La phil exchange tickets

Please read article and answer the following in:

1)What should LA Phil do next?

a)What has happened to the LA Phil’s traditional user base?

b)What should the LA Phil do to manage its on-demand ticket model?

c)What is the LA Phil’s brand?

d)How can this brand be used to solve the problems currently faced by the LA Phil?

Also, I've set this to two pages not particularly for two pages, but because there's a writing and a powerpoint portion. If you can just bullet point some into a separate powerpoint I'd be grateful.For the exclusive use of D. Parray, 2018. 9 -5 1 7 -0 0 6 REV: JULY 10, 2017 ROHIT DESHPANDÉ ANNELENA LOBB The Los Angeles Philharmonic Orchestra: Cultural Entrepreneurship What is the place of music in a just and civil society? — Deborah Borda Music is a fundamental human right. — Gustavo Dudamel Deborah Borda, President and CEO of the Los Angeles Philharmonic Orchestra (LA Phil), reviewed music programming for the upcoming fall season on a hot August 2016 afternoon. The schedule included Gustav Mahler’s Symphony No. 9, the opera Nixon in China by the contemporary composer John Adams, and a live-with-film performance of the score to the film On the Waterfront. 1 These performances would occur at Los Angeles’ Walt Disney Concert Hall. The LA Phil also had a few performances left that summer at the Hollywood Bowl, the city’s iconic open-air arena. Borda had run the orchestra for almost 16 years. In that time, she had restored the institution’s finances after years of operating losses. The architecturally acclaimed Walt Disney Concert Hall had opened its doors. Borda had hired a new Music Director, Gustavo Dudamel, a young international classical-music star who had risen through a government-run classical-music program in Venezuela called El Sistema. Dudamel was lauded not only for his musical abilities, but as the first Latino conductor of an orchestra in a city with a majority-Latino population. Just before his arrival, Borda had launched the Youth Orchestra of Los Angeles (YOLA), a vibrant musical-education program for children from underserved communities, based on El Sistema. In the long term, Borda and her team hoped YOLA would also develop a new generation of classical-music enthusiasts. Yet U.S. orchestras in general, including the LA Phil, faced many challenges (see Appendix A for details). An aging subscriber base threatened the subscription-based model for ticket sales that orchestras had relied on for decades. Younger fans typically wanted to buy tickets on demand, which required different marketing strategies. While Borda had made strides in targeting an audience base that included Angelenos a from every demographic, she could not say that all of LA Phil’s audiences yet completely mirrored the diversity of the city. As YOLA expanded, Borda aspired to build its a The term Angelenos refers to residents of the city of Los Angeles. Professor Rohit Deshpandé and Case Researcher Annelena Lobb (Case Research & Writing Group) prepared this case. It was reviewed and approved before publication by a company designate. Funding for the development of this case was provided by Harvard Business School and not by the company. HBS cases are developed solely as the basis for class discussion. Cases are not intended to serve as endorsements, sources of primary data, or illustrations of effective or ineffective management. Copyright © 2016, 2017 President and Fellows of Harvard College. To order copies or request permission to reproduce materials, call 1-800-5457685, write Harvard Business School Publishing, Boston, MA 02163, or go to www.hbsp.harvard.edu. This publication may not be digitized, photocopied, or otherwise reproduced, posted, or transmitted, without the permission of Harvard Business School. This document is authorized for use only by Danny Parray in GBA513 F2018 taught by YUKO MINOWA, Long Island University from Aug 2018 to Feb 2019.