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To ask His Majesty's Government what steps they are taking to address concerns about the level of government funding for classical music, including the funding of institutions such as the English National Opera and the Welsh National Opera.
To ask His Majesty's Government what steps they are taking to address concerns about the level of government funding for classical music, including the funding of institutions such as the English National Opera and the Welsh National Opera.
We are committed to ensuring that creativity and culture can be enjoyed by everyone, not just by the privileged few. This applies equally to classical music and opera as it does to any
other musical genre.
In addition to their earned income and philanthropic support, the ENO and WNO are funded by arms’ lengths bodies including Arts Council England and the Welsh Arts Council, whose decisions
are made independently of government.
The Government is aware of the significant financial challenges facing many arts organisations and the new Secretary of State for Culture will be working closely with the cultural sector at large to
support them to thrive.
The Creating Growth plan for the Creative Industries which was published in March sets out a number of early priorities for the new Government in relation to the arts and culture - and includes commitments to review Arts Council England, attract more funding from different sources for arts organisations, and ensure every child gets a good creative education.
To ask His Majesty’s Government whether they intend to take steps to improve support for classical music, particularly for orchestras and opera companies.
To ask His Majesty’s Government whether they intend to take steps to improve support for classical music, particularly for orchestras and opera companies.
My Lords, opera, orchestras and classical music enrich our lives. Through its investment programme, Arts Council England is spending almost £60 million per year on classical music and opera. More opera organisations are being funded than previously, and support for orchestral organisations has increased in both number and value, with nearly two dozen sharing over £21 million a year. We have also extended the higher rate of cultural tax reliefs, including orchestra tax relief.
My Lords, many of us will no doubt have had recent listening experiences which give us hope that there is a future for classical music in this country. But will the Minister accept that this excellence does not describe the wider narrative of declining educational opportunities and funding cuts, which have led inevitably to a necessarily costlier art form being under considerable threat wherever it is located? Among numerous concerns, can a way can be found to retain orchestra tax relief claims on EEA expenditure as, on top of Brexit, this may otherwise prove disastrous for touring in Europe?
My Lords, many of us will no doubt have had recent listening experiences which give us hope that there is a future for classical music in this country. But will the Minister accept that this excellence does not describe the wider narrative of declining educational opportunities and funding cuts, which have led inevitably to a necessarily costlier art form being under considerable threat wherever it is located? Among numerous concerns, can a way can be found to retain orchestra tax relief claims on EEA expenditure as, on top of Brexit, this may otherwise prove disastrous for touring in Europe?
Since it was introduced in 2016, £75 million has been paid out through orchestra tax relief. We have extended it at the headline rates for another two years and are grateful to the Association of British Orchestras and many others who have joined the consultation since that was
announced in the Budget. Since our departure from the EU, we are of course bringing our tax reliefs in line with World Trade Organization rules. I am grateful for the collaboration we have had. We have made changes on connected party transactions and the going concern rule, and we are keen to continue discussion with orchestras to ensure that they know that only 10% of orchestral output needs to be produced in this country; they will still be able to tour around the world, so that people overseas as well as here may enjoy their brilliant work.