At first glance, this year's round of pay increases for publishers looks almost like a zero round: Entire publishing houses, such as Ringier, the Konsumenteninfo Group, the business press of Axel Springer Schweiz (ASS), all free magazines and most of Tamedia's French-speaking Swiss titles, are foregoing price increases for their full-page fixed formats. Nevertheless, of the 141 titles listed, 35 are raising their page prices as of 2013, while 8 are reducing them. The biggest price increase is being made by the NZZ: Despite lower readership figures, it is increasing the price per four-color ad page by 1.5 percent and is also introducing the standard rate, resulting in a surcharge of 26.4 percent for the black-and-white rate. The NZZ am Sonntag does a similar thing, although it has gained readers: The black-and-white page is now 47.3 percent more expensive.

Uniform tariff for newspapers in vogue

The standard rate is also making inroads elsewhere: A SW ad page at Südostschweiz am Sonntag is therefore 18.9 percent more expensive, and 8.5 percent more expensive at Zurich's regional newspapers. The Bündner Woche is also tending in this direction: it is raising the price of its SW ads by 20.4 percent. Astonishing rate increases can also be found at some program guides: GuideTVCinéma, for example. Although it lost more than a third of its readers after changing its concept and name almost three years ago, it is now marking up its rates by 13.6 percent. Last year, it had still reduced its price. TV2 and TVvier are also increasing their rates (+12.1 %), while readership is falling steadily. A price increase can also be reported from Ticino: Corriere del Ticino will be 13.4 percent more expensive, but because it will integrate Giornale del Popolo from 2013. The increase of +10.7 percent at Beobachter Natur can also be justified by growing reader interest. The situation is different at Alpha, where the 10 percent surcharge seems neither justified nor clever - certainly not in view of the already declining number of job ads.

Two "Tüpflischisser" among the publishers

In addition to the steep ones, there are also small surcharges, but they are all the more curious: The Zürcher Unterländer increases its SW rate by no less than 1 franc (in words: one franc) (+0.02 %) and the Zürcher Oberländer its fixed formats by 5 francs (+0.3 %)! Conversely, however, there are some price reductions that are pouring in: The Plaidoyer trade magazine of the Konsumenteninfo Group is lowering its rate by 50 percent, the Solothurner Zeitung (SZ) is going down by 22.8 percent - roughly in line with the loss of readers - while La Liberté and La Gruyère are charging 15.2 and 12 percent less, respectively, despite reasonably stable performance figures.

Price reduction not for large customers

Speaking of Solothurner Zeitung: Despite exemplary price adjustments to the lower readership figures, it is also a prime example of a hidden price increase - because the page price reduction by more than a quarter is not reflected at all in the tariff for northwestern Switzerland. AZ Medien simply leaves the latter at the previous level - although an 8 percent discount would be justified. In other words, the tariff reduction at Solothurner Zeitung is not passed on to the major customers in northwestern Switzerland. The rate reduction at Solothurner Zeitung is also only half-hearted at another level: it only applies to the fixed format, and at the color millimeter level it is significantly lower, namely just 16.5 percent. Other newspapers are doing the same: La Gruyère and La Liberté are reducing their 4c fixed format, but leaving their color millimeter rate at the previous level.

The TLP shows the hidden truth

Most of the hidden price increases, however, are at the level of the price per thousand readers (TLP): 70 newspapers and magazines, i.e. exactly half of the titles listed, have increased their TLP - either actively by raising the page rate or passively by losing readers - although in many cases there are only small increases (of less than 5 %). Nevertheless, the biggest increase is at TV täglich, where the TLP has risen by 53.9 percent in the space of a year. This can hardly be justified. The German edition of Reader's Digest follows in second place with a TLP increase of 37.5 percent - and TV2 in third place with a TLP increase of 32.8 percent. Other titles with TLP increases in the double-digit percentage range: Stocks (+29.3 %), TVvier (+25.5 %), Journal du Jura (+20.8 %), Reader's Digest (f) (+20 %), Biel-Bienne (+18.3 %), Handelszeitung (+15.9 %), Kulturtipp (+14.3 %), Zeitlupe (+13.7 %), Edelweiss (+13.6 %), Illustré (+13.3 %) and Express (+13 %). Arguably, there are also 25 titles that lower their TLP, but reductions that actually pour in are rare. Only two stand out: Agefi reduces its TLP by 35.7 percent thanks to an increase in readers, La Liberté by 24.5 percent thanks to a price reduction. In third place is La Gruyère with a reduction in the single-digit percentage range: -8.9% All other TLP reductions are below 6 %.

Half costs more than before the crisis

Conclusion: The impression described at the beginning, according to which only a quarter of all listed titles increase their prices and more than half leave their rates at the current level, is definitely not true: Half of the titles increase their prices as of 2013 - either actively or passively, and only 23 titles reduce their prices. If we look at the longer-term price development - for example from 2008, the year before the crisis, the picture is similar: around half of the titles have become more expensive since 2008, either actively or passively, while a quarter have become cheaper - albeit mostly only slightly.

Markus Knöpfli

The advertising budget for Switzerland Tourism is to be increased by an additional CHF 12 million in view of the weak economy. According to SDA, this is what a minority of the conservatives and SP wanted. It received support from the CVP/EPP parliamentary group and part of the SP parliamentary group. The majority of the SVP, the majority of the FDP and the Greens spoke out against it. According to the SDA, the increase of CHF 12 million was passed by 90 votes to 77.

Teaser image: Keystone

I quote: "I also believe that media criticism 2.0 has a chance. To date, however, such activities are still stuck at the level of partial/assembly publics. In order for them to gain significance, they would have to be tracked down by mass media publics and addressed in a range-intensive manner. To date, this has hardly been the case. Perhaps it is precisely because media journalism remains stuck in the self-observation trap."  

Let's ask ourselves why media journalism is stuck in this self-observation trap. There are several reasons.

One is the gleeful and competitive one, which leads to the editorial errors of the competition being exploited with relish. Does that interest our readers? Certainly not. Is that media journalism? Yes, but only if our own mistakes are reported in just as much detail. The alleged background story about the competition goes in the same direction. Information from obscure insiders who want to know exactly what is going wrong at the competitor's publishing house or title, what personnel changes are planned but not yet communicated, can be combined with their own assumptions to reveal why the competitor's strategy has been crap over the last few years anyway. Actually, one wants to say that the competition is stupid, evil or deceitful, and thus tries to suggest that, of course, everything is completely different in one's own house. Are our readers interested in that? Certainly not. Is it media journalism? Yes, but only if the story is true and of a certain relevance.

Another reason is one that avoids conflict. Christian Meier, co-author of the book Basiswissen für die Medienpraxis (Basic Knowledge for Media Practice), said it aptly in an interview with Werbewoche: "If I as a journalist write a critical report about a business boss, I usually get recognition from professional colleagues. If, on the other hand, you criticize an editor-in-chief, it can happen that your own editor-in-chief gets in touch and asks, "Did you have to do that now?" Do our readers care? Yes. Is it media journalism? Yes. Let's free ourselves from the introspection trap. Media journalism isn't that difficult. You just have to stop looking at your colleagues, whether they're nice or bad, and ask yourself what's really relevant for my readers.

Pierre C. Meier, Editor-in-Chief
[email protected]

The new CAS Digital Marketing aims not only to provide an overview of current digital marketing tools and social media tools and platforms, but rather to focus on the strategic aspects of marketing in the digital age. This writes the ZHAW in a statement on Thursday. ZHAW lecturers and practitioners will show how fields of action and opportunities for generating added value can be developed in line with the corporate and marketing strategy by integrating customers into the value chain. Participants learn how to develop and successfully implement a digital marketing strategy for their company using a step-by-step guide.

In the CAS Digital Marketing course, the areas of tension of change processes towards a network-oriented company are addressed and participants are given tools to actively steer change management and governance processes. The CAS Digital Marketing will be held for the first time from March 15 to June 28, 2013. The total of 120 lessons will take place on Friday and Saturday mornings at the ZHAW School of Management and Law in Winterthur. Interested parties can find out more about the new CAS on January 23, 2013 at 6:30 p.m. at an informational aperitif in the Au Premier restaurant in Zurich's main train station.

All information about the new study program
 

Christmas is coming soon - in case you haven't noticed by the spring flower bulbs and chocolate Easter bunnies on the supermarket shelves. Time to come up with a few quick presents for your oh-so-loved ones. The best ideas come at the last minute and under pressure anyway. At least that's what most of my colleagues, the majority of whom are men, say. My opinion on this male pressure theory is that the men are always so relieved about the last-minute Christmas haul that they actually believe they've bought a really great present in their "I'm so happy" frenzy. The recipients usually see things very differently. And then the festival of love is once again very special.
 
Well. For all those who are in a hurry again just before Christmas, because between year-end closings and Christmas parties, reflection (and thinking about Christmas presents in good time) falls by the wayside, the consumer industry has once again come up with some great devotional items this year. Today we take a look at the latest cookbooks, because Christmas is the festival of love. And the way to a man's heart is through his stomach. What it does afterwards is unknown.

Fast Food

Why not whip up a few "express chocolates" for your best and second-best colleagues? Or even quicker: give away the book that tells you how to do it. It is currently on sale from Südwest Verlag. You used to think that chocolates were the epitome of indulgence and that indulgence was something that took time? Nonsense! It's only delicious when it's really quick, when costs and benefits are balanced, when you don't spend longer in the kitchen than you do sitting at the table afterwards. Stir at the highest level. That leaves time for more important things. Blitz cookies are also a great idea. They don't taste hot, but are conjured up quickly on the table. All those in a hurry can thank the pudding doctor Oetker, who baked his tips in his own publishing house. It's even easier with the ready-made dough packs from Migros: they don't taste good either, but at least you get cookies on the table. Jamie Oliver is also under pressure just before Christmas and serves up a "lightning-fast, healthy and super-delicious 15-minute meal". There was no more time for correct spelling at the publishing house. And Annemarie Wildeisen cooks ahead for her guests. Then everything goes more quickly on day X and the guests can leave again quickly. This idea has a certain charm, especially when all the damned - er, relatives - gather around the table on Christmas Day.

Slow Motion

Why, in God's name, does everything always have to happen so quickly these days? Especially when the "contemplative", "peaceful" and "quiet" days are approaching. Perhaps we can no longer do anything with peace and quiet - because when it's quiet, the silence is always so loud. For those who are constantly stressed out, I can recommend borrowing a child for a day. These little people take all the time in the world for the really important things in life: scratching for stones in the dirt, watching the snow react to footprints, walking around the house with a golden star in their hand and cheering. Just cheer ... while the stressed mother thinks about where she read about that book with the 15-minute recipes again - because, after all, lunch still has to be put on the table. And, yes, eating always takes a loooong time with the little fleas. What do you actually want for Christmas? Time?

This was the verdict of a six-member jury under the auspices of DRS 3. The youth word is "Shaz" and "Vada a bordo, cazzo" is the phrase of the year. The term "Shitstorm" was chosen from over 1,000 suggestions from the Swiss population. According to SDA, the jury chose a term from the field of social media this year, after two political words of the year - "Ausschaffung" in 2010 and "Euro-Rabatt" in 2011. According to the jury's statement, "Shitstorm" became anchored in Swiss German in 2012 and stands for both the power and the dangers of social media. "Anchored in Swiss German"? - Yes exactly, you read that right, no comment.

"Bio" was chosen as the unword of the year, as the population had grown tired of the term after it had been used inflationarily and often abusively in the retail trade, as the SDA writes. Shaz" was chosen as the youth word because the jury members unfortunately missed the youth words that were actually used. (According to the SDA, this year's jury for the "Word of the Year" campaign included author Bänz Friedli, slam poet Lara Stoll, "Literaturclub" discussion leader Stefan Zweifel, author Gion-Matthias Cavelty, Daniel Quaderer, co-author of the book "Words of the Year", and DRS 3 editor Ursula Schubiger). Well, the truth is that "Shaz" was chosen as the youth word because this spelling, created for quick communication in chats and text messages, reflects the vocabulary for "the desire, flexibility and creativity of young people in dealing with language". At least that's what the SDA said in the jury's statement.

The phrase of the year: "Vada a bordo, cazzo" (Get the hell back on board). This is how Gregorio De Falco from the Livorno port authority shouted at the captain of the wrecked "Costa Concordia". According to the jury, the sentence "reflects the zeitgeist of today: the bosses leave, the employees take the bath". Well then, vamos a la playa. (uma)

In 2010, the journalist had asked the Swiss Federal Office of Energy (SFOE) for information regarding the testing of energy labels on electrical appliances as part of an investigation. After he was not satisfied with the answers provided by e-mail, he submitted a request to view the relevant documents. The SFOE informed him in advance that it would charge a fee of CHF 250 for his efforts. The journalist received a corresponding invoice after the inspection. He then challenged the fee order before the Federal Administrative Court.

The Federal Administrative Court has now rejected his appeal. The decision can still be appealed to the Federal Supreme Court. The K-Tipp employee had argued that the media play an important role in forming opinions in democratic societies. The fulfillment of this task is hindered by the state if it charges fees for providing information to media professionals. The judges in St. Gallen firstly pointed out that, according to the Public Access Act, every person has the right to inspect public documents that are not subject to secrecy. According to the law, an expense-based fee must be paid for this. There is no exemption for the media. The freedom of information and media freedom enshrined in the Federal Constitution would guarantee the right to receive and obtain information freely and to disseminate information unhindered. However, these fundamental rights would not provide any entitlement to a state service such as the free processing of requests for access.

Finally, according to the court, the amount of the fee of CHF 250, which was set on the basis of five hours of work, is not objectionable. According to the ruling, the SFOE had to check the document in question sentence by sentence in order to anonymize certain passages. Internet searches were also necessary. In addition, an internal exchange had to be carried out. (SDA)
 

Born in Argentina, she holds a Master of Science in Advertising and previously worked as a Marketing Executive, Senior Consultant and Regional Development Manager for the internationally active Swiss building materials company Holcim. She also has practical experience in project, business and strategy management as well as consulting, according to a World Vision press release.

Habersatter's main tasks include the marketing strategy as well as the planning and implementation of fundraising campaigns for sponsorships and emergency and disaster relief. Habersatter is also responsible for corporate communications, events and face-to-face activities. Valeria Habersatter is also a new member of the Executive Board of World Vision Switzerland.

The Country Manager of the branch is Rafal Staszkiewicz. He studied economics at the Poznan University of Economics and has 15 years of online experience. As a former director at Infor (a Polish publishing house), he knows the challenges of digital very well, says Rafal Staszkiewicz.

The team in Poland will initially operate as a sales office, while operations will continue to be handled centrally by Adello Switzerland.
 

The TV spot lasts four minutes and was conceived by the Piaget company in honor of the Chinese Year of the Dragon. It is intended to show aspects of Chinese culture in an artistic way, according to a Ringier release on Thursday. In Chinese mythology, the dragon is feared and admired as a symbol of power and dominance. The Phoenix, for its part, symbolizes virtue, a sense of duty and honesty, but is also a symbol of grace, grace and prosperity.

Broadcast: Sunday, December 9, 20:50, before the blockbuster on TF1 Suisse.

WW: Did this appointment come as a surprise or did the development mature earlier?
Martin Spillmann:For me, the proposal came as a surprise at first, but from Leo Burnett's point of view, this decision is understandable. We have assumed the role of model agency in the network over the last few years. We have been at the forefront of creation and at the same time have achieved outstanding commercial success and growth. With this combination of creative and at the same time very successful, we have become a prime example in this network. It is therefore understandable that Leo Burnett now wants to benefit from this experience.
 
What is the briefing for your new job?
As Executive Creative Director Continental Western Europe, I am responsible for Germany, Belgium, France, Spain, Portugal, Italy and Switzerland. My job and my goal is to further promote the creative reputation in these countries. But I also want to promote exchange between these agencies. We have already played this out in one case: We realized a presentation in Zurich with strategists from Milan, product designers from Rome and advertisers from Zurich. It was the first time that we had worked so intensively together across borders. And it was a great experience. This is something I want to promote in the countries where I am responsible. That creative people have the opportunity to work from Switzerland in one country or another and vice versa. I am sure that such ideas will not only be met with enthusiasm by creative people in these countries.
 
Where will you be working?
The headquarters of Leo Burnett Europe are located in Milan. The European CEO Giorgio Brenna is also based there. But I want to keep my residence in Zurich. I will continue to have my small office on Ämtlerstrasse near SFLB. I will travel from Zurich and visit the agencies throughout Europe.
 
You can't be afraid of flying.
Fortunately, I don't have a fear of flying. I've always had one foot abroad. I worked as a CD at Young & Rubicam in New York for a few years. I've been on the board of ADC Europe for more than ten years. From there, I already know quite a few people in Europe and travel around regularly. For me, it's somehow part of my life to regularly cross the borders of Switzerland. But I always look forward to coming back.
 
How did the contact with Leo Burnett come about back then?
When Peter Felser and I were toying with the idea of founding an agency, Michael Conrad approached us on day X. He didn't know anything about our plans. He knew nothing of our plans, but began to tell us that Leo Burnett was the most internationally creative network in the world and as such we would also like to "have something" in Switzerland. His idea was an agency with which the network could be at the forefront of creativity - a kind of "Center of Excellence" here in Zurich. As a result of this conversation, Michael Conrad then suggested that we could possibly join forces. That made sense for Peter Felser and me. At the same time, we also wanted access to be able to manage accounts internationally from Switzerland. So that we can also carry out local clarifications abroad. For us, however, the only option was to join forces with an absolutely creative agency. So on July 1, 2002, Spillmann Felser Leo Burnett came into being as a partner in a global network that now includes 96 agencies in 84 countries.
 
What was the ownership structure?
Leo Burnett had a 20 percent stake when we were founded. But the contact has grown steadily over the years. We have come to appreciate each other and people in the network have also developed a great deal of respect for us over the years. The unique thing about us was our regular and continuous growth. But also the fact that we have consistently been in the top three creatively in recent years and are now number 1 in the creative rankings. We are also number 1 again in the Effie ranking 2012. Growth results from such successes - and this is of course also reflected in the BSW ranking. In terms of size, we are now number 2 in Switzerland with around 90 employees.
 
How can this success be explained?
The great thing is when you realize that: If you create high-quality creative advertising that is based on a true core that helps the brand, you also create efficient advertising. If you work in this way, you will advance in the creative rankings. This gives you a reputation. The high reputation results in new business. As a result, new and good people are always looking for contact. In this sense, it's like a wheel that keeps turning automatically. In this sense, we have become an absolute role model in the Leo Burnett network in Europe in recent years. In the end, this is also reflected monetarily in a good performance. And that is also the reason why the network is happy to continue working with me.
 
What remains of your commitment in Zurich?
Until further notice, I will make my experience as Chairman of the Board of Directors available to the agency. I will also assume the same responsibilities in Switzerland as for the countries I have listed. Above all, I will be increasingly responsible where there is a need for action. However, because I operate out of Zurich for Europe, Zurich will always be a bit of a baby of mine. In Switzerland, however, Peter Felser and I are increasingly withdrawing, after we were still working intensively on new business last year and, for example, developed the foundations for brand advertising for brands such as Victorinox and Chocolat Frey, from positioning to creative insight. The members of the new management team will now manage SFLB largely independently and take on the corresponding responsibilities.
 
Do you already have concrete ideas for realizing your international goals?
What I'm already doing - and it's based on one of the absolute best ideas I've had in the past: I'm launching the so-called Creative Day. I introduced it back in 2002 in Zurich, in the first year of our agency. The Creative Day takes place once a month. On this day, all creative people are brought together and divided into groups - regardless of age, function and title. A pencil can be thrown together with the CD or two ADs and a copywriter. Everything is mixed up and teams are formed with people who would otherwise never have anything to do with each other. The briefing takes place at nine o'clock in the morning. This is a real briefing from a real customer. The teams then spend a day looking for ideas. At 5 p.m., the teams come together again for the presentation. Here, everyone has to present their ideas to the others. We have already come up with some great ideas in this way, such as "Mary Woodbridge", "Holidays without the Internet" or "WOZ buys UBS". The great benefit is that the creative minds can work undisturbed for a day and everyone gets a chance to give their best at an inspiring briefing.
 
Do you want to introduce this internationally?
Yes, that's one of the measures I want to introduce in Europe too. Of course, it won't be possible for large agencies to do this with all the people at once. I'm thinking of 18 creative people at a time, which makes six groups of three people each. 18 people is a group size that still allows for discussion and where everyone can contribute. A further development is to initiate this concept on a transnational basis. I want to throw together three people each from Italy, Spain, Portugal, Germany and Switzerland and have them work on a briefing.
 
The creative answer to globalization?
You could say that, yes.
 
What do you expect from this input?
This allows new talents to be discovered. At our previous creative days, I was often amazed at who came up with which ideas. Suddenly an idea comes from someone who has never been noticed before, and then you realize with surprise that the great ideas don't always come from the big boss. I then want to promote such newly discovered talents.
 
And you as the big boss: will such a person be welcomed with open arms in Paris or Rome, or will the inspector from Switzerland come?
I have already had great reactions to the first creative days I have held. The creatives are enthusiastic about the work, just as the CDs are enthusiastic about the ideas that have been created. People talk about their experiences and want to keep doing them. It is crucial that the workshops always take place for a real customer. No fakes should be invented, but ideas based on real briefings from relevant brands. That way you can take responsibility. You don't spend time trying to win an award for a non-existent task and you don't steal this time from other customers. You focus your resources on a problem that you actually want to solve and give your maximum for a customer.
 
Many say there are too many awards.
A rampant flood of awards has developed and our industry will probably have to crystallize those that have relevance in the market at some point. At the same time, awards are still something necessary. The awards are a benchmark for everyone involved. The best work is intelligent, involving and fun. You can also learn from them. An award is a motivation for many creative people so that they can measure themselves somewhere and find out: Where do I stand in this global ideas business?
 
How is your power defined as a European CD? Thumbs up or thumbs down for a new campaign in Belgium, for example?
I evaluate ideas with the people responsible. At the end, I make a recommendation: which campaign would I pursue further and which would I present? I discuss this with the local creative directors. They are happy that someone from the outside comes in and says which direction something could be developed in. That is appreciated.
 
Can Martin Spillmann help shape a style for Leo Burnett Europe?
It's not about creating a uniform style, it's about an attitude. We want to move brands with popular campaigns. - With campaigns that respect people and focus on their needs. Campaigns that aim to change people's behavior for the better. In the network, we assess whether the realized campaigns meet the requirements four times a year by means of the so-called "Global Product Committee" meeting under the leadership of Mark Tuttsel, the global CD of Leo Burnett. This meeting takes place in a different country each time and is attended by around 20 of the global network's best creatives. The works are judged there according to the "7+System", which was developed by Michael Conrad for Leo Burnett and also serves as a decision-making aid for ADC Switzerland. Today, this system is supplemented by "Human Kind", a philosophy of Leo Burnett that particularly rewards and promotes those campaigns and measures by brands that make a relevant contribution to solving the problems of our time. This applies to both ecological and social issues. My work now consists of coaching and developing new brand ideas that meet these requirements. I am required to help shape the Leo Burnett brand and clearly state what is good and what is not so good.
 
Are there currently construction sites in the network?
The network won 55 Lions worldwide last year. 7 went to Italy, 4 to Switzerland and 3 to Belgium. This actually means that Europe is doing quite well. But we also have certain countries that are not moving forward so successfully at the moment. I need to analyze how we can drive this forward. Above all, however, it's about being able to maintain this standard of the currently successful agencies or even raise it if possible. But there are countries where it won't be easy. In Spain and Portugal, advertising is suffering greatly from the poor economic situation.
 
What is your motivation for this responsibility?
I think it's great that I can shift my focus from something I've enjoyed doing for a long time to something new. I expect a lot from the exchange with the various creatives from different countries and, above all, with the young talents themselves to stay a bit young. And quite clearly, I expect Leo Burnett to remain an outstanding creative agency - or even become even better. I want to be able to pass on the experience I have gained over the years and make it accessible to others. I want to dissolve the borders that exist between countries a little in the sense of collaboration: to develop something together with different people across different borders in order to benefit a client. That would be my long-term goal.
 
In the foreword to the last Epica book, you wrote in the style of your agency's "turnaround sentences": "I never want to work in advertising is great." How did you actually get into advertising?
I actually didn't want to go into advertising when I was young. After an apprenticeship as a graphic designer, I worked independently for a few years. I illustrated and photographed and struggled for a long time to really go into advertising. At some point, I joined agencies as a freelancer anyway and realized that I like working with people, and I like working with lots of people. But I also quickly realized that the whole thing is an idea business and I don't like executing someone else's idea. I prefer to do the opposite and let someone else implement my idea. That's why "working in advertising" is now "great" for me.
 
Advertising is developing rapidly. Which forms will die out?
Self-promotion to impress the other person will probably always exist, otherwise humanity would have to die out.
 
You also want to continue to impress: Retirement can wait?
It's not about impressing people, but about the fact that I like my job and the industry as a whole and still enjoy it a lot. However, despite the new tasks, I will try to have more time for my family and myself in the future.
 
Interview: Andreas Panzeri 

Information on the program, plays and cast is now integrated directly from the industry solution "Theasoft". An animated activity mosaic that adapts to the size of the screen welcomes Openfans and allows them to use the mouse to discover information about the cultural institution that is hidden behind familiar posters, publication covers and subjects. The new dynamic navigation, now placed at the bottom of the page, opens up the daily growing range of information in clearly arranged sections, according to the agency.

The new Opera House Website is based on the open source content management system Typo3. This should not only enable opera house employees to update and add to the content without HTML knowledge, but also offer many possibilities for future extensions thanks to its modular principle. With the industry solution "Theasoft", the theater maps all business processes from performance planning to payroll accounting. The integration of the "CTS eventim" ticket platform, which had already been implemented for the old website, was optimized for the new site.

The concept and design of the new homepage were developed by Sabine Turner, Director of Marketing, PR & Sales, and webmaster Giorgia Tschanz. They were supported by the Zurich Internet and media agency Update, which also realized the new site. The agency has been supporting the Zurich Opera House with its Internet activities since 2004.

Responsible at Zurich Opera House: Giorgia Tschanz (project management, design). Responsible at Update: Oliver Arnoczky. Structure/Navigation: Sabine Turner. Technology: Samuel Koch, Philipp Urlich.