Il mercato borsistico e la negoziabilità delle produzioni per la valorizzazione finanziaria dell’opera lirica

[Autom. eng. transl.] The present work aims to verify the possibility of creating sources of funding for opera houses and performances, more generally, "different" from those to which these institutions commonly make use of both as a more strictly public source, and used mainly in the European context, and, also, as forms of financing with greater evidence of private and specifically Anglo-American origin. The "forms" to which we intend to focus, are instead presented as "market" forms, that is, as forms that are able to render to the proposing subject - "the lyric theater" in the case mainly taken as a reference for study - a capacity for self-financing not specifically dependent on sources of "financing" of third parties, both of public origin and of private sponsorship. The formulation towards a secondary market of lyric production wants to identify and present, in fact, a model of valorisation of the "product" that in the production itself can be considered fungible or negotiable because it is endowed with those characteristics of marketability that make it assessable and, above all, allow for formalize a pricing of the product itself that is able to enhance its artistic nature even beyond the lyrical setting in which it is originated. Obviously it is necessary to identify, in the first instance, the so-called exchangeable assets and also the structural assumptions so that a secondary market can be enabled taking into account all those variables that allow the effective existence of a secondary market: choice of exchange platform, visibility of products, clearing systems that are identified here as delivery systems, etc. The presentation of theoretical negotiability models intends to present how the possible synergies between economic functions and artistic realities must be understood and, above all, constructed, hypothesizing a system of active "management" of resources - also and, above all in this case, of a kind financial that opera production can "produce". The study that we intend to configure in its entirety is aimed at demonstrating how it is possible to "build" a secondary market for opera productions, bearing in mind that there is nothing assimilable at present, that the "exchange" between lyric institutions is considered at an evolutionary level only in the form of "co-production" but not of negotiation and that, instead, the problem of financial procurement becomes an increasingly important issue in every function of artistic design. With a view to finalizing an effective and efficient elaboration of the model, the construction of the same cannot disregard, also from the analysis of the role that financial intermediaries can have in that market in several aspects: both as "agents" in the operating system and of operation, both as fundamental bodies in the foreseeable clearing systems and, last but not least, as actively participating as investors in the trading market.