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This paper examines the US opera sector as a means for interrogating how varying forms of non-standard work shape gender inequality in the creative industries.

The authors draw on 16 seasons of opera production data from Operabase.com to conduct a gender-based exploratory data analysis of the key creative roles of conductor, director and designers, as well as the hiring networks through which teams are formed, at the 11 largest opera companies in the United States.

The authors find that women, as a group, experienced gender-based disadvantage across the key creative roles of opera production, but particularly in the artistic leadership roles of conductor and director. The authors also find that women's exclusion in the field is being further perpetuated by the sector's non-standard and overlapping employment structures, which impacts women practitioners' professional visibility and career opportunities.

The study can help organizations implement strategic hiring practices that acknowledge the relationship between gender inequality and varying forms of non-standard work with the aim of increasing women's representation.

This study work establishes the scale of gender inequality operating within a sector that has received minimal scholarly attention as a site of employment. The study analysis also offers important insight for the wider creative industries and highlights opportunities to redress gender inequality in other sectors where project-based work is prevalent.

Living art organizations present a special interest in research stressing cognitive processes and development of intangible resources like knowledge and capabilities. In living art organizations, production processes like rehearsals and tunings whose goals are to develop both tacit and tangible capabilities are readily observable and have undeniable effects on performance quality, revenues, and costs. The observations of four opera houses support the conjecture that strategy and organizations could be preconditions for learning.

The purpose of this paper is to analyse the symbolic forms used in selected mainstream management models and to assess whether it would be expedient for enforcing the connection between leadership and individual human reality if such management models were fundamentally inspired by a successful manager and artist.

The theoretical starting point of this article is Cassirer's philosophy on symbolic forms. The paper analyses the symbolic forms embedded in the management discourse practice of art in the way that the concept is practiced by Kasper Holten, the highly successful Artistic Director of the Royal Danish Opera.

The analysis shows that conventional management control models are rooted in the symbolic form of science, but are at risk of getting caught in assumptions of the form gliding into the symbolic form of religion and myth, where all the forms tend to oppress essential aspects of individuality. Kasper Holten integrates the symbolic forms of art and science, which makes him capable of binding to the individual's life‐world.

Analysing Kasper Holten's views on management reveals features and structures for a new management discourse practice which is far better suited to most of the knowledge jobs in contemporary society than the more conventional management discourse.

The paper provides novel insight into the interrelationship between the specific way of using language and the way of managing and constructing a world. It paves the way for another way of doing management control and accounting.

The Royal Opera House, located at the epicentre of Covent Garden, stands as the UK’s leading provider of opera and ballet performances. Having been extensively redeveloped, its front facade is not visible from the area’s central market place and the perceived exclusivity and elitism commonly associated with its art forms also impose a challenge. This study aims to analyze the influence that the Opera House exerts on the tourist’s perception and experience of the world-renowned London’s “Theatreland”.

In all, three hundred and six semi-structured interviews with domestic, international, first-time and repeat tourists were conducted in six different locations throughout the area and inside the flagship building using a convenience sampling approach. These were then analyzed with the assistance of qualitative data analysis software (QSR N*Vivo) in two stages leading to an initial set of categorical topics that derived in a number of findings related to the factors that influence the tourist’s perception and experience of place.

The Opera House’s perceived urban concealment proved to have an impact on its influence on Covent Garden’s sense of place. But its social inclusion and audience development initiatives that foster a new generation of opera and ballet theatre-goers emerged as important findings as the House’s open door policy for daytime visitors along with live relays of current opera and ballet productions in other locations spark an interest in experiencing the building from the inside.

This paper focuses exclusively on findings related to audience development and social inclusion initiatives currently used at the Royal Opera House and their impact on the tourist’s perception and experience of place. However, many other factors influence these processes and scope for further research is highlighted.

The Royal Opera House’s perceived urban concealment imposes a challenge to the task of developing new audiences for its current and future productions. Its learning and participation unit must endeavor to engage younger and international markets by focusing on the quality of the House’s performances, its heritage and added facilities of the venue such as exhibitions and shop.

The Royal Opera House’s creed of “excellence, access and artistic development” is implemented by extending opportunities to younger target markets to engage with its cultural produce.

This paper addresses the gap in knowledge related to the development of the niche Opera House tourist segment of the cultural tourism market.

This paper aims to identify the factors that foster an interest in opera and Opera Houses as a specific form of cultural capital and how the Opera House tourist constructs images of destinations from the cognitive, affective and conative dimensions.

A social constructivist methodology was adopted, and data was captured through online qualitative questionnaires from 226 Opera House tourists using a simple random sampling approach. These enquired about the development of their interest in opera and Opera Houses and the influence this exerts on their destination image formation process.

This form of cultural capital is mainly developed by exposure to art forms through family, social and further reference groups. Opera Houses project cognitive images of cosmopolitanism, affective images of social belonging and conative images of further opportunities to experience culture and leisure fostering destination loyalty and place attachment.

Productions of both opera and ballet are staged at Opera Houses, opening avenues for further research on either the opera or ballet tourist markets specifically using case studies across the ample spectrum of Opera Houses around the world.

In addition to the visual appeal and quality of cultural produce, tourism practitioners can use an Opera House’s projected affective images of social cohesion and togetherness to attract the Opera House tourist market. Opera Houses enrich a destination’s visual and cultural landscapes, cementing the need to preserve and promote their contributions to the destination’s cultural identity.

This study highlights the need for cultural policy and audience development strategies that cultivate this type of cultural capital resulting in demand for and supply of cultural products that in turn stimulate the development of this niche cultural tourism market segment.

To the best of author’s knowledge, this is the first study that has approached the Opera House tourist from the destination image formation context.

Addresses the question as to whether opera can be brought to the masses (defined as socio‐economic groups other than A and B). First, it describes the methodology used in collecting the data. Goes on to describe and analyse the audience profile of opera‐goers, and non‐opera‐goers, in terms of demographic, psychographic, and geographic analysis, and to establish reasons for attendance and non‐attendance among different social groups, based on culture, motivation, and attitude. Finally, makes recommendations in the form of a marketing mix to encourage a wider audience for opera.