(2 years ago)
Commons ChamberLet me finish, please.
These decisions were taken against well-established criteria by regional teams spread across nine offices across England via directors with expertise in their discipline, be that theatre, music, touring and so on, and they have been overseen by the national council, so I hope Members will forgive me for repeating my message of last week, but it is important.
I just want to come on to this point. English National Opera, in particular, is just one decision out of 1,700. As I say, there are 990 organisations in the next portfolio, and unfortunately 700 were unsuccessful on this occasion. Many hon. Members will have been following this coverage, and I can confirm that the Arts Council has offered English National Opera a package of support. We are keen that the Arts Council and English National Opera work together on the possibilities for the future of the organisation. I welcome many of the suggestions put forward, and I encourage the exploration of those ideas during engagement between English National Opera and Arts Council England. We need to explore all suggestions made.
I am hoping that this speech is a sort of front, and that behind the scenes the Government recognise that the instruction they have given to the Arts Council is wrong, and that the decision the Arts Council has made is wrong and that the Government are going to do something about it. Otherwise it is too depressing to think that a Minister responsible for the arts should make a speech that does not address any of the points brought forward with great seriousness and gravity by the hon. Member for Bromley and Chislehurst. I am hoping that this is a bit of a front, and that there is some intelligent, creative, recognising-art-loving life behind the scenes in this Government, because we cannot see any signs of that in the Minister’s speech.
I am really sorry, but I do not understand how funding more organisations than ever before, in more parts of the country than ever before, is not spreading that opportunity for artists around the rest of the country. I make no apology for that whatsoever, and I am surprised that people do not want rising talent in Blackpool or Birmingham to have the same opportunities —[Interruption.] This is not divisive; this is about trying to help other people around the country. As I said, I go back to the main point that I encourage all these ideas to be explored—of course they should be. We are keen for that to happen. Through this programme, opera will continue to be well funded, with it remaining at around 40% of overall investment in music. Organisations such as the English Touring Opera and Birmingham Opera Company will receive increased funding, and there are many new joiners such as OperaUpClose and Pegasus Opera. The Royal Opera House will continue to be funded. Those statistics are likely to underestimate the level of opera activity being funded, as some organisations in the programme will fall under combined arts.
For those who are concerned about what this decision may mean for London, let me say that we remain committed to supporting the capital—of course we do—and we recognise and appreciate that London is a leading cultural centre, with organisations that benefit the whole country and greatly enhance the UK’s international reputation as a home for world-class arts and culture. That is clearly reflected in the next investment programme, when around one third of the investment will be spent in London, equivalent to approximately £143 million a year. I am sure hon. Friends will agree that when we step back and look at the bigger picture, it is exciting to see that it also gives opportunities to people around the country to enjoy what many have in London. I reiterate that we encourage Arts Council England and English National Opera to continue their dialogue and explore all those issues. I have said that in each of the debates—I think this is the third or fourth we have had—and I look forward to seeing the outcome of those discussions.
Question put and agreed to.