Performing Arts: English National Opera

Tim Loughton Excerpts

Monday 5th December 2022 Commons Chamber

[Sir Robert Neill (Bromley and Chislehurst) (Con)]

It is a pleasure but also a sadness to rise to speak in this Adjournment debate, because it is not a discussion we should be having in a society that prizes excellence, attainment and opportunity. It is about the disgraceful behaviour of Arts Council England in removing the English National Opera from the national portfolio and about what some of us perceive to be a significant underappreciation of the performing arts, as opposed to other art forms, in the way we deal with our arts and culture policy—perhaps, I regret to say, in the attitude of Arts Council England itself from time to time.

Let me set out very briefly what causes that. The English National Opera is approaching its 100th anniversary. It was founded by Lilian Baylis to deliberately make opera, in its best and most effective sense, available to everybody—I will come back to the fact that opera is not some kind of elite form in the way it is so often wrongly characterised. That is the same mission that Arts Council England was given: to make art and excellence available to everybody. Regrettably, recent decisions have put that at risk.

For 55 years or so, ENO has had its home at the London Coliseum. It has been a nurturer of talent and, for many people, as audiences and as professional singers, the gateway to opera. It has done a great deal. It has had its challenges from time to time; the Coliseum is a large theatre, and there was a time when the company struggled to find its way in a sense, artistically and financially. It also had some brilliant times, and I remember, as a young student in London, going to the ENO when it was at Sadler’s Wells, before it moved down to the Coliseum. I remember seeing fantastic productions there that opened people’s eyes to what music can do; what that extraordinary juxtaposition of theatre, music and the visual performance can do, in a way that no other art form arguably can.

The ENO’s unique thing was that it was affordable and it did it in English, so the barrier that sometimes makes operas and art forms seem remote did not exist at the English National Opera. That has always been one of its important calling cards. That has also meant that talented people—from Bryn Terfel to Susan Bullock and many others—started their careers and have worked their way to becoming international stars because of the ENO.

[Tim Loughton (East Worthing and Shoreham) (Con)]

I congratulate my hon. Friend on bringing this debate, although it is regrettable that we have to have it. I can attest, as somebody who has enjoyed many particularly un-highbrow productions at the Coliseum, to what he is saying. The ENO has sought to diversify and to open its doors to the less advantaged. It has given free tickets to young people and has encouraged them to get involved with the beauty of music in an accessible way and in English at such a young age. Does he not think it is ironic that the ENO is the victim of a supposed diversification programme by the Arts Council, which is giving questionable money to all sorts of politically motivated causes up and down the country, and that this could scupper the future of such a fantastic institution that has done so much to bring the arts to those who absolutely benefit from it more than most?

[Sir Robert Neill]

I certainly agree with my hon. Friend. The ENO has been about expanding horizons and expanding opportunities. The irony is also that, because of the hard work of its current leadership, and because of the work that has been done by its chair, Dr Harry Brünjes, by its board, and by its chief executive, it is on a sound financial footing.

The ENO was praised by the chair of the Arts Council as being never better led, and the Arts Council’s internal documents show that its governance is beyond reproach. On its financial situation, risk is seen as moderate—for any company in theatre, that is, frankly, very good. It has actually built up reserves and has done all the right things, putting the operation on a much more commercially aware basis. Those at the ENO spend time bringing in musicals to cross-subsidise some of the less accessible and more challenging work, but that is an important part of their mission, too. They have done everything expected of them in the Arts Council’s own objectives, and have ticked the box on the Art Council’s own internal assessments of the Let’s Create objective.

Why is it, then, that a company that has done everything asked of it, and succeeded, has the rugged pulled from under it by the Arts Council, on 24 hours’ notice, with no consultation, no evidence base—that we have seen—to underpin it, no strategy to underpin the approach to opera as an arts form or, generally, to the way that vocal arts are dealt with in the United Kingdom? Why is it, then, that the chorus and orchestra are threatened with redundancy and the creatives are likely to be on notice? That is all on the basis of a laudable objective of the Government to spread where the arts are found in this country. I do not disagree with that, but it is done in such a manner that the Government’s own objective is, I regret to say to the Minister, undermined and almost discredited.