To ask His Majesty's Government what plans they have to provide support to ballet and opera touring.

To ask His Majesty's Government what plans they have to provide support to ballet and opera touring.

To ask His Majesty's Government whether they plan to reduce the minimum theatre tax relief performance threshold for touring ballet and opera performances from 14 to 7 to reflect the challenges of touring large-scale work.

To ask His Majesty's Government whether they plan to reduce the minimum theatre tax relief performance threshold for touring ballet and opera performances from 14 to 7 to reflect the challenges of touring large-scale work.

To ask His Majesty's Government what plans they have to work with devolved government to jointly support opportunities for cross-border touring for ballet and opera.

To ask His Majesty's Government what plans they have to work with devolved government to jointly support opportunities for cross-border touring for ballet and opera.

To ask His Majesty's Government what plans, if any, the Secretary of State for Wales has to meet with the Welsh Government to discuss continuing support for Opera in Wales.

To ask His Majesty's Government what plans, if any, the Secretary of State for Wales has to meet with the Welsh Government to discuss continuing support for Opera in Wales.

To ask His Majesty's Government what plans they have to set up a protocol with the Welsh Government on the funding of opera.

To ask His Majesty's Government what plans they have to set up a protocol with the Welsh Government on the funding of opera.

To ask the Secretary of State for Culture, Media and Sport, how much the Arts Council has provided in grants for a) opera and b) brass bands in each of the last three years.

To ask the Secretary of State for Culture, Media and Sport, how much the Arts Council has provided in grants for a) opera and b) brass bands in each of the last three years.

My Lords, it is a great pleasure, particularly after listening to that very interesting debate on Northern Ireland, to come to a very different topic: the future of opera in this country. I tried at the time of the general election to obtain a QSD and succeeded—but the election stopped...

My Lords, it is a great pleasure, particularly after listening to that very interesting debate on Northern Ireland, to come to a very different topic: the future of opera in this country. I tried at the time of the general election to obtain a QSD and succeeded—but the election stopped...

My Lords, it is a pleasure to follow the noble Lord, Lord Murphy. I agree with practically everything he said. I start by declaring my interests, but not the usual ones recorded in the register: I am passionate about opera and have a very firm belief that the UK needs...

My Lords, it is a pleasure to follow the noble Lord, Lord Murphy. I agree with practically everything he said. I start by declaring my interests, but not the usual ones recorded in the register: I am passionate about opera and have a very firm belief that the UK needs...

My Lords, it is a pleasure to follow the noble Lord, Lord Murphy of Torfaen, in his very powerful speech. I agree with everything that he said.

The final blazing “Amen” of the “Messiah”, which we in the Parliament Choir sang a week ago in St John’s Smith Square, was followed...

My Lords, it is a pleasure to follow the noble Lord, Lord Murphy of Torfaen, in his very powerful speech. I agree with everything that he said.

The final blazing “Amen” of the “Messiah”, which we in the Parliament Choir sang a week ago in St John’s Smith Square, was followed...

My Lords, ultimately as a society we have to decide whether we want opera, and if we want it, we have to find a way to pay for it. I must declare an interest, having written three operas and with another opera in the pipeline, although, given the prognosis of...

My Lords, ultimately as a society we have to decide whether we want opera, and if we want it, we have to find a way to pay for it. I must declare an interest, having written three operas and with another opera in the pipeline, although, given the prognosis of...

My Lords, I am grateful to the noble Lord, Lord Murphy of Torfaen, for securing this important debate. From one coalmining family to another, I say that access to opera should be for all.

I speak in this debate primarily in support of the Welsh National Opera. As I was the...

My Lords, I am grateful to the noble Lord, Lord Murphy of Torfaen, for securing this important debate. From one coalmining family to another, I say that access to opera should be for all.

I speak in this debate primarily in support of the Welsh National Opera. As I was the...

My Lords, I congratulate the noble Lord, Lord Murphy of Torfaen, on obtaining this debate at a suitably operatic time of the evening, and it is a pleasure to follow the noble Baroness, Lady Smith of Llanfaes, in the debate.

For those of us who know and love it, opera is...

My Lords, I congratulate the noble Lord, Lord Murphy of Torfaen, on obtaining this debate at a suitably operatic time of the evening, and it is a pleasure to follow the noble Baroness, Lady Smith of Llanfaes, in the debate.

For those of us who know and love it, opera is...

My Lords, I was going to start by saying that I am very keen on opera, because I thought that might be quite an original way to start, but it turns out that I am not alone. It seems that everybody in this Chamber is, and that is very heartening.

I...

My Lords, I was going to start by saying that I am very keen on opera, because I thought that might be quite an original way to start, but it turns out that I am not alone. It seems that everybody in this Chamber is, and that is very heartening.

I...

My Lords, like others, I will talk about funding, with particular reference to Welsh National Opera, and about Brexit.

My wife has told me that, living in the West Country, her first introduction to live opera happened as a teenager, when her mum, a schoolteacher, bought tickets to see Welsh National...

My Lords, like others, I will talk about funding, with particular reference to Welsh National Opera, and about Brexit.

My wife has told me that, living in the West Country, her first introduction to live opera happened as a teenager, when her mum, a schoolteacher, bought tickets to see Welsh National...

My Lords, my noble friend Lord Murphy of Torfaen has done a great service to this House, opera and WNO in securing this debate and introducing it so compellingly—a case of a good revival being a great substitute for a cancelled first run. Although I was fortunate enough to be...

My Lords, my noble friend Lord Murphy of Torfaen has done a great service to this House, opera and WNO in securing this debate and introducing it so compellingly—a case of a good revival being a great substitute for a cancelled first run. Although I was fortunate enough to be...

My Lords, I rise tonight to thank with enormous pleasure the noble Lord, Lord Murphy of Torfaen, for tabling this important and timely debate. As others have said, the UK has a large, important and rich ecosystem of over 100 opera producers, from community projects to world-class companies. At its...

My Lords, I rise tonight to thank with enormous pleasure the noble Lord, Lord Murphy of Torfaen, for tabling this important and timely debate. As others have said, the UK has a large, important and rich ecosystem of over 100 opera producers, from community projects to world-class companies. At its...

My Lords, I warmly thank my noble friend Lord Murphy for securing this debate and the crystal clarity with which he set out the case for opera. I fear that, after such an excellent debate, I have very little to add, but I will speak in support of opera. I...

My Lords, I warmly thank my noble friend Lord Murphy for securing this debate and the crystal clarity with which he set out the case for opera. I fear that, after such an excellent debate, I have very little to add, but I will speak in support of opera. I...

My Lords, I thank the noble Lord, Lord Murphy of Torfaen, for the opportunity to debate the problems facing the opera sector. I agree with much that has been said. The noble Lord has come up with the next step following this debate—he spoke of the need for a DCMS...

My Lords, I thank the noble Lord, Lord Murphy of Torfaen, for the opportunity to debate the problems facing the opera sector. I agree with much that has been said. The noble Lord has come up with the next step following this debate—he spoke of the need for a DCMS...

My Lords, I, too, am grateful to the noble Lord, Lord Murphy of Torfaen, for giving us this excellent debate tonight. I thank him again for the wonderful recital that he organised with WNO here in Parliament before the election; I and many from both Houses thoroughly enjoyed that.

As noble...

My Lords, I, too, am grateful to the noble Lord, Lord Murphy of Torfaen, for giving us this excellent debate tonight. I thank him again for the wonderful recital that he organised with WNO here in Parliament before the election; I and many from both Houses thoroughly enjoyed that.

As noble...

My Lords, I thank my noble friend Lord Murphy for a very personal introduction to the debate—I am sure we all valued that, and we have continued in that vein—but, most importantly, for initiating this important debate on a subject close to my heart. I became a board member of...

My Lords, I thank my noble friend Lord Murphy for a very personal introduction to the debate—I am sure we all valued that, and we have continued in that vein—but, most importantly, for initiating this important debate on a subject close to my heart. I became a board member of...

Lords question for short debate on what steps they are taking to support opera.

Lords question for short debate on what steps they are taking to support 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.

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 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, 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.

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.

My Lords, I wonder whether the Minister will reflect, along with the Arts Council, on the situation in the north of England. With the move of English National Opera to Manchester, the Hallé Orchestra being in Manchester and the Liverpool Philharmonic patently being in Liverpool, east of the Pennines is somewhat bereft of a critical mass, which can be absolutely crucial in encouraging young people to come forward into this critical cultural area. Perhaps the Minister will talk to the Arts Council about this.

My Lords, I wonder whether the Minister will reflect, along with the Arts Council, on the situation in the north of England. With the move of English National Opera to Manchester, the Hallé Orchestra being in Manchester and the Liverpool Philharmonic patently being in Liverpool, east of the Pennines is somewhat bereft of a critical mass, which can be absolutely crucial in encouraging young people to come forward into this critical cultural area. Perhaps the Minister will talk to the Arts Council about this.

Well, I have had the pleasure of hearing both the Royal Liverpool Philharmonic and the Hallé perform. Of course, as the noble Lord may know, English National Opera has this week announced its intention to base itself in Greater Manchester, as well as continuing its season at the London Coliseum. It is doing so partly because of the great strength of classical music across the north-west of England. The Arts Council, of course, is spending its money more equitably across the country. More organisations are being funded than ever before in more parts of the country, and we want to see people wherever they live benefiting from world-class cultural and artistic output.

Well, I have had the pleasure of hearing both the Royal Liverpool Philharmonic and the Hallé perform. Of course, as the noble Lord may know, English National Opera has this week announced its intention to base itself in Greater Manchester, as well as continuing its season at the London Coliseum. It is doing so partly because of the great strength of classical music across the north-west of England. The Arts Council, of course, is spending its money more equitably across the country. More organisations are being funded than ever before in more parts of the country, and we want to see people wherever they live benefiting from world-class cultural and artistic output.

My Lords, my noble friend will know that orchestras need a strong pipeline of talent. This will be achieved only when high-quality music education is available for all across all the country, and particularly those with potential. The national plan for music education, which I chaired, will help—when it is finally implemented. Many schools and music teachers are already doing remarkable work, but they would certainly welcome some encouragement. When can we expect to see senior members of government cheering our brilliant orchestras, choirs and young musicians from the front rows of our concert halls, and in schools?

My Lords, my noble friend will know that orchestras need a strong pipeline of talent. This will be achieved only when high-quality music education is available for all across all the country, and particularly those with potential. The national plan for music education, which I chaired, will help—when it is finally implemented. Many schools and music teachers are already doing remarkable work, but they would certainly welcome some encouragement. When can we expect to see senior members of government cheering our brilliant orchestras, choirs and young musicians from the front rows of our concert halls, and in schools?

I am delighted to tell my noble friend that last night, while some of us were voting on four regret amendments, our right honourable friend the Chancellor was at the Royal Festival Hall enjoying the London Philharmonic Orchestra performing Beethoven’s “Emperor” Concerto and Rimsky-Korsakov’s “Scheherazade”, which he tells me was a fantastic production. So, I hope that my noble friend will be glad to hear that members of His Majesty’s Government do go and enjoy the output of our world-class orchestras. I commend her for the work she did on the national plan for music education, which will ensure that more people from this country are able to forge careers and continue producing that wonderful output which makes us all very proud.

I am delighted to tell my noble friend that last night, while some of us were voting on four regret amendments, our right honourable friend the Chancellor was at the Royal Festival Hall enjoying the London Philharmonic Orchestra performing Beethoven’s “Emperor” Concerto and Rimsky-Korsakov’s “Scheherazade”, which he tells me was a fantastic production. So, I hope that my noble friend will be glad to hear that members of His Majesty’s Government do go and enjoy the output of our world-class orchestras. I commend her for the work she did on the national plan for music education, which will ensure that more people from this country are able to forge careers and continue producing that wonderful output which makes us all very proud.

My Lords, anyone who has heard the annual performance of “Messiah” by the Halifax Choral Society, with the Black Dyke Mills Band and orchestra, will know that we are not entirely without some high-quality music in Yorkshire. The classical music industry is a net surplus invisible exporter for this country, and it is absolutely vital that we keep supporting it. I declare an interest as a former chair of Voces8, which spends quite a lot of time touring on the continent and in North America. Are the Government now within sight of getting rid of these bilateral arrangements, which do not really provide for orchestras and others to do proper tours of the continent—all the way from school orchestras such as the London Schools Symphony Orchestra, which is superb, to classical orchestras as such?

My Lords, anyone who has heard the annual performance of “Messiah” by the Halifax Choral Society, with the Black Dyke Mills Band and orchestra, will know that we are not entirely without some high-quality music in Yorkshire. The classical music industry is a net surplus invisible exporter for this country, and it is absolutely vital that we keep supporting it. I declare an interest as a former chair of Voces8, which spends quite a lot of time touring on the continent and in North America. Are the Government now within sight of getting rid of these bilateral arrangements, which do not really provide for orchestras and others to do proper tours of the continent—all the way from school orchestras such as the London Schools Symphony Orchestra, which is superb, to classical orchestras as such?

We are tripling funding for the Music Export Growth Scheme to more than £3 million over the next two years, which will enable more touring artists to break into new international markets. We are also expanding our Export Support Service to further help creative exporters, including touring musicians. We want our musicians to tour the world so that their work can be enjoyed overseas, just as it is here in the UK—including in Yorkshire.

We are tripling funding for the Music Export Growth Scheme to more than £3 million over the next two years, which will enable more touring artists to break into new international markets. We are also expanding our Export Support Service to further help creative exporters, including touring musicians. We want our musicians to tour the world so that their work can be enjoyed overseas, just as it is here in the UK—including in Yorkshire.

May I ask the Minister to comment at a more grass-roots level? In the last few months, we have lost the Dartington summer festival, which is educational as well; we have lost Oxford Brookes University teaching music; and we have lost a lot of the Cheltenham Festivals’ work. I declare my interest as an ex-director of the Cheltenham international festival of music. I was there for 10 years and commissioned works—more than 100—as my successors continue to do. Not only are we losing this commissioning opportunity, which is so important for young composers, but local audiences in places that identify as being under-resourced in music are losing out.

May I ask the Minister to comment at a more grass-roots level? In the last few months, we have lost the Dartington summer festival, which is educational as well; we have lost Oxford Brookes University teaching music; and we have lost a lot of the Cheltenham Festivals’ work. I declare my interest as an ex-director of the Cheltenham international festival of music. I was there for 10 years and commissioned works—more than 100—as my successors continue to do. Not only are we losing this commissioning opportunity, which is so important for young composers, but local audiences in places that identify as being under-resourced in music are losing out.

On a recent visit to Devon, I had the opportunity to meet the new chief executive of Dartington Trust. The noble Lord is right to point to the brilliant work done by Cheltenham Festivals in his time and subsequently. Arts Council England has maintained its level of funding for Cheltenham Festivals at £217,000 per year, but I would be very happy to meet people from Cheltenham Festivals as well as others.

On a recent visit to Devon, I had the opportunity to meet the new chief executive of Dartington Trust. The noble Lord is right to point to the brilliant work done by Cheltenham Festivals in his time and subsequently. Arts Council England has maintained its level of funding for Cheltenham Festivals at £217,000 per year, but I would be very happy to meet people from Cheltenham Festivals as well as others.

The Minister will be aware that opera and classical music still suffer from a quite widespread perception that they are not for anything other than a very small audience. This makes fundraising extremely difficult for small organisations such as OperaUpClose, with which I declare a personal connection, which are trying to take high-quality music and opera into communities where they are not generally available and to engage them in that work. By the way, they are also commissioning young composers. Can the Government encourage a better fundraising environment for those companies, particularly by encouraging, for example, match-funding schemes such as the Big Give, which closed this week?

The Minister will be aware that opera and classical music still suffer from a quite widespread perception that they are not for anything other than a very small audience. This makes fundraising extremely difficult for small organisations such as OperaUpClose, with which I declare a personal connection, which are trying to take high-quality music and opera into communities where they are not generally available and to engage them in that work. By the way, they are also commissioning young composers. Can the Government encourage a better fundraising environment for those companies, particularly by encouraging, for example, match-funding schemes such as the Big Give, which closed this week?

I congratulate OperaUpClose, which is one of the new operatic organisations that have joined the Arts Council national portfolio. I met another, Pegasus Opera, which is doing great work as well in encouraging new audiences and new compositions so that opera can continue to be a rich art form that people of all backgrounds get to enjoy. The noble Baroness is right that private philanthropy as well as public subsidy plays an important part. My right honourable friend the Secretary of State and I have had meetings with arts organisations and funding bodies to look at ways in which we might be able to create further incentives for giving. But I hope that people will be able to leverage their part in the national portfolio through the Arts Council—not just to spend the public subsidy that is given but also to be part of that network, which they now are.

I congratulate OperaUpClose, which is one of the new operatic organisations that have joined the Arts Council national portfolio. I met another, Pegasus Opera, which is doing great work as well in encouraging new audiences and new compositions so that opera can continue to be a rich art form that people of all backgrounds get to enjoy. The noble Baroness is right that private philanthropy as well as public subsidy plays an important part. My right honourable friend the Secretary of State and I have had meetings with arts organisations and funding bodies to look at ways in which we might be able to create further incentives for giving. But I hope that people will be able to leverage their part in the national portfolio through the Arts Council—not just to spend the public subsidy that is given but also to be part of that network, which they now are.

My Lords, leaving aside the extreme concern that the Chancellor is favouring EU composers over British composers—I hope that nobody tells the Prime Minister that—may I ask my noble friend what he is doing to increase diversity in classical music? Will he join me in congratulating the Chineke! Orchestra on its success and all it has done to increase diversity in our orchestras, and perhaps illuminate us regarding the discussions he has had with the Arts Council to continue this impressive progress?

My Lords, leaving aside the extreme concern that the Chancellor is favouring EU composers over British composers—I hope that nobody tells the Prime Minister that—may I ask my noble friend what he is doing to increase diversity in classical music? Will he join me in congratulating the Chineke! Orchestra on its success and all it has done to increase diversity in our orchestras, and perhaps illuminate us regarding the discussions he has had with the Arts Council to continue this impressive progress?

The Arts Council did a very valuable study on diversity in classical music—diversity in every form. As I say, companies such as Pegasus Opera are doing important work in bringing people from diverse backgrounds into art forms that we can all enjoy, as are the Chineke! Orchestra and many others. Through its new national portfolio, the Arts Council is investing in more companies and organisations in more parts of the country than ever before, including those led by a more diverse range of people.

The Arts Council did a very valuable study on diversity in classical music—diversity in every form. As I say, companies such as Pegasus Opera are doing important work in bringing people from diverse backgrounds into art forms that we can all enjoy, as are the Chineke! Orchestra and many others. Through its new national portfolio, the Arts Council is investing in more companies and organisations in more parts of the country than ever before, including those led by a more diverse range of people.

To ask His Majesty's Government what representations the Department for Culture, Media and Sport has received concerning cuts to opera funding in England and Wales.

To ask His Majesty's Government what representations the Department for Culture, Media and Sport has received concerning cuts to opera funding in England and Wales.

A Westminster Hall debate has been scheduled for 18 January 2023 at 2.30pm on the funding decisions of Arts Council England. The debate will be led by Sir Robert Neill MP.

A Westminster Hall debate has been scheduled for 18 January 2023 at 2.30pm on the funding decisions of Arts Council England. The debate will be led by Sir Robert Neill MP.

To ask His Majesty's Government, further to the Written Answers by Lord Parkinson of Whitley Bay on 1 December (HL3495 and HL3496), what is Art Council England's national opera strategy; and whether they will put on hold their plans to withdraw all national programme funding from English National Opera until one has...

To ask His Majesty's Government, further to the Written Answers by Lord Parkinson of Whitley Bay on 1 December (HL3495 and HL3496), what is Art Council England's national opera strategy; and whether they will put on hold their plans to withdraw all national programme funding from English National Opera until one has...

Lords motion to take note of the regional distribution of Arts Council England funding and its impact on regions outside of London. Agreed to on question.

Lords motion to take note of the regional distribution of Arts Council England funding and its impact on regions outside of London. Agreed to on question.

To ask the Secretary of State for Digital, Culture, Media and Sport, what assessment she has made of the potential impact of Arts Council England’s decision to reduce funding for the English National Opera on (a) permanent and (b) freelance employment in that sector.

To ask the Secretary of State for Digital, Culture, Media and Sport, what assessment she has made of the potential impact of Arts Council England’s decision to reduce funding for the English National Opera on (a) permanent and (b) freelance employment in that sector.

To ask the Secretary of State for Digital, Culture, Media and Sport, what assessment she has made of the potential merits of reviewing opera (a) funding and (b) geographical provision in England.

To ask the Secretary of State for Digital, Culture, Media and Sport, what assessment she has made of the potential merits of reviewing opera (a) funding and (b) geographical provision in England.

My Lords, I express my gratitude to my noble friend Lord McNally for securing this debate. I am sure that the House hopes that he will recover from Covid quickly. I also thank the Government Whips’ Office for being so understanding.

In the late 1960s and 1970s, Liverpool city’s logo was...

My Lords, I express my gratitude to my noble friend Lord McNally for securing this debate. I am sure that the House hopes that he will recover from Covid quickly. I also thank the Government Whips’ Office for being so understanding.

In the late 1960s and 1970s, Liverpool city’s logo was...

My Lords, I declare my interests as in the register but, to give a little more detail, I have been an adviser at DCMS for the last six years. I started as a non-executive director and am now the commissioner for culture. I sit on a whole variety of different...

My Lords, I declare my interests as in the register but, to give a little more detail, I have been an adviser at DCMS for the last six years. I started as a non-executive director and am now the commissioner for culture. I sit on a whole variety of different...

My Lords, it is a pleasure to follow the noble Lord, Lord Mendoza—although, listening to him, I imagine many organisations feel, “Why are we worrying? Why are we upset by what has happened?” I hope to point out exactly why that might be.

I want to start by looking at this...

My Lords, it is a pleasure to follow the noble Lord, Lord Mendoza—although, listening to him, I imagine many organisations feel, “Why are we worrying? Why are we upset by what has happened?” I hope to point out exactly why that might be.

I want to start by looking at this...

My Lords, let me declare my interests as a trustee of Tate and chairman of the Parthenon Project, the campaign to return the Parthenon sculptures back to Athens, where they so richly deserve to belong. May I also take this opportunity to be the first noble Lord to wish my...

My Lords, let me declare my interests as a trustee of Tate and chairman of the Parthenon Project, the campaign to return the Parthenon sculptures back to Athens, where they so richly deserve to belong. May I also take this opportunity to be the first noble Lord to wish my...

My Lords, I welcome this opportunity to discuss the regional distribution of Arts Council England funding. I thank the noble Lords, Lord Storey and Lord McNally, for the chance to raise some concerns.

First, no arts organisation should feel entitled to perpetual state funding as a right. It is totally appropriate...

My Lords, I welcome this opportunity to discuss the regional distribution of Arts Council England funding. I thank the noble Lords, Lord Storey and Lord McNally, for the chance to raise some concerns.

First, no arts organisation should feel entitled to perpetual state funding as a right. It is totally appropriate...

My Lords, I am grateful to the noble Lord, Lord Storey, for his excellent introduction to this debate and to the noble Lord, Lord McNally, for originally tabling it. I wanted particularly to speak in this debate rather than last week’s debate because it is helpful to have a debate...

My Lords, I am grateful to the noble Lord, Lord Storey, for his excellent introduction to this debate and to the noble Lord, Lord McNally, for originally tabling it. I wanted particularly to speak in this debate rather than last week’s debate because it is helpful to have a debate...

My Lords, it is a pleasure and also a challenge, I must say, to speak today. I declare my arts and education interests as listed in the register, including as a national council member of Arts Council England. It is an honour to follow the noble Earl, who speaks so...

My Lords, it is a pleasure and also a challenge, I must say, to speak today. I declare my arts and education interests as listed in the register, including as a national council member of Arts Council England. It is an honour to follow the noble Earl, who speaks so...

My Lords, as the last speaker before the Front-Bench speakers, I will focus my remarks, as others have today, on opera, and in particular the ENO following the Arts Council’s recent decision to withdraw all national programme funding from this organisation. Like the noble Lord, Lord Vaizey, I am concerned...

My Lords, as the last speaker before the Front-Bench speakers, I will focus my remarks, as others have today, on opera, and in particular the ENO following the Arts Council’s recent decision to withdraw all national programme funding from this organisation. Like the noble Lord, Lord Vaizey, I am concerned...

My Lords, I congratulate my noble friend Lord McNally on obtaining this debate—I am just sorry that he is not here to participate—and my noble friend Lord Storey on his brilliant introduction to it. Debates on culture and levelling up are obviously like buses: you wait for ages and then...

My Lords, I congratulate my noble friend Lord McNally on obtaining this debate—I am just sorry that he is not here to participate—and my noble friend Lord Storey on his brilliant introduction to it. Debates on culture and levelling up are obviously like buses: you wait for ages and then...

I use this opportunity to pay tribute to the noble Lord, Lord Clement-Jones, and ask him specifically why he has not replied to my text message inviting him to appear as my guest this Friday on my Times Radio show.

I use this opportunity to pay tribute to the noble Lord, Lord Clement-Jones, and ask him specifically why he has not replied to my text message inviting him to appear as my guest this Friday on my Times Radio show.

That is because I have not received it, but I look forward to reading my text.

The noble Lord, Lord Vaizey, paid tribute to Darren Henley, as do I, but he did not say that he now pays tribute; he paid tribute to Darren Henley in the past. This has been...

That is because I have not received it, but I look forward to reading my text.

The noble Lord, Lord Vaizey, paid tribute to Darren Henley, as do I, but he did not say that he now pays tribute; he paid tribute to Darren Henley in the past. This has been...

I am so sorry to interrupt the noble Lord as he is in full swing, but I think the phrase was that they were “instructed”. That is very important when we are talking about the arm’s-length principle.

I am so sorry to interrupt the noble Lord as he is in full swing, but I think the phrase was that they were “instructed”. That is very important when we are talking about the arm’s-length principle.

We may have to correct the record because I looked at the transcript and it did not say “instructed”. I am willing to look again at that, and I am sure the Minister will have a quick google and see whether or not that is the case.

Sir Peter Bazalgette, the...

We may have to correct the record because I looked at the transcript and it did not say “instructed”. I am willing to look again at that, and I am sure the Minister will have a quick google and see whether or not that is the case.

Sir Peter Bazalgette, the...

My Lords, like other noble Lords, I thank the noble Lord, Lord McNally, and congratulate him on securing the debate. I wish him a speedy recovery from the ghastly Covid. I express our eternal gratitude to the noble Lord, Lord Storey, for opening the discussion in his place so effectively,...

My Lords, like other noble Lords, I thank the noble Lord, Lord McNally, and congratulate him on securing the debate. I wish him a speedy recovery from the ghastly Covid. I express our eternal gratitude to the noble Lord, Lord Storey, for opening the discussion in his place so effectively,...

My Lords, people are sometimes sniffy about revivals of old productions or reruns of old programming. I am conscious that we had a three-hour debate on a similar theme last week but, with today’s stellar cast, our debate this afternoon has been a triumphant encore. In paying generous tribute to...

My Lords, people are sometimes sniffy about revivals of old productions or reruns of old programming. I am conscious that we had a three-hour debate on a similar theme last week but, with today’s stellar cast, our debate this afternoon has been a triumphant encore. In paying generous tribute to...

My Lords, I thank all noble Peers for their contributions; we seemed to speak almost with one voice. I got an early Christmas present from the noble Baroness, Lady Fox, in that it was the first time I agreed with everything she said, so I thank her for that.

I am...

My Lords, I thank all noble Peers for their contributions; we seemed to speak almost with one voice. I got an early Christmas present from the noble Baroness, Lady Fox, in that it was the first time I agreed with everything she said, so I thank her for that.

I am...

To ask the Secretary of State for Digital, Culture, Media and Sport, if she will work with Arts Council England to commission a strategic review of opera provision.

To ask the Secretary of State for Digital, Culture, Media and Sport, if she will work with Arts Council England to commission a strategic review of opera provision.

To ask the Secretary of State for Digital, Culture, Media and Sport, whether her Department plans to conduct a review into opera provision in England.

To ask the Secretary of State for Digital, Culture, Media and Sport, whether her Department plans to conduct a review into opera provision in England.

To ask the Secretary of State for Digital, Culture, Media and Sport, what assessment she has made of the potential impact of the Art Council England National Portfolio Organisation funding between 2023 to 2026 on the opera industry.

To ask the Secretary of State for Digital, Culture, Media and Sport, what assessment she has made of the potential impact of the Art Council England National Portfolio Organisation funding between 2023 to 2026 on the opera industry.

To ask the Secretary of State for Digital, Culture, Media and Sport, whether she has made a recent assessment of the potential impact of opening a new opera house in a town or city outside of London.

To ask the Secretary of State for Digital, Culture, Media and Sport, whether she has made a recent assessment of the potential impact of opening a new opera house in a town or city outside of London.

To ask the Secretary of State for Culture, Media and Sport, pursuant to the Answer of 21 July 2015 to Question 6921, what the monetary values were of the successful applications in each year in the tables provided.

To ask the Secretary of State for Culture, Media and Sport, pursuant to the Answer of 21 July 2015 to Question 6921, what the monetary values were of the successful applications in each year in the tables provided.

To ask the Secretary of State for Culture, Media and Sport, how many applications were received by the Arts Council for funding for (a) opera and (b) brass bands in each of the last three years; and what proportion of such applications was successful.

To ask the Secretary of State for Culture, Media and Sport, how many applications were received by the Arts Council for funding for (a) opera and (b) brass bands in each of the last three years; and what proportion of such applications was successful.

To ask Her Majesty’s Government how much funding has gone to national portfolio organisations exclusively involved in opera in the last 10 years.

To ask Her Majesty’s Government how much funding has gone to national portfolio organisations exclusively involved in opera in the last 10 years.