Opera

Baroness Harman Excerpts

Tuesday 10th December 2024 Lords Chamber

[Baroness Harman (Lab)]

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 also strongly agree with the trenchant criticisms that the noble Viscount, Lord Chandos, made about what Arts Council England did under Sir Nick Serota.

I will put on record my belief that opera is the pinnacle of art forms. I have so much admiration, and almost a disbelief, for what the artists who engage in it achieve—from what the singers, soloists, chorus, orchestral musicians, conductors and composers do, through to the creative wig-makers, costume-makers, choreographers, set designers, lighting designers and many others. They put their heart and soul into what they do for us, not just with their superhuman talent, dedication and commitment but by bringing an openness and generosity of spirit which is humbling. It is entertainment, but it is more than that: it is creative expression that helps us understand, and prompts us to question, everything about ourselves and the world in which we live, as the noble Baroness, Lady, Smith, so ably exemplified.

I celebrate opera for the excellence that it achieves and join those who insist on its place in our future. It should never be put in opposition to the question of access. On the contrary, it is precisely because it is such a great art form that we should ensure that everyone has access to it and can experience it. Breaking down the barriers to access must continue to be at the heart of the mission of these great opera companies. That means that we must have action from the Government and change from Arts Council England.

We heard earlier today that the number of students taking music at A-level is down 45%. I welcome the fact that the Government have put arts and creativity at the heart of the curriculum. Music cannot be the preserve of those educated in private schools—or those who have the great good fortune to be the grandsons of the noble Lord, Lord Thomas. We need all the talents, and everyone has the right to experience it.

Arts Council England must turn over a new page on supporting large-scale opera. Opera has struggled to cope with the appalling cuts of 2022. An announcement in which opera was the biggest loser by hitting the ENO—outreach is at its core—and slashing touring budgets for Glyndebourne, as the noble Baroness, Lady Noakes, explained, and the Welsh National Opera meant that, at a stroke, it shut off the very access that we should strive for.

There is a lot of talk about things in this country being broken; opera is nearly broken. Huge damage has been done to the opera sector by Arts Council England that needs to be addressed. We have heard of the possibility of support from the Welsh Government, which is very encouraging. I hope, too, that our regional mayors and councils and the Government in Scotland will recognise opera’s importance and do what they can to support opera for those they represent.

I agree with the points made about Brexit. We must have an agreement to enable EU touring and the reinstatement of something like the Erasmus scheme to allow the exchange of music students.

The Prime Minister is obviously a gifted musician; he went to the Junior Guildhall School of Music and Drama. He launched his plan for change at the creative industry sector of Pinewood. Let us hope that, after the dark years for opera, we must have better days ahead.