Sydney Symphony Orchestra's opportunities and threats: Demographics: Sydney is a huge city with considerable income and education (5 universities) Classical music struggles in social contexts. Old-world music and listening patterns. This music's fan base is ageing and needs new members. Classical music's elitist reputation draws affluent listeners.

There are various alternatives to live music and ways to share classical music with technology.

The political-legal aspect is excellent for classical music because they earned the most government arts funding ($55 million vs. $3 million for theatre).

Classical music and musical labour are global.

In this industry, physical isn't important.

The top class's income is stable. Stable, but with little revenue, the classical music industry faces long-term challenges. Substitutes include any art, but especially pop and jazz music. High entrance barriers and a tiny profit pool discourage newcomers.

Buyers are dropping, causing anxiety. Musicians are important vendors. It's easy to find new musicians, but hard to find good ones. Few compete. Sydney has little symphonic competition, although there are several recording competitors who don't effect the SSO's operations. Sydney has several rivals.

Opera house access, donor lists, and financial reserves are strong. Excellent intangibles: outstanding players, conductor, Sydney following, brand.

Core skills:

World-class symphonic musicianship

Private funding (65 per cent of total funding)

city connections

Government funding capability

Recording world-class music on multiple platforms

Attracts soloists

Sydney core competencies. All major symphony orchestras in Australia and the world have them.

outline, how you have used each of the following models: PROFIT, VRIO, SWOT, and CIA.