(LD):...What is more, without
English National Opera, London will have just one major opera
company, the Royal Opera House, which offers a different opera
experience, perhaps at the luxury end of the market. Berlin and
Paris each have three opera companies; Vienna has four. Not only
does this mean fewer opportunities to engage with opera and art,
but it threatens the jobs of over 600 skilled art workers,
including musicians and
technical and support staff, who are embedded in the wider London
cultural scene. This reduces opportunities for new rising stars
who, in turn, will be more likely to work abroad, and puts an
already challenged industry at even greater risk...
(Con):...In
conclusion, I fully endorse everything that the noble Lord,
, said about touring. It
really is ridiculous, when we have this incredible cultural scene
in this country, that we cannot sort out any help for
our musicians for
touring in Europe.
The (CB):...There is another
significant consideration: the growing concern that the Arts
Council, in the absence of other funding, is trying to take on
too wide a range of projects. In particular, there is concern
that through the Let’s Create strategy, it is losing its focus on
what should be its core project—the funding of artists and arts
production by professional artists—and shifting that focus
instead to amateur community projects, particularly in areas of
the country where cultural engagement is low, as the
Independent Society of musicians has
pointed out. There is absolutely a place for such projects, and
they should be funded, but the funding of professional artists
and arts organisations should not be sacrificed in their favour.
It is notable that the cuts over which there is so much current
concern are aimed at organisations involving or directly
impacting on professional artists and their co-workers...
(Con):...I am pleased that
within the new Arts Council portfolio there are excellent music
education newcomers, such as Orchestras for All, Awards for
Young musicians and
the National Children’s Orchestra, all based outside London and
each contributing to the new national plan for music education.
Some critics of the Government and the Arts Council have argued
that levelling up will lead to dumbing down. It will not, if the
investment is made wisely in organisations with a strong track
record of producing excellent work.
As a member of the National Council, I can assure noble Lords
that we are not all of one mind. There is rigorous debate, many
decisions are disputed and many decisions are not easy. I hope
the Arts Council will, in particular, think harder about
additional funding and opportunities for young
playwrights, musicians and
artists, as several noble Lords have said, because London is
taking the brunt of the cuts and those young people will
undoubtedly be affected. The pipeline of talent is critical for
the future of our creative economy.
The loss of funding can be very emotional, as we have seen in the
debate about the ENO. Many words of regret and even anger have
been heard in this Chamber and the other place about the new
proposals, yet I am cautiously optimistic. The ENO will
survive—of that I am certain. A model along the very successful
lines of the Royal Shakespeare Company, with a regional and a
London base, is now being considered. I have no doubt that this
is a huge challenge, but I am sure that with substantial support,
including very significant transitional funding and perhaps funds
from other pots of money from the Arts Council, as well as the
prospect of core funding in three years’ time, there can be a
future for the ENO. It will exist in a different way, but there
will be an ENO. This must of course include career opportunities
for young singers and instrumental musicians...
To read the whole debate, OPEN HERE
