BUS101: Opera Australia Business Model Canvas Analysis Report

This report provides a comprehensive analysis of Opera Australia's business model, deconstructing it using the Business Model Canvas framework. The report begins with an executive summary and table of contents, followed by an introduction to Opera Australia, its history, and operations. The discussion section delves into each of the nine building blocks of the Business Model Canvas, including customer segments, key partners, value propositions, key activities, channels, revenue streams, cost structure, key resources, and customer relationships. It examines the interrelationships between these building blocks and identifies the critical success factors that contribute to Opera Australia's sustainability. The report also assesses potential downside risks and suggests business model changes. The conclusion summarizes the key findings, and recommendations are provided for improvements in advertisement, partnerships and overall business development. The report references relevant academic sources and includes an appendix with the business model canvas for Opera Australia.

Running head: BUSINESS MODEL CANVAS
Business Model Canvas
Name of the Student:
Name of the University:
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Executive Summary
This report has been elaborated on presenting a brief analysing of the business model canvas
of one of the major innovative companies named Opera Australia. Different aspects on the
basis of proper business operations that are been developed by Opera Australia have been
examined in this report. With the same, levels of coordination among various building blocks
of the model of business model canvas are discussed elaborately in this report. Lastly, after
examining the case, certain recommendations are made for the part of the company.

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Table of Contents
1. Introduction........................................................................................................................3
2. Discussion..........................................................................................................................3
2.1. Business Model...........................................................................................................3
2.1.1. Building Blocks....................................................................................................3
2.1.2. Interrelationships..................................................................................................6
2.1.3. Critical Success Factors.......................................................................................6
2.1.4. Downside Risks....................................................................................................7
2.1.5. Business Model Changes.....................................................................................7
3. Conclusion..........................................................................................................................7
4. Recommendations..............................................................................................................7
References..................................................................................................................................8
Appendices.................................................................................................................................9
Appendix 1: Business model canvas of Opera Australia.......................................................9

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1. Introduction
Opera Australia is considered to be the national opera company of Australia that presents
above 700 performances and playing to more than about half of a million people every year
(Skinner, 2015). It was formed in Sydney under the patronage of Australian Elizabethan
Theatre Trust. It is based in Sydney and is funded by the corporate sponsorship, ticket sales,
government grants and private philanthropy. It is best known globally for its association with
“Dame Joan Sutherland” for the ‘Baz Luhrmann’s’ production of “Puccini’s La boheme”
during the early 1990s.
2. Discussion
2.1. Business Model
The main aim of the business model is to improve and enhance the experiences, which are
provided to the clients and customers of the company (Blazquez, 2014). The various different
types of services that are considered be significant part to influence the customers are offered
by the company and are based on the profiles that are crafted for different experiences and
customers. The main factor that is potent of differentiating the company with the others in the
industry is dependent on the ways by which it is able to fulfil the requirements of its clients
by means of providing them premium quality service at reasonable price (Porter &
Heppelmann, 2014).
2.1.1. Building Blocks
a) Customer Segments
The customer segment that the Opera Australia targets the arts lovers who loves music,
dance and performance. The sound intensity is kept in mind while making the theatre and the
levels of capacity of the customers’ ears are also taken into consideration (Vigolo, Brunetti &

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Bonfanti, 2016). It is to mention the tolerable levels of listening of the human beings is
important factor to keep in mind as it can influence the number of audience to visit the place.
Also, the lightening and the ambience of the theatre is also very soothing and the seating
arrangement is done in a way that each and every audience can see the stage.
b) Key Partners
As mentioned above, Opera Australia is best known globally for its association with
“Dame Joan Sutherland” for the ‘Baz Luhrmann’s’ production of “Puccini’s La boheme”
during the early 1990s (Daniel, 2016). In the year 2003, Opera Australia also got engaged
into an association with Carlo Felice Cillario conducting who was an Intalian conductor of
international renown. Laster it also associated with the Royal Opera House of London.
c) Value Propositions
Opera Australia is the national opera company of Australia (Skinner, 2015). It is
considered to be a distinctive cultural landmark of Australia and this gave the company a
permanent home of performance and in the same way, helped it in expanding its repertoire
and developing local audiences (Glazebrook, 2017). It has a distinctive image and people
love to become audience of the programs held in the place. All the new works, rare works
and exciting collaborations along with new opera production are conducted here and are
loved by everyone all over the world.
d) Key Activities
It is to note that the advertisement and promotion related activities are considered to be a
significant part of the high level of success that is gained by Opera Australia in the recent
years. With the same, best known globally for its association with “Dame Joan Sutherland”
for the ‘Baz Luhrmann’s’ production of “Puccini’s La boheme” during the early 1990s.

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e) Channels
According to Lazonick (2014), “formation of channels has been play a major role in
gaining high levels of profits in the industry”. It is to mention that the effective presence that
is formed by Opera Australia on the various different platforms are the key channels that are
related to the proper promotions and advertisements. It is to note that Opera Australia has
formed many advertisements in the form of bill boards, print media, television advertisement
etc. over different channels and all those advertisement is based on the important features of
the products.
f) Revenue Streams
It is to note that the huge number of sales of tickets as well as the client based performance
are been gained by Opera Australia on the basis of the customer based that it holds and that
are developed by the company in the industry. It is funded by the corporate sponsorship,
ticket sales, government grants and private philanthropy. Also, the Australia government too
supports the growth and development of this company as it is national opera company of
Australia.
g) Cost Structure
It is to note that the most important cost drivers of Opera Australia are the expenses of
sets, halls, eco-friendly ambience, cost related to operating the movie theatres and the
exhibition cost. Also, there is place for parking for the clients and customers and all these
have to be arranged by the company. Opera Australia is also liable for paying taxes to the
Australian government.
h) Key Resources
The major resource that is gained by the company is its efficient staff and employees who
are potential enough to influence the proper growth and development of the services on the

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basis of the requirement of the clients (Dhar, 2015). The services provided by the company
are high end and they have the potential of affecting the profitability and operation level of
the company. With the same, the sound systems are customised in a way to meet the needs
and requirements of diverse customer types in effective manner.
i) Customer Relationships
According to Wang and Kim (2017), “advertising related activities can be effective for the
organization to develop relationships with the customers“. It is to note that Opera Australia
is aimed towards developing customer relationships with the help of making proper
communication with them. They do this with the help of leaflets and pamphlets on a regular
basis. Also, in recent years, the company is also making use of social media platforms in
order to catch and attract a larger range of customers. This further influence the
development of process of communication in proper way.
2.1.2. Interrelationships
It is to mention that the nine building blocks of Opera Australia are connected to in
relation to the products that are provided to the customers. The various activities, which are
performed by the company are based on the effective promotion and advertisements that it
conducts. All these influence the communication level and popularity level of the company.
Also, the staffs of the company are very passionate towards their job role and they play a
significant part in making the company popular world-wide.
2.1.3. Critical Success Factors
The main success factor for the company is its effective staffs and loyal customers. The
success that it has been gaining since years long has resulted in the development of future
plans for making it able to compete with the other larger theatre companies.

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2.1.4. Downside Risks
It is to note that there is less downside risk for the company as it is a theatre company
and has positive brand image. There are less competitors for the company within the
industry. However, it is to mention that there are no enough staffs working for the company
and this significantly influence the total time it takes to arrange the set for a particular event.
The other risk level is related to the lack of proper levels of profitability in diverse activities,
which are performed.
2.1.5. Business Model Changes
The channels of distribution as well as the communication levels of the company is
required to be increased for reaching more customers. With the same, increasing the level of
awareness among the people in relation the different services and products also plays a
significant role. Hence changes should be made in terms of these. Furthermore, the
company should also increase its number of partners and must develop effective relation
with them.
3. Conclusion
Hence, from the above analysis of the business model of Opera Australia, it is to state that
proper maintenance and development of the operations of the company needs to be ensured.
Although it is operating well in the current scenario, however, improvements and
enhancements in terms of service should never be stopped as with the growing technology,
the needs and expectations of the customers are also changing.
4. Recommendations
Following the recommendations made for the part of Opera Australia:

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a) Improvements in terms of advertisement and promotional activities for reaching more
client and customer base within lesser period of time
b) Increasing the total number of partners and associations with significant companies in
Australia.

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References
Blázquez, M. (2014). Fashion shopping in multichannel retail: The role of technology in
enhancing the customer experience. International Journal of Electronic
Commerce, 18(4), 97-116.
Daniel, R. (2016). Creative artists, career patterns and career theory: insights from the
Australian context. Australian Journal of Career Development, 25(3), 91-98.
Dhar, R. L. (2015). Service quality and the training of employees: The mediating role of
organizational commitment. Tourism Management, 46, 419-430.
Glazebrook, M. (2017). How Australia’s Top 500 Companies are Becoming Corporate
Citizens. In Perspectives on corporate citizenship (pp. 152-165). Routledge.
Lazonick, W. (2014). Profits without prosperity. Harvard Business Review, 92(9), 46-55.
Porter, M. E., & Heppelmann, J. E. (2014). How smart, connected products are transforming
competition. Harvard business review, 92(11), 64-88.
Skinner, G. (2015). The invention of Australian music. Musicology Australia, 37(2), 289-306.
Skinner, G. (2015). The invention of Australian music. Musicology Australia, 37(2), 289-306.
Vigolo, V., Brunetti, F., & Bonfanti, A. (2016, December). Customer Education Programs:
An Investigation in Italian Opera Theatres and Foundations. In Toulon-Verona
Conference" Excellence in Services".
Wang, Z., & Kim, H. G. (2017). Can social media marketing improve customer relationship
capabilities and firm performance? Dynamic capability perspective. Journal of
Interactive Marketing, 39, 15-26.

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Appendices
Appendix 1: Business model canvas of Opera Australia
Key Partners
 Resourcefu
l team.
 Technology
suppliers.
Key Activities
 Promotional
events.
 Growth of
operative
teams.
Value
Proposition
 Providing
customer
contentment.
Customer
Relationships
 Social media based
communication.
Customer
Segments
 Hard
core
lovers
of
arts.
Key Resources
 Accessibility
of
technologies.
Channels
 Existence on
the websites
 Print
Advertisements
.
Cost Structure
 Stage setups
Revenue Streams
 Financial support gained.