The Arts Diary – Russia cuts cultural links and Creative Scotland in crisis
Russia closes down British Council
Last Saturday the British Council confirmed that it had been instructed by Russian authorities to cease operations in the country, in retaliation to sanctions imposed by the UK Government following the Skripal poisoning. It’s a sad move, and the Russian people are the biggest losers here. It destroys not only an important cultural link for British and Russian artists, but also an important avenue for diplomacy.
During the Cold War, the tactful role played by musicians and artists was vital in softening relations. Take Van Cliburn, the American pianist who won the inaugural Tchaikovsky Piano Competition held in Moscow in 1958. His performance of two piano concertos composed by Russians earned him an eight-minute-long standing ovation. When it came to announce the winner, the judges were obliged to ask permission of Khrushchev to award first prize to the American: Khrushchev asked, ‘Is he the best?’ The judges answered in the affirmative. ‘Then give him the prize!’
Cultural diplomacy can play a crucial role in such sensitive times, although it’s fairly clear Putin has little time for ‘soft power’. Nor are they able to laugh at themselves: earlier this year Armando Iannucci’s sneering Death of Stalin was banned in Russia shortly before release and labeled ‘despicable‘.
Nadine Dorries provokes music sector
The colourful MP for Mid Bedforshire engaged in something of a Twitter spat with half of the music and opera world, after latching on to a tweet by Howard Goodall (best known for composing the theme tune for The Vicar of Dibley), which declared impending doom for the music industry post-Brexit.
Hell hath no fury like an opera singer on Twitter, as many stepped in to fan the flames, claiming with certainty that, post-Brexit, fewer British musicians will be given contracts in Europe, and British orchestras will tour Europe less. Whilst I share their concern, this is nothing more than pointless speculation at this time (although, it might not be so bad if Goodall’s anaemic compositions become less widespread, lest the rest of the world thinks he represents the gold standard of UK music…). Our musicians endlessly tour America and Asia, and no such fuss is made.
Whatever the outcome, arts organisations in the UK are amongst the most resourceful and collaborative in the world. They will continue to flourish.
Royal Opera House announces 18/19 season
With only five new productions, the upcoming season looks a little threadbare due to some expensive revivals, including Wagner’s Ring, and a cut in Arts Council funding last year. However, to look out for amongst the new crop are Britten’s Billy Budd (directed by Deborah Warner), Janáček’s Katya Kabanova (directed by Richard Jones) and Tchaikovsky’s Queen of Spades (directed by Stefan Herheim).
There has been much speculation recently regarding Music Director Antonio Pappano’s departure, whose contract runs to 2020, and who could possibly step into such big shoes. The job involves so much more than simply turning up to conduct, and many highly respected conductors have neither the skills nor the experience to lead and nurture the organisation and its artists. However, in an interview with the Guardian this week, Head of Opera Oliver Mears suggested Pappano may in fact remain in post a little long, which will certainly please patrons for now.
Resolution to Scottish Youth Theatre saga
This week the Scottish Government stepped in to save Scottish Youth Theatre from closure, providing an emergency grant of £150,000, which together with funding from investment management firm Baillie Gifford, has made up the shortfall.
This sits uncomfortably with policy that states the Scottish Government cannot intervene with Creative Scotland decisions, and indeed this is the second time in four years SYT have lost out on funding, only to be bailed out by the Executive. Understandably, many other organisations are now appealing to the Government for backing, questioning whether a similar approach might force open the purse strings. On the other hand, it is very encouraging to see a private sector firm like Baillie Gifford step in like this; perhaps we may see a welcome return to this sort of support in the coming years.
The artistic community in Scotland has lost all respect for Creative Scotland (over one thousand artists have signed a letter to Culture Secretary Fiona Hyslop saying as much), and Chief Executive Janet Archer — about as comfortable as the May-bot when it comes to setting out her case in public — has done little to win it back. So, whilst SYT has been pulled back from the brink, Creative Scotland is still in crisis.