Opera

Baroness Smith of Llanfaes Excerpts

Tuesday 10th December 2024 Lords Chamber

[Baroness Smith of Llanfaes (PC)]

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 youngest of seven siblings, my parents had to get a bit more creative with my name. They called me Carmen, after one of the most popular operas ever written. My mother watched the performance, her first opera, in the 1980s in what was formerly known as the Gaumont Theatre in Southampton, now the Mayflower, and she was taken by the story of a fiery woman.

Although named after an opera, I attended my first performance only a couple of years ago. It was a brand new opera by WNO, staged at the Millennium Centre in Cardiff, called “Migrations”. It was a journey at the heart of the way that humans behave in the 21st century. Act 1 was a story of modern-day refugees struggling with the reality of living in another country, dealing with a different language and culture, having left their own behind through necessity. Act 2 focused on the experiences faced by those who chose to pack up their lives to help our NHS, only to face the prejudices of the racially troubled 1960s. The performance was a skilful example of storytelling. I am yet to watch “Carmen”, but it is on the list for the future.

As has been stated, the Welsh National Opera is funded by Arts Council England and Arts Council Wales in recognition of its work in both countries. WNO is the last remaining full-time international British opera company that also tours extensively across the UK. It runs projects on and off stage across England and Wales. As we are focused on Arts Council England funding in this debate, I shall share some examples of the health, education and community projects that WNO leads offstage in England. The CLEAR Project in Southampton is a charity empowering and assisting refugees and asylum seekers with advice services, English classes, work clubs and more. WNO has partnered with the project and has run sessions at the University of Southampton, teaching songs from Iran and Syria.

WNO has also worked with the Woodlands School, a specialist school for children with complex physical and sensory difficulties, covering Plymouth, Devon and Cornwall. It held a globally unique concert for PMLD students, doing what it does best, which is providing music for all. There is also the Creative Classrooms project that provides CPD for teachers across the academic year, focusing on creativity and exploring ways of embedding music in the classroom and how this links to the curriculum. These are just a handful of the types of projects that WNO leads offstage—this is not just about performances.

As a result of the financial cuts from Arts Council England, the Welsh National Opera finds itself struggling and has had to make substantial redundancies alongside a reduction in its activities, as was highlighted by the noble Lord, Lord Thomas. I am a big believer in widening opportunities for all and I fear that, without restoration of funding to WNO, there is a huge risk that opera will be guarded for only those that can afford it, both in terms of performers and those who watch in the audience.

In conversation recently with soprano Camilla Kerslake, who runs a foundation that offers opportunities for all children to enjoy music and support, I discovered that only 5% of people in British opera are from working class backgrounds, and most of them are from Wales. Wales is a success story in this regard and, when it comes to widening access to music and the arts, Wales has proven that it is possible. What would happen to this statistic without the WNO? Are this Government happy for a world-leading sector to be a preserve of the rich only? The statistics speak for themselves. Investment in arts in school enriches every aspect of a child, from academia to self-esteem. In the 1970s, the proportion of working-class people in opera was almost double, most likely due to heavier investment in music education in schools too.

I will conclude with some questions to the Government, which I hope will be addressed at the end of this debate. What assessment have His Majesty’s Government made of the impact that cuts to the WNO will have on the numbers of people from working-class backgrounds in opera? What discussions have taken place regarding the difficulties being faced at WNO and the risk of the sector disappearing altogether? I hope that a solution is forged and a sustainable plan put in place to secure WNO’s future and the enjoyment of future generations. Diolch yn fawr iawn am wrando.