Table 2 Dimensions, concepts, and data...

Table 2

Dimensions, concepts, and data

Second-order and first-order concepts	Representative exemplary data
Aggregate dimension: Initiating conditions
External pressure to change
Pandemic as driver	Q1: The trigger was the pandemic. Like everyone, we had to shut down. (…) So we just started experimenting with what formats were feasible online. (C-A, 12, g)
Change in user behavior and expectations	Q2: But, obviously the challenge being that these platforms are always changing and the user behavior is always changing as well. (G-S, 198)
Self-perception
Anchoring in tradition	Q3: We're already a bit of a grand old lady and very traditional, but we work with the most advanced tools and cutting-edge technology. (I-W, 45, g)
Digital formats as an extension of public mission	Q4: This is an extension of our cultural mission. So, we perform for the people in the auditorium each night, but we also reach out to entirely different audiences, including opera fans from all over the world. (B-K, 4, g)
Striving for high-quality standards	Q5: A value that we hold strong (…) is (…) the paramount nature of quality in the coverage and the performance. (G-F, 13)
Raising accessibility and visibility
Live moment and specific production conditions are essential	Q6: Because we truly believe that opera is live, that it unfolds all its magic and power in the live moment. (E-T, 2, g)
Trying to reach new audiences	Q7: The fact is, like the more mediums that you open up, you grow your audience. (F-W, 78)
Brand representation in the digital space	Q8: Of course, it has to do with branding and visibility (…) with presence, with success – that you do these things from time to time. (E-M, 44, g)
Enhancing artistic means
Exploring new aesthetic forms	Q9: It celebrates exploration and the unknown and welcoming artists outside of opera. (…). It pushes the form in the ways that I think are necessary. (F-W, 20)
Artistic curiosity	Q10: Curiosity, creativity, interest (…). For me, that really comes from an artistic practice – I've always been interested in experimenting with new technologies. (H-B, 4, g)
Integrating new media as an old theater practice	Q11: (…) these are art forms that are kind of always changing and always evolving and engaging in dialog with new technology. (G-S, 113)
Aggregate dimension: Resource allocation
Insourcing
Control over technological quality and handling	Q12: (…) but rather, we wanted to put ourselves in a position to produce and distribute independently, and to really reach everyone. (I-W, 4, g)
Seamless integration into operations is possible	Q13: And now this kind of technical apparatus, which merely accompanies and transmits it live, is somehow supposed to effortlessly fit into and match another medium just like that. (A-J, 28, g)
Outsourcing
Save on technical maintenance	Q14: We used to produce ourselves; now we're a co-producer or collaborator, but we've basically outsourced it to [name of firm]. (E-M, 28, g)
Scarcity of expertise	Q15: (…) because you also see the difficulties within the institutions and the skills that are lacking. (C-A, 11, g)
Third-party funding
Utilization of new technology attracts sponsors	Q16: So, how can we use new technologies to tell stories? But, also when engaging funders it's of interest to get involved that way. (G-S, 110)
External start-up and basic financing necessary	Q17: We always need to rely on partners and some level of funding. A chunk of money, but that's just the initial chunk (…). (B-M, 47, g)
Offer should be free of charge for the public	Q18: Unlike [I] and [A], we're convinced that we want to offer it free of charge. (B-K, 4, g)
Payment model
Additional (but fragile) source of income	Q19: (…) but the idea that a viable business model would eventually emerge from it – that was, of course, a gamble. (A-M, 66, g)
Attempt to benefit from the long tail	Q20: And the second point is simply that I'm not physically here – so the main access regions are, of course, Europe. But I think the U.S. is always second or third. Then the Asian region – Japan ranks quite high. (B-Sr, 62, g)
High output required	Q21: One key reason we do so much and do it live is that it means we always have programming – there's just always something happening. (I-W, 37, g)
Building partnerships
Involve external expertise	Q22: To work in partnership is absolutely essential! (D-B, 42)
Exchange of experience and joint lobbying	Q23: And now there's a working group for it – that's the first step toward a political positioning on the whole issue. (H-L, 48, g)
Communication with externals is demanding	Q24: You have to talk to each other and shape it together. We really try to enforce that, but we keep realizing internally just how incredibly difficult it is. (J-L, 28, g)
Developing competencies
Testing new modes of collaboration	Q25: It really breaks up some of the old crusts, so to speak – suddenly, art and tech start talking to each other differently. (H-B, 19, g)
Generating and consolidating knowledge	Q26: What goes beyond that is the fact that we now have a very experienced team. Once young enthusiasts, now professionals who can deliver excellent work on short notice. (I-K, 6, g)
Recruiting and developing employees	Q27: The team developed and recruited around the visual side, particularly when the new Vision Gallery was installed downstairs. (G-F, 51)
Aggregate dimension: Culture of interaction
Leadership tasks
Create shared understanding	Q28: There's an understanding of what we're doing and where we're going. (F-W, 74)
Respectful communication	Q29: They're very difficult conversations and they're touchy, but how they're handled and how you handle people with care matter. (…) I really try to be thoughtful about how and when I speak up. (F-W, 58)
Giving free artistic reign	Q30: They just gave us free artistic reign. (F-M, 35/41)
Bottom-up strategies
Work on eyelevel	Q31: So there were no roles. (…) We all contributed. (D-B, 22)
Convince by showcasing	Q32: But that kind of strong reporting culture and showcasing (…) is very effective at engaging people in the process. (G-S, 150)
Free spaces	Q33: I like to have space for the artists to do their thing. (F-W, 48)
Structuring
Check legal framework conditions	Q34: The opera house can afford a legal expert – other theaters can't. (…) If you don't have anyone inhouse, no lawyer, then you have to bring in external expertise. (E-M, 30, g)
Define adequate structures	Q35: The digital department is indeed a creative driving force, because it makes the boundaries between disciplines much more permeable and opens up access to the outside – but it also creates connections within the institution. (H-B, 55, g)
Long-term planning and investment	Q36: I'm learning that opera is already planning four years ahead. I'm still at next Friday. (H-L, 54, g)
Experimenting
Capitalizing on opportunities	Q37: I think there were these grey areas that we tried to make productive. (C-AHsHr, 70, g)
Continuous iteration	Q38: And then you have to adapt – quickly adjust the concept, even if you wrote it differently – so it works. (…) So you have to be willing to adapt to get it through. (B-M, 49, g)
Embracing risk of failure	Q39: How do we know it's going to be a success? (…) When you think of Mozart (…) there were four or five hits and he wrote 22 operas. So, even for Mozart, the ratio of winners to failures is not that high. (D-B, 48)
Aggregate dimension: Mode of dissemination
Consumption-oriented
Digital stage fulfills communicative tasks	Q40: It was clear that [A-a] served a purely communicative purpose. (A-M, 72, g)
Offers build on existing structures and services	Q41: So, we're definitely building on that existing infrastructure and expertise. That's both fortunate and convenient. (I-K, 6, g)
Avoid expectations of knowledge	Q42: We avoid expectations of knowledge. (G-S, 85)
Engagement-oriented
Use of technology must have aesthetic purpose	Q43: I saw two opera productions in [H] where everything just flickered with video inserts and effects – just technical add-ons. But if it's supposed to make narrative sense (…) that's the real challenge. (K-W, 25, g)
Qualitative expansion of audience relationships	Q44: And then truly building a relationship with the audience. With all these VR formats, you have to start from scratch again and figure out who will actually watch it. (C-AHsHr, 176, g)
Immersion of audience	Q45: Then you show up (…) with your headset in your living room, enter my virtual foyer, and I can perform with you – bring you into a scene, tell you a story, play theatre with you. (H-L, 32, g)

Second-order and first-order concepts	Representative exemplary data
Aggregate dimension: Initiating conditions
External pressure to change
Pandemic as driver	Q1: The trigger was the pandemic. Like everyone, we had to shut down. (…) So we just started experimenting with what formats were feasible online. (C-A, 12, g)
Change in user behavior and expectations	Q2: But, obviously the challenge being that these platforms are always changing and the user behavior is always changing as well. (G-S, 198)
Self-perception
Anchoring in tradition	Q3: We're already a bit of a grand old lady and very traditional, but we work with the most advanced tools and cutting-edge technology. (I-W, 45, g)
Digital formats as an extension of public mission	Q4: This is an extension of our cultural mission. So, we perform for the people in the auditorium each night, but we also reach out to entirely different audiences, including opera fans from all over the world. (B-K, 4, g)
Striving for high-quality standards	Q5: A value that we hold strong (…) is (…) the paramount nature of quality in the coverage and the performance. (G-F, 13)
Raising accessibility and visibility
Live moment and specific production conditions are essential	Q6: Because we truly believe that opera is live, that it unfolds all its magic and power in the live moment. (E-T, 2, g)
Trying to reach new audiences	Q7: The fact is, like the more mediums that you open up, you grow your audience. (F-W, 78)
Brand representation in the digital space	Q8: Of course, it has to do with branding and visibility (…) with presence, with success – that you do these things from time to time. (E-M, 44, g)
Enhancing artistic means
Exploring new aesthetic forms	Q9: It celebrates exploration and the unknown and welcoming artists outside of opera. (…). It pushes the form in the ways that I think are necessary. (F-W, 20)
Artistic curiosity	Q10: Curiosity, creativity, interest (…). For me, that really comes from an artistic practice – I've always been interested in experimenting with new technologies. (H-B, 4, g)
Integrating new media as an old theater practice	Q11: (…) these are art forms that are kind of always changing and always evolving and engaging in dialog with new technology. (G-S, 113)
Aggregate dimension: Resource allocation
Insourcing
Control over technological quality and handling	Q12: (…) but rather, we wanted to put ourselves in a position to produce and distribute independently, and to really reach everyone. (I-W, 4, g)
Seamless integration into operations is possible	Q13: And now this kind of technical apparatus, which merely accompanies and transmits it live, is somehow supposed to effortlessly fit into and match another medium just like that. (A-J, 28, g)
Outsourcing
Save on technical maintenance	Q14: We used to produce ourselves; now we're a co-producer or collaborator, but we've basically outsourced it to [name of firm]. (E-M, 28, g)
Scarcity of expertise	Q15: (…) because you also see the difficulties within the institutions and the skills that are lacking. (C-A, 11, g)
Third-party funding
Utilization of new technology attracts sponsors	Q16: So, how can we use new technologies to tell stories? But, also when engaging funders it's of interest to get involved that way. (G-S, 110)
External start-up and basic financing necessary	Q17: We always need to rely on partners and some level of funding. A chunk of money, but that's just the initial chunk (…). (B-M, 47, g)
Offer should be free of charge for the public	Q18: Unlike [I] and [A], we're convinced that we want to offer it free of charge. (B-K, 4, g)
Payment model
Additional (but fragile) source of income	Q19: (…) but the idea that a viable business model would eventually emerge from it – that was, of course, a gamble. (A-M, 66, g)
Attempt to benefit from the long tail	Q20: And the second point is simply that I'm not physically here – so the main access regions are, of course, Europe. But I think the U.S. is always second or third. Then the Asian region – Japan ranks quite high. (B-Sr, 62, g)
High output required	Q21: One key reason we do so much and do it live is that it means we always have programming – there's just always something happening. (I-W, 37, g)
Building partnerships
Involve external expertise	Q22: To work in partnership is absolutely essential! (D-B, 42)
Exchange of experience and joint lobbying	Q23: And now there's a working group for it – that's the first step toward a political positioning on the whole issue. (H-L, 48, g)
Communication with externals is demanding	Q24: You have to talk to each other and shape it together. We really try to enforce that, but we keep realizing internally just how incredibly difficult it is. (J-L, 28, g)
Developing competencies
Testing new modes of collaboration	Q25: It really breaks up some of the old crusts, so to speak – suddenly, art and tech start talking to each other differently. (H-B, 19, g)
Generating and consolidating knowledge	Q26: What goes beyond that is the fact that we now have a very experienced team. Once young enthusiasts, now professionals who can deliver excellent work on short notice. (I-K, 6, g)
Recruiting and developing employees	Q27: The team developed and recruited around the visual side, particularly when the new Vision Gallery was installed downstairs. (G-F, 51)
Aggregate dimension: Culture of interaction
Leadership tasks
Create shared understanding	Q28: There's an understanding of what we're doing and where we're going. (F-W, 74)
Respectful communication	Q29: They're very difficult conversations and they're touchy, but how they're handled and how you handle people with care matter. (…) I really try to be thoughtful about how and when I speak up. (F-W, 58)
Giving free artistic reign	Q30: They just gave us free artistic reign. (F-M, 35/41)
Bottom-up strategies
Work on eyelevel	Q31: So there were no roles. (…) We all contributed. (D-B, 22)
Convince by showcasing	Q32: But that kind of strong reporting culture and showcasing (…) is very effective at engaging people in the process. (G-S, 150)
Free spaces	Q33: I like to have space for the artists to do their thing. (F-W, 48)
Structuring
Check legal framework conditions	Q34: The opera house can afford a legal expert – other theaters can't. (…) If you don't have anyone inhouse, no lawyer, then you have to bring in external expertise. (E-M, 30, g)
Define adequate structures	Q35: The digital department is indeed a creative driving force, because it makes the boundaries between disciplines much more permeable and opens up access to the outside – but it also creates connections within the institution. (H-B, 55, g)
Long-term planning and investment	Q36: I'm learning that opera is already planning four years ahead. I'm still at next Friday. (H-L, 54, g)
Experimenting
Capitalizing on opportunities	Q37: I think there were these grey areas that we tried to make productive. (C-AHsHr, 70, g)
Continuous iteration	Q38: And then you have to adapt – quickly adjust the concept, even if you wrote it differently – so it works. (…) So you have to be willing to adapt to get it through. (B-M, 49, g)
Embracing risk of failure	Q39: How do we know it's going to be a success? (…) When you think of Mozart (…) there were four or five hits and he wrote 22 operas. So, even for Mozart, the ratio of winners to failures is not that high. (D-B, 48)
Aggregate dimension: Mode of dissemination
Consumption-oriented
Digital stage fulfills communicative tasks	Q40: It was clear that [A-a] served a purely communicative purpose. (A-M, 72, g)
Offers build on existing structures and services	Q41: So, we're definitely building on that existing infrastructure and expertise. That's both fortunate and convenient. (I-K, 6, g)
Avoid expectations of knowledge	Q42: We avoid expectations of knowledge. (G-S, 85)
Engagement-oriented
Use of technology must have aesthetic purpose	Q43: I saw two opera productions in [H] where everything just flickered with video inserts and effects – just technical add-ons. But if it's supposed to make narrative sense (…) that's the real challenge. (K-W, 25, g)
Qualitative expansion of audience relationships	Q44: And then truly building a relationship with the audience. With all these VR formats, you have to start from scratch again and figure out who will actually watch it. (C-AHsHr, 176, g)
Immersion of audience	Q45: Then you show up (…) with your headset in your living room, enter my virtual foyer, and I can perform with you – bring you into a scene, tell you a story, play theatre with you. (H-L, 32, g)

Note(s): First letter: Institution – Second letter: Interviewee(s) – Number: Position in transcript – g: Interview in German, translation by the authors

Source(s): Authors’ own work

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