Glyndebourne’s announcement that it will have to cease touring due to funding cuts makes the industry “even more elitist,” argues Soraya Mafia.
Anyone concerned about making the arts accessible regardless of where they live should be concerned by the recent announcement from Glyndebourne that it’s having to cease touring across England.
That painful decision, and Welsh National Opera’s announcement that it can no longer visit Liverpool with immediate effect, are the inevitable result of Arts Council England’s baffling decision to cut funding to both companies while simultaneously talking of ‘”levelling up” and supporting the arts outside of London.
Like many British opera singers, I was introduced to the art form by a touring company. For me, it was Opera North with Phyllida Lloyd’s production of La bohème. I sat in the purple auditorium of The Lowry’s Lyric Theatre completely mesmerised by the heart-breaking tunes, the vibrant set, the texture of the live orchestra and ultimately, the seemingly God-like power of the voices on stage. Awe turned to personal desire after their education outreach department came to my school and provided a workshop session on Janáček’s The Cunning Little Vixen. I had found my calling; I was going to work in opera...Keep reading on The Arts Desk.
Anyone concerned about making the arts accessible regardless of where they live should be concerned by the recent announcement from Glyndebourne that it’s having to cease touring across England.
That painful decision, and Welsh National Opera’s announcement that it can no longer visit Liverpool with immediate effect, are the inevitable result of Arts Council England’s baffling decision to cut funding to both companies while simultaneously talking of ‘”levelling up” and supporting the arts outside of London.
Like many British opera singers, I was introduced to the art form by a touring company. For me, it was Opera North with Phyllida Lloyd’s production of La bohème. I sat in the purple auditorium of The Lowry’s Lyric Theatre completely mesmerised by the heart-breaking tunes, the vibrant set, the texture of the live orchestra and ultimately, the seemingly God-like power of the voices on stage. Awe turned to personal desire after their education outreach department came to my school and provided a workshop session on Janáček’s The Cunning Little Vixen. I had found my calling; I was going to work in opera...Keep reading on The Arts Desk.