newsletters allows more content à synopses, Opera FAQs, etc. can be included Ø  Email newsletters can also offer free downloads or direct to free streaming content to pique interest
  98. 98. From Vogue Magazine, April 2009 Public RelationsCurrent PR focuses on Metropolitan initiatives and Staff. While successful in findingplacement in high-circulation magazines, survey findings indicate higher interest inartist-driven loyalties.   Suggestions: Ø Promote Young, Sexy Stars -- instead of the medium Ø Create buzz in Vogue, on television (Today Show, late night talk shows, guest appearances on Reality Contest Shows such as America’s Got Talent, So You Think You Can Dance, Glee, etc.) Ø Use star power to drive interest Ø Ex. Headline in London paper re Royal Opera exclaimed: Opera Singer Bares Breasts, Sends Septuagenarian Audiences To Eating Their Monocles
  99. 99. For Immediate Release: The Peabody and Emmy Award-winning series: Sample The Met: Live in HD moves into its sixth season while continuing to Press challenge opera stereotypes. Release With Two Tony Award-winning stage directors, World premieres and Stars aplenty: the Peabody and Emmy Award Winning Series continues its quest to make opera hip.   August 16, 2011, New York, NY The Met’s LIVE IN HD 2011-12 season kicks off on October 15, 2011 with a new production starring the beguiling and beautiful Anna Netrebko as Donizetti’s   Anna Bolena, the ill-fated queen driven insane by her unfaithful king. Don’t miss Netrebko as she sings one of operas greatest mad scenes ever written. Then in October, Mariusz Kwiecien – the baritone known around the world as “The Hot Pole”-- brings his rebellious air, dramatic features and bad-boy goatee to the Met for the first time in the title role of Mozart’s Don Giovanni. Directed by 2010 Tony Award®- winner and current Artistic Director at the Donmar Warehouse in London, Michael Grandage, this new production will be conducted by James Levine. Intermission features will include backstage interviews with the handsome “barihunk” as well as primers on the Italian Don Juan. Artistic Director, James Levine noted, “It is so exciting and gratifying to see a whole new generation of world class artists coming into their prime, and this season features many opportunities for us to hear them at their best.”
  100. 100. TrailersHD trailers offer a terrific opportunity to capture new audiences as they areshown before a variety of audiences at no extra charge. However, currenttrailers fail to capitalize on enticing new audiences – in fact 70% ofrespondents to our survey claimed to never have seen a Live in HD trailer.Possible reason: Current trailers reinforce Opera stereotypes instead ofencouraging new ones. Suggestions: Ø  Include narration during trailers Ø  Create and then Capitalize on Stars Ø  Emphasize Price Point differential, Ø  Include excerpts from intermission features, especially when they include personal or humorous material.
  101. 101. Posters Current posters are season specific instead of event specific. While this is cost-effective, it is also confusing.LIVE ON THE BIG SCREENDec 15 Gounod ROMÉO et JULIETTEJan 1 Humperdinck HANSEL and GRETELJan 12 Verdi MACBETHFeb 16 Puccini MANON LESCAUTMar 15 Britten PETER GRIMESMar 22 Wagner TRISTAN und ISOLDEApr 5 Puccini LA BOHÈMEApr 26 Donizetti LA FILLE du RÉGIMENT Anna Netrebko in Roméo et Juliette
  102. 102. Ø  This poster neglects to give specific information on dates and locations….Ø  Imagery is not compelling
  103. 103. The Met has clearly been experimenting with itsposters: These are early examples: (2006) The Spectacle of Opera LIVE on the big screen Mozart Experience the magic of The the Metropolitan Opera Magic Flute DEC 30, 2006 LIVE from New York at Bellini NEXT your local movie theatre. I Puritani SATURDAY JAN 6, 2007 Tan Dun IN TWO The First WEEKS Emperor JAN 13, 2007 Theatre info: Edwards Boise Stadium 21 IMAX SATURDAYS Tel: 208-377-1700 LIVE AT For tickets visit 11:30 AM Poster images were share with us by Met Opera representative
  104. 104. Our Suggestions:Ø  Rebrand series with dedicated HD logo focusing on HD brandØ  Create posters that are event- specificØ  Use QR codes to direct consumer directly to ticket purchase site where desired zip code can target nearest theater.
  105. 105. AdsTargeted Custom Mobile ads search solutionsAds are targeted Allows visitors toto specific users search website content Provides tools to help monetize promote Shows relevant Cost effective ads with search results
  106. 106. Seasonality StrategiesCurrently: Live in HD has one strategy: Live during Met Season, Encores during the summer. Suggestions: ²  Capitalize on Hallmark Holidays ²  Valentine’s Day à Romeo Juliet // La Bohéme ²  Christmas à Magic Flute // Hansel Gretel ²  Partner / Cross-ruff with Holiday-specific genres: ²  Valentine’s Day / Florists (free long-stem rose) ²  Christmas / merchandise tie-ins… ex: Magic Flute: Magic Flutes, stuffed Dragons, or exotic birds, Masks
  107. 107. Seasonality Strategies Celebrate the passion: Currently: Live in HD has one strategy: Live during Met Season, Encores during La bohéme the summer. Suggestions:Giacomo Puccini ²  Capitalize on Hallmark Holidays Valentine’s Day Exclusive: ²  Valentine’s Day à Romeo Juliet // La Bohéme Buy two tickets and receive a ²  Christmas à Magic Flute // Hansel long-stem red rose, free, with Gretel your purchaseVisit for more information
  108. 108. Experimental •  Promotes Group Experience Groupon •  Entices New Users Brand •  Promotes Group ExperienceAmbassadors •  Spreads “Cool” factor earlySweepstakes •  Promotes Frequency of Attendance Viral Buzz •  Promotes “Cool” factor
  109. 109. Grouponv  Encourages those who might want to try – plays on survey results that indicate discounts are incentivizing.v  Can be targeted at locations where ticket sales are not as robust as othersv  Will naturally target younger users
  110. 110. Brand AmbassadorsAmbassadors will receive same benefits offered toMet patrons, including free tickets to rehearsals,backstage passes, etc.Benefit: promotion of art form among college-age andfuture Arts patrons Job description: v  Increase awareness of of the Met’s LIVE IN HD broadcasts v  Lead / Manage events surrounding broadcasts both on and off campus v  Carry out surveys v  Promote group attendance and disburse discounts,
  111. 111. v  InMobi offers a “rich media banner experience” that incorporates audio and videov  Can be targeted to specified demographicsv  Can facilitate ticket purchases by using geo-locaters
  112. 112. YOU can experience the most unique, sophisticated, cosmopolitan adventure of a lifetime.²  Are you the most ardent Opera Lover?²  Does Scarpia make you swoon?²  Or maybe you, alone, possess the power to tame Carmen’s wild ways.²  Or maybe, you’re a Opera novice, eager to learn about The Elixir of Love..... Either way, you could win an all-expense paid trip for two at the Greatest Opera House in the World, indulging in Spectacle, Great Food, the Best Champagne all in the most exciting city in the World: New York.Winners receive:² all-expense paid deluxe trip for two² orchestra tickets for Metropolitan Opera performances² a tour backstage² dinner at the Met’s Grand Tier Restaurant, To Enter: You must submit ticket stubs to 8 of the 11 Live in HD broadcasts for one season along with attached entry form.
  113. 113. Buzz/ Viral / Stealth Marketing Programs•  Interactive discussions during performance intermissions Ø  Take advance of the movie theaters previously installed corporate boardroom technology Ø  Live, hashtag-filtered Twitter feeds during intermission Ø  Use Social Media as a way to interact with the audience by answering questions during intermission and seeing what other Live in HD viewers think about the performance•  Email blasts with the Live in HD previews for next showing and interviews with the stars
  114. 114. Buzz/ Viral / Stealth Marketing Programs Host free showings of Live in HD performances
  115. 115. Buzz/ Viral / Stealth Marketing Programs Free Live in HD Season Premieres in largestconsumer cities: San Francisco, LA, Washington DC, and Chicago
  116. 116. Customer Touch Points The The post- advertisement/ The intermission performancespark of interest salutationThe information The search performance The pre-The purchase of performance tickets salutation The venue The previews
  117. 117. Integrated Marketing Flow Chart!#$% ( B-04 *.4 )*+ ,-. 1) F-I !/ 0/ !J 1)2 1345%$657 )%8$9:%6097857 4;%852+:705772/6%772=205$:8 4%5825%705772/6%772=24+ )%8$9:%6.9:7?52059?98$9: 4$?2/6%72(59@9:7 .5977=/AA2.9@9:7 BC@78%D7-E:87 F6%7;2!9G,$5H82!%$6 05E$9720%859:7
  118. 118. MustPrioritization Haves Nice To’s Improved Direct Trailers Mailing Separate Special Website Events Extended Social Media Show Runs Groupon Sweepstakes National Regional PR Ambassador Program
  119. 119. Risks and HedgesCannibalization of Limit the amount the Met’s live of Live in HD opera venues near NYC performances Alienate already Use intermissions established to explain the audience Met’s greater goal Use various price Over saturation of points to appeal showings to different consumers
  120. 120. Grand Goal Self- Actualization Self-Esteem Belonging Safety Physiological Pyramid  of  Needs  (Maslow)  
  121. 121. Marketing MetricsAverage age of audience Overall salesü  Research through: ü  Track sales by: §  Groupon §  Region §  Fathom Events §  Location §  Market research §  Broadcast times §  Post-broadcast email §  Seasonality surveys •  PR initiatives §  Exit interviews at broadcast venues ü Research impact: §  Market research §  Post-broadcast email surveys
  122. 122. Marketing Metrics cont’d•  Consumer promotions ü  Track redemption rates and revenue earned for all Groupon deals•  Advertising initiatives ü  Continue research the impact of the various advertising programs through post-broadcast email surveys and exit surveys at broadcast venues•  Live in HD’s overall impact on the Met’s live performances ü  Continue to track ticket sales of the Met’s live performances through continued box office records and market research
  123. 123. Marketing Metrics cont’d•  Continue to research overall opinion of opera ü  Through market research and post-broadcast email surveys•  Overall Profitability ü  Each marketing element will be evaluated by its ROI §  Focusing on realized sales through consumer promotions, crossruffs, seasonality, PR drops, and various broadcast times•  Overall artistic impact on the Met ü  Research Live in HD’s affect on the Met’s market share, artistic strategy, and the overall opera industry
  124. 124. BibliographyThe Metropolitan Opera: Live in HD F.A.Q.S. The Metropolitan Opera:, metopera/broadcast/template.aspx?id=4668.American Time Use Survey, Averages for 2003-2009, Bureau of Labor Statistic, U.S. Department of LaborBonniol, Colleen; Bonniol, Bob. ED on Projection: Search and Deploy: Exploring High Definition for Live Performance. Entertainment Design - The Art and Technology of Show Business 36, no. 12 (2002), accessed August 12, 2011 10:35:12 AMBureau of Economic Analysis, U.S. Department of Commerce, 2009Chrissy Perez, Anita Elberese. The Metropolitan Opera (a). Harvard Business School 9-509-033 (2009):!Gray, James Heilbrun Charles M. The Economics of Art and Culture. 2nd ed. New York: Cambridge University Press, 2001.Hoovers: companyId=111850000000000IBISWorld Industry: Movie Theaters in the US, Report 51213, June 2011, Agata KaczanowskaIBISWorld Industry: “Live Music, Sports Event Promotion in the US: Report 71133,” February 2011 (July 26, 2011)IBISWorld Industry: Performers and Creative Artists in the US: 71151.” Report, December, 2010 (July 26, 2011).Marketing to Sports Enthusiasts, June 2011, MintelMead, Rebecca. Man Behind the Curtain. The New Yorker, October 22, 2007 2007.National Endowment for the Arts NEA Research Note #102 April 2011: Time and Money: Using Federal Data to Measure the Value of Performing Arts Activities
  125. 125. Bibliography“Nichols, Tom Bradshaw and Bonnie. 2002 Survey of Public Participation in the Arts, Research Division Report #45. edited by National Endowment for the Arts by BBC Research Consulting Prepared for the Research Division, Denver, Colorado 72. Washington, DC 2004.Opera America Field Report, News, April 20, 2011Shugoll Report, Metropolitan Opera Live in HD Survey. 1 - 61. Shugoll Research, Bethesda, Maryland, July 2008.Tom Bradshaw, Sarah Sullivan, Ellen Grantham, and Kelli Rogowski National Endowment for the Arts: Arts Participation 2008 Highlights from a National Survey. In National Endowment for the Arts, Office of Research Analysis edited by Washington National Endowment for the Arts, DC. Washington, D.C.: Sunil Iyengar, Director 2009.US Census Bureau: Industry Statistics Sampler, (accessed: July 23, 2011 8:34:45 PM)Wasserman, Adam. Changing Definitions. Opera News 72.6, (2007): 50 - 61.Weiman, Jaimie J. Opera: Coming to a Theatre near You Macleans (September 10, no. v. 120 no. 35/36 ( 2007).Winzenreid, Rebecca. Big Screen Dreams: A New Stage for Opera. Opera America (June 2008).
  126. 126. NCM Fathom Entertainment Events Live and Pre-Recorded Music Events, Sporting Events, and other Entertainment Programming In Movie Theaters Distributed Across the NCM Fathom Events Broadcast NetworkSeptember 2011  Henry VIII – Shakespeare’s Globe London Cinema Series eventAugust 2011  Henry IV Part 1 – Shakespeare’s Globe London Cinema Series event  Henry IV Part 2 – Shakespeare’s Globe London Cinema Series eventJuly 2011  Metropolitan Opera: Live in HD Summer Encore – La Fille du Regiment  Metropolitan Opera: Live in HD Summer Encore – Tosca  Metropolitan Opera: Live in HD Summer Encore – Don Carlo  TEKKEN BLOOD VENGEANCE in 3D – digital cinema event  Wimbledon Live in 3D – sporting eventJune 2011  LA Phil LIVE - Dudamel conducts Brahms  The Lord of the Rings™ Motion Picture Trilogy Extended Edition Event – film event  Metropolitan Opera: Live in HD Summer Encore – Madama Butterfly  Metropolitan Opera: Live in HD Summer Encore – Don Pasquale  Metropolitan Opera: Live in HD Summer Encore – Simon Boccanegra  Drum Corps at the Movies: 2011 DCI Tour Premiere – concert and film event  The Merry Wives of Windsor – Shakespeare’s Globe London Cinema Series event  DUDAMEL: Let the Children Play – music event  Stephen Sondheim’s Company – musicalMay 2011  Metropolitan Opera: Live in HD – Die Walküre  Their Eyes Were Dry - documentaryApril 2011  Metropolitan Opera: Live in HD – Le Comte Ory  Metropolitan Opera: Live in HD – Capriccio  Metropolitan Opera: Live in HD – Il Trovatore  Memphis – Broadway show  The Grateful Dead Movie Event – concert film eventMarch 2011  Metropolitan Opera: Live in HD – Lucia di Lammermoor
  127. 127.  LA Phil LIVE - Dudamel conducts Tchaikovsky  MY RUN - documentaryFebruary 2011  Metropolitan Opera: Live in HD – Nixon in China  Metropolitan Opera: Live in HD – Iphigénie en Tauride  RISE – U.S. figure skating event  Hood To Coast Encore Event - world’s largest relay race documentaryJanuary 2011  Metropolitan Opera: Live in HD – La Fanciulla Del West  LA Phil LIVE - Dudamel conducts Beethoven  Hood To Coast – world’s largest relay race documentary  GANTZ – anime eventDecember 2010  Metropolitan Opera: Live in HD – Don Carlo  Glenn Beck Live: Broke - Restarting the Engine of America - live entertainment event featuring Glenn BeckNovember 2010  Metropolitan Opera: Live in HD – Don Pasquale  Race Across the Sky 2010 - film event and pre-recorded panel discussion  Bon Jovi - The Circle Tour – concert event  Les Misérables in Concert – The 25th Anniversary concert eventOctober 2010  1 A Minute Live Supporting Susan G. Komen for the Cure - film event and live panel discussion  Metropolitan Opera: Live in HD – Das Rheingold  Metropolitan Opera: Live in HD – Boris Godunov  A Prairie Home Companion with Garrison Keillor – live entertainment event  The Sound of Music Sing-Along Event – film event  UFC 121: Lesnar vs. Velasquez live UFC match  RiffTrax LIVE: House on Haunted Hill - live entertainment event featuring the stars from “Mystery Science Theater 3000”September 2010  Ladies and Gentlemen, The Rolling Stones concert event  100 Voices: A Journey Home musical documentary  Mosley vs. Mora Fight LIVE – live boxing match featuring Sugar Shane Mosely and Sergio “The Latin Snake” Mora  The Exorcist Extended Director’s Cut – film event  Beauty and the Beast – film eventAugust 2010  DCI 2010: Big, Loud Live 7 live from Lucas Oil Stadium, Indianapolis  RiffTrax LIVE: Reefer Madness - live entertainment event featuring the stars from “Mystery Science Theater 3000”  UFC 118: Edgar vs. Penn 2 live UFC matchJuly 2010  Metropolitan Opera: Live in HD Summer Encore Special Event – Eugene Onegin  Metropolitan Opera: Live in HD Summer Encore Special Event – La Bohème  Metropolitan Opera: Live in HD Summer Encore Special Event – Turandot  Metropolitan Opera: Live in HD Summer Encore Special Event – Carmen  2010 FIFA World Cup South Africa – live final four games
  128. 128.  Eric Clapton Crossroads 2010 concert event  Elvis on Tour: 75th Anniversary Celebration concert and film event  Marquez vs. Diaz II “Fight of the Year: The Rematch” – live boxing match featuring Juan Manuel “Dinamita” Marquez vs. Juan “Baby Bull” DiazJune 2010  UFC 115: Liddell vs. Franklin live UFC match  The Big Four: Metallica, Slayer, Megadeth, Anthrax concert event  Metropolitan Opera: Live in HD Summer Encore Special Event – Aida  Metropolitan Opera: Live in HD Summer Encore Special Event – Roméo et JulietteMay 2010  Metropolitan Opera: Live in HD – Armida (Rossini) live opera event from the Metropolitan Opera in New York City  Mayweather vs. Mosley Fight LIVE – live boxing match featuring Floyd Money Mayweather vs. Sugar Shane Mosley  DCI 2010: The Countdown concert and film event  Sons of the Fallen: A Live Tribute to Our Military Heroes – live music and discussions in honor of our Military and their families  Times Talks LIVE: LOST live from the TimesCenter in New YorkApril 2010  The Rivals: Hopkins vs. Jones II – live boxing match featuring Bernard “The Executioner” Hopkins vs. Roy “The Terminator” Jones, Jr.March 2010  Metropolitan Opera: Live in HD – Hamlet (Thomas) live opera event from the Metropolitan Opera in New York City  Half the Sky Event – film event and live panel discussion  The Boondock Saints 10th Anniversary Event film event  The Black Eyed Peas: The E.N.D. World Tour LIVE concert event  UFC 111: St-Pierre vs. Hardy live UFC matchFebruary 2010  Metropolitan Opera: Live in HD – Simon Boccanegra (Verdi) live opera event from the Metropolitan Opera in New York City  A Prairie Home Companion with Garrison Keillor – LIVE in HD! live entertainment event featuring Garrison KeillorJanuary 2010  Metropolitan Opera: Live in HD – Der Rosenkavalier (Strauss) live opera event from the Metropolitan Opera in New York City  Metropolitan Opera: Live in HD – Carmen (Bizet) live opera event from the Metropolitan Opera in New York City  Bold Fresh Tour: O’Reilly and Beck LIVE live entertainment event featuring Bill O’Reilly and Glenn BeckDecember 2009  Metropolitan Opera: Live in HD – Les Contes D’Hoffman (Offenbach) live opera event from the Metropolitan Opera in New York City  RiffTrax LIVE Christmas Shorts-Stravaganza - live entertainment event featuring the stars from “Mystery Science Theater 3000”  Glenn Beck’s “The Christmas Sweater – A Return to Redemption” – live entertainment event featuring Glenn Beck