A Holyrood Committee has published a new report highlighting the challenges in supporting culture to thrive within communities across Scotland.
The report from the Parliament’s Constitution, Europe, External Affairs and Culture Committee found that while progress has been made in implementing a place-based approach to culture, there are still “several significant challenges” facing local and national government that need to be addressed to “realise the ambitions” of the Scottish Government’s culture strategy.
The Committee concluded that the “cross-cutting” nature of the challenges facing Scotland’s culture sector requires “a whole-system approach” across different levels of government.
During the inquiry the Committee gathered evidence on best practice and barriers to cultural participation within different communities across Scotland, with visits to Wester Hailes and Craigmillar , Dumfries, and Orkney.
Members also heard from a wide range of stakeholders, many of which agreed on the importance of cultural work being grounded in local communities, as outlined in the Scottish Government’s culture strategy.
The report’s findings outline the need for “much greater prioritisation in practice” being placed on community-led culture, which it says should be “at the heart” of the sector.
It also suggests the potential of existing community empowerment mechanisms, which could be used to improve place-based cultural delivery at the local level.
The Committee also noted that the funding of community-based cultural organisations and projects, local government cultural services, and of publicly owned community spaces where cultural activity can take place have all been put under pressure.
The financial constraints within the current economic environment are identified as posing a “significant challenge” to the successful implementation of place-based cultural policies, with the Committee calling on the Scottish Government to set out how it will “accelerate the implementation of innovative approaches to the funding of the culture sector”, an issue it will pursue further through its forthcoming pre-budget scrutiny.
The Committee also raised its concerns that some cultural and community assets were said to be becoming “less available, less affordable, and at risk of closure”, recognising that “the loss of community spaces is likely to impact on the access to culture for those communities”.
The report urges the Scottish Government to address these challenges and incorporate the Committee’s findings and recommendations into the forthcoming refresh of the Culture Strategy Action Plan and Budget 2024-25.
Commenting on the report, Committee Convener, Clare Adamson MSP said:“Through our work on this inquiry, we have seen first-hand the positive impact of place-based cultural work in communities across Scotland.
“Support for community-led culture can help enrich the cultural landscape and further empower local communities, particularly those which face the greatest barriers to participating in cultural life.
“However, the Committee’s report has clearly demonstrated that while progress has been made, there are significant challenges facing both national and local government in delivering Scotland’s ambitions for a place-based approach to culture.
“We urge the Scottish Government to take our findings and recommendations on board as it refines its forthcoming Culture Strategy Action Plan and its Budget for 2024-25 to ensure that culture can thrive in our local communities.”
The 2023 Edinburgh International Festival has ended on a high, after 24 packed days of events from 2,500 remarkable and diverse artists representing 50 nations.
The programme was characterised by a high quality of art, presenting work from 130 Grammy nominated artists, 33 Grammy Award-winners, 14 Brit Award-winners, 6 Olivier Award-winners and 3 Venice Golden Lions awards. Artists also attracted significant worldwide media attention and positive reviews, with two-thirds of International Festival performances receiving four and five-star reviews.
With an unprecedented emphasis on a deepened audience experience, the 2023 International Festival reimagined how we interact with and appreciate live performance, through audio introductions, contextual demonstrations and discussions before and during performances, and bringing audiences and artists closer together through more informal, intimate performance environments.
Nicola Benedetti, Festival Director at Edinburgh International Festival said: ““I dreamt of a festival that felt truly open and welcoming, creating a shared ownership and pride over the future of our Festival and its profound contribution to Scotland’s culture and conversation. The response from artists and audiences has been resoundingly uplifting, filled with a tangible energy pulling us closer together.
“We asked, ‘where do we go from here?’ – and we heard from thousands of people, sharing different perspectives from around the world. Now, we are confident in forging our path and deepening next year’s conversation together.”
In the 2023 International Festival 120,000 audience members found an in-depth and high-quality live experience across Edinburgh’s theatres, concert halls and venues. It was once again an unmissable destination for Edinburgh visitors looking to experience the highest quality arts and culture, with 13% of bookers being international, an increase of 3% on last year.
The International Festival also saw steady attendance from local audiences, with 69% of bookers coming from Scotland.
As part of the vision to broaden audiences, over 21,000 tickets were discounted to people eligible for concessions, including D/deaf and disabled people, arts workers, students and audiences aged under 26.
Over 11,000 free tickets were issued, including over 500 tickets for NHS workers and 631 tickets through the Young Music Pass scheme, which gives free tickets to young people to experience the best classical music from around the world.
The £10 on the Day ticket, available to people eligible for concessions, saw a pick-up of over 4,000 tickets, a 46% increase on last year.
The International Festival continued its year-round community engagement work during August, welcoming people of all ages and backgrounds to experience world-leading artists in locations across the city.
Culture Clubs returned to communities across Edinburgh, with intergenerational groups invited to enjoy a shared meal and attend a performance, including the first ever BSL Culture Club hosted by Deaf Action.
Pop-up performances brought music to audiences who otherwise might not have been able to attend, featuring the likes of the Simón Bolívar Symphony Orchestra of Venezuela, award-winning bassist and composer Endea Owens, and the London Symphony Orchestra, who performed for around 1,000 patients,hospitalstaff and visitors in NHS settings.
Thousands of people attended the Opening Fanfare weekend, an incredible feat of mass music-making, which assembled a diverse community of 500 amateur and professional musicians travelling from across Scotland to participate across two days in Princes Street Gardens.
The International Festival also reached more people than ever through digital channels, with content viewed 4.8 million times over the course of the 2023 Festival, an increase of 63% from 2022. In addition, 19 concerts were recorded live for broadcast on BBC Radio 3.
The Hub – the International Festival’s home at the top of the Royal Mile – was reimagined as a ‘festival green room, open to all’. The Hub welcomed thousands of visitors and invited them to collectively respond to the central question: ‘where do we go from here?’
An expansive programme of free talks and debates, participatory events and intimate concerts from incredible musicians spanning Scottish traditional music, jazz and classical ensembles brought artists and audiences closer than ever before.
An audience of 600 sat in beanbags surrounded by the Budapest Festival Orchestra – a format inviting audiences to experience both the music and the orchestra from the inside out, with conductor Ivan Fischer offering conversational explanations of Dvořák’s Eighth Symphony.
30 audio introductions were recorded by Nicola Benedetti with broadcaster Tom Service and artists from across the programme who gave insight and more context into specific performances and experiences. These reached 25,000 people, who listened as they were delivered by text message two hours before a performance. Over 32,000 people read blog articles which added further context.
To help audiences gain a greater appreciation of visiting companies and reduce the amount of travel required for international artists, high-profile artistic residencies included the London Symphony Orchestra under the direction of departing conductor Sir Simon Rattle, the Budapest Festival Orchestra with Ivan Fischer, and the world-renowned Simón Bolívar Symphony Orchestra of Venezuela reunited with their Music Director Gustavo Dudamel.
This year also saw a focus on opportunities for talent development and professional exchange. Twenty-two emerging dancers aged 18-25 from across Scotland had the chance of a lifetime to train with the Alvin Ailey American Dance Theater and perform in Memoria at the Festival Theatre.
Five pre-professional musicians were also invited to join the Mendelssohn Octet at the Hub, in an audition judged by Festival Director Nicola Benedetti. Plus, twelve Scotland-based dancers participated in a week-long collaboration with international peers performing in Pina Bausch’s The Rite of Spring that brought together 34 dancers from 14 African countries.
Francesca Hegyi, Chief Executive at Edinburgh International Festival, said: “August in Edinburgh is the time when the world’s spotlight turns to the Festival City, where residents can mix with their international counterparts and see artists they wouldn’t otherwise get the chance to.
“There has been a new warmth and spirit of inquiry to the Edinburgh International Festival this year and the feedback from audiences, artists and visitors has been nothing short of exceptional.”
Culture Secretary Angus Robertson, said: “This was a bumper year for Edinburgh’s summer festivals, distinguished by a strong contribution from home grown talent, and increased access to events through an expanded programme of community activities.
“Edinburgh’s festivals underline how important culture is to our way of life as well as underlining Scotland’s reputation on the international stage. I’d like to thank everyone involved for putting on such a fantastic line-up of performances and events this year.”
At Collective, on Calton Hill, and coinciding with their EAF performance, Tarek Lakhrissi presents I wear my wounds on my tongue (II), exploring desire, language and queerness.
Inspired by the work of the late poet, essayist and performance artist Justin Chin, the installation features newly commissioned sculptures and sound work. Also at Collective, Rabindranath X Bhose’s installation work, DANCE IN THE SACRED DOMAIN, is a bog made up of sculpture, poetry, performance and drawing, emerging from time spent meditating on bogland in Scotland.
Further into Leith, at Edinburgh Sculpture Workshop, a new presentation, tense, by Glasgow based Adam Lewis Jacob will be displayed alongside A New Face in Hell, in which Sebastian Thomas draws inspiration from the mythological fable of the Golem, a being constructed of inanimate material that often ends up becoming uncontrollable.
Travelling Gallery, a contemporary art gallery in a bus, presents a new exhibition by Gabecare, a collaborative art project between Rachel Adams and Tessa Lynch investigating the domestic mess of 21st century living, which will travel across the city for the duration of the festival.
Sierra Metro presents an exhibition of new work by award winning Australia-based artist, illustrator and animator, Haein Kim. For Kim’s first solo show PAIN2POWER the artist presents a series of prints exploring the modern woman’s psyche, materialism and puppies for a show that captures her unique use of colour, humour and honesty.
Initiated by The Common Guild, Edinburgh Art Festival will co-present an illuminated artwork by Rabiya Choudhry at Leith Library.
The design is based on a painting by Choudhry, part of the artist’s ongoing project Lost Lighting – a series of lighting artworks for public places intended to ‘act like a vigil in the dark’ Taking shape as illuminated signs, they repurpose Andrew Carnegie’s flaming torch motif; a feature found on many Carnegie library buildings
In Choudhry’s work, the torch is encircled with the words of African-American civil rights activist Ella Baker (1903–1986) who worked to instigate societal change. Baker’s words ‘give light and people will find the way’, are a manifestation of power for ordinary people. The public artwork runs across the full festival dates, visible 24 hours a day.
Initiated by The Common Guild, EAF will co-present an illuminated artwork by Rabiya Choudhry at Leith Library. The design is based on a painting by Choudhry, part of the artist’s ongoing project Lost Lighting – a series of lighting artworks for public places intended to ‘act like a vigil in the dark’ Taking shape as illuminated signs, they repurpose Andrew Carnegie’s flaming torch motif; a feature found on many Carnegie library buildings In Choudhry’s work, the torch is encircled with the words of African-American civil rights activist Ella Baker (1903–1986) who worked to instigate societal change. Baker’s words ‘give light and people will find the way’, are a manifestation of power for ordinary people.
The public artwork runs across the full festival dates, visible 24 hours a day.
The Edinburgh Festival Fringe Society, the charity that supports the world’s largest performing arts festival, the Edinburgh Festival Fringe, and the biggest arts festival in the Southern Hemisphere, Adelaide Fringe are coming together to form an arrangement that will see both organisations amplify one another’s efforts for the benefit of artists and the international arts community.
Each organisation’s respective CEO will sign a Memorandum Of Understanding (MOU) that outlines the details of the arrangement on August 11 during this year’s Edinburgh Festival Fringe.
The MOU came to fruition from a collective belief between the Edinburgh Festival Fringe Society and Adelaide Fringe that organisations who share common objectives have the potential to positively influence the personal development of the Fringe festival artists and workers and thereby increase outcomes for each organisation.
The MOU will be signed by the South Australian Minister for Arts, Andrea Micheals MP and Scotland’s Culture Secretary Angus Robertson.
Culture Secretary Angus Robertsonsaid: “The Edinburgh Fringe is an inspiration to many festivals around the world and this formal agreement between the Edinburgh Fringe Society and the Adelaide Fringe is a fantastic initiative that will bring many benefits to both organisations.
“In particular the opportunity to share knowledge and skills, grow new audiences and provide platforms for performers will help the business development of both festivals.”
South Australian MInister for Arts, Andrea Micheals said: “This MOU brings together the wealth of talent, experience and creative ideas that exists in both Edinburgh and Adelaide Fringe Festivals.
“It represents the two largest festivals in the world joining forces to harness that extraordinary skill and create exciting opportunities for artists and arts workers to work at these two internationally renowned festivals and beyond.
“Adelaide is one of the world’s greatest festival cities and this partnership with the Edinburgh Festival cements our international reputation as the arts capital of Australia.”
The arrangement outlines details between the two festivals in the context of business, exchange and joint initiatives that will see Edinburgh and Adelaide Fringe festivals work to encourage the development of artists and their career trajectory and festival workers to the benefit of festivals internationally.
Each organisation will recognise their positions as major tourist attractions in their respective regions for both local, national and international travellers; and the benefits of working collaboratively in the development of skills for festival workers, along with the importance of business opportunities that are created at festivals via industry programs for artists to secure future bookings for their work.
Each partner is committed to the development of their staff, which will in part see the implementation of an exchange program between the two major festivals.
The MOU outlines a commitment from each party to promote one another’s Fringe festivals to artists while growing the audience-facing and industry-facing opportunities for artists participating in the festivals.
Director and CEO of Adelaide Fringe, Heather Croallsaid: ‘The establishment of this MOU is a momentous occurrence in the festival world.
“Fringe festivals are incubators for live performance and a testing ground for fresh ideas and new works, I’m sure the outcomes of this arrangement will ripple positively for artists and industry across the globe.”
Chief Executive of Edinburgh Festival Fringe Society, Shona McCarthy said, “Today is an exciting moment as we formalise a collective ambition to support each other across a range of areas.
“Our relationship with the Adelaide Fringe has developed over the last decade into a supportive and collaborative partnership, where we learn from each other and share our mutual challenges and opportunities.
“The signing of the MOU is just the beginning of what we know will be an extremely rewarding partnership for everyone involved in the festivals.”
Culture and business will be able to connect in new and exciting ways thanks to the launch of a new Marketplace initiative, pioneered by Culture and Business Scotland (C&BS).
The Culture & Business Marketplace Scotland is the first-of-its-kind online platform that will match up businesses looking to expand their creative horizons with culture organisations seeking support in delivering their creative ideas.
A range of Scottish creative organisations have already committed to participating in the Marketplace pilot, including household names such as the Scottish Book Trust, Scottish Ensemble, Royal Scottish National Orchestra and Screen Education Edinburgh.
Launching today (Wednesday May 17) the platform will work similarly to a database, where these pilot not-for-profit culture organisations will be able to list their products or services as ‘sellers’.
Businesses, or potential ‘buyers’, will then browse the available opportunities using filters such as ‘supporting innovation, creative thinking and problem solving in the workplace’ and ‘improving staff health and wellbeing’ to find culture organisations that would be well-suited to fit a gap, combat an existing challenge or fulfil a specific target.
David Watt, CEO of Culture & Business Scotland, said: “Past experiences have shown us that giving businesses and culture organisations the opportunity to forge meaningful connections is hugely empowering, not only for those organisations involved but for wider society as well, and the impacts have the potential to reverberate for generations to come.
“The launch of our Marketplace initiative will increase those opportunities, both in number and in scope, and help to ensure that organisations from both sectors are equipped for a more innovative, forward-thinking future.”
Being given the opportunity to connect and receive backing from businesses can be transformational for creative organisations. In 2021 the Edinburgh-based Living Memory Association partnered with Leith’s Ocean Terminal Shopping Centre through Culture & Business Scotland’s already established match-funding scheme, the C&BS Fund, a precursor to the Marketplace initiative.
The funding enabled Living Memory Association to make use of two vacant units as exhibition spaces. The initial offering of two units grew to include the use of a whole empty 6000 square metre store across two floors, which the Living Memory Association used to facilitate reminiscence as a means of engaging people with heritage, recording their memories and combatting loneliness and social isolation in the process.
The community-focused nature of Ocean Terminal’s location enabled the organisation to reach a wider audience than would have otherwise been possible, raising the Living Memory Association’s profile and creating a positive snowball effect, as it was then able to attract further funding and opportunities.
Ocean Terminal, meanwhile, benefitted from the increased footfall into what would have otherwise been an abandoned space, with the resulting added social value surpassing expectations and generating positive impacts in ways that the retail centre had previously not experienced.
Mark Haywood, Living Memory Association Director, said: “This has been a phenomenal partnership for The Living Memory Association and investment from Culture & Business Scotland made it possible.
“It has raised the profile of The Living Memory Association, led us into new areas of work and allowed us to support a whole range of fascinating artistic and heritage endeavour. It has meant we can support individuals and groups to showcase and develop their work and bring them into direct contact with the public.
“We have used the new units to engage people and work with older people to record their memories and value their life experience. All activities are free, taking art and heritage straight into the heart of the community. We are extremely grateful to Culture & Business Scotland and Ocean Terminal for their support to our work”.
Michelle MacLeod, Ocean Terminal Manager, added: “We could not have believed that this partnership would be so socially and economically beneficial to The Centre and we hope to be able to further develop this collaboration going into the future and incorporating this work into the new developments currently underway at Ocean Terminal.”
Funding facilitated by Culture & Business Scotland has also enabled creative organisations to make scientific ideas accessible through the arts, as Edinburgh Science Foundation discovered after being partnered with Cirrus Logic through the C&BS Fund.
As a leading global semiconductor supplier, Cirrus Logic’s commitment to promoting science, technology, engineering, and maths amongst young people underpins the company’s support of the Edinburgh Science Festival. Last year, sponsorship from Cirrus Logic enabled the creation of several new activities at the festival, helping to encourage awareness about Scottish flora and fauna through a photography exhibition and multi-sensory, immersive experiences which incorporated visual and artistic elements.
Subsequent analysis of the event found that its messaging around climate change and the natural world impacted on visitors’ behaviour and attitudes, whilst Cirrus Logic benefitted from the comprehensive marketing and publicity activity surrounding the festival.
For more information on the Culture & Business Marketplace Scotland, please visit:
Following a drop-in session hosted by Prospect at the Scottish Parliament about their ‘World Class Heritage on Second Class Pay’ campaign on Friday, Foysol Choudhury MSP said: “As Labour’s Spokesperson for Culture, it was great to sponsor ‘The Perfect Storm: A Crisis in Heritage’ drop-in event organised by Prospect regarding its ‘World Class Heritage, Second Class Pay’ campaign.
“Scotland’s Heritage sites are well loved by international visitors and locals alike and they benefit our economy greatly.
“We all know that the culture sector has been hit hard in this cost-of-living crisis and has received little attention from the Scottish Government.
“I have raised awareness of this before, for example, with the closure of Edinburgh Filmhouse, which I hope will be restored in the future.
“However, Scotland and the UK cannot afford losing yet again more of its unique culture.
“It is indeed a perfect storm where our World Class Heritage and its workforce in Scotland and across the UK have long been devalued and are now in jeopardy due to the cost-of-living crisis.
“Our new generation of potential conservationists, archaeologists, curators and other specialists are also suffering; new trainees cannot even afford their rents.
“Better pay will mean that our young people can aspire to have a stable career in Heritage.
“It is time to fully recognise how our important Heritage workforce contributes to our local communities, our nations and across the world.
“The matter of funding of Heritage sites is something that I have brought to the Scottish Government’s attention before, when I spoke about Historic Environment Scotland in the chamber.
“I will work to pressure the Scottish Government to secure a better deal for our Heritage workers and preserve our fantastic Heritage sector.”
The Royal Opera House has announced its 2023/24 Season, unveiling a bold programme of thrilling new work, UK premieres and much-loved revivals, alongside the biggest national learning programme in our history, exciting new regional partnerships, and a host of daytime events, behind the scenes tours, exhibitions and artistic Insights at our home in the heart of Covent Garden.
The Royal Ballet Season
The Royal Ballet presents a tapestry of works that celebrate the Company’s rich heritage and celebrated house choreographers, and brings creativity into spaces across the Royal Opera House with a Festival of New Choreography. The Season features revivals from Frederick Ashton and Kenneth MacMillan alongside contemporary classics by Wayne McGregor, Christopher Wheeldon and Cathy Marston.
The Company’s illustrious legacy from Founder Choreographer Frederick Ashton and Principal Choreographer Kenneth MacMillan is marked in a number of productions. Ashton’s boundless invention is displayed in two mixed programmes, with The Dream and his virtuosic Rhapsody. One of these programmes also features Les Rendezvous while the other includes Five Brahms Waltzes in the Manner of Isadora Duncan, Hamlet and Ophelia, and a guest performance by The Sarasota Ballet of The Walk to the Paradise Garden.
The Sarasota Ballet will also demonstrate the genius of Ashton in the Linbury Theatre with a vibrant array of his creative output. The Royal Ballet and The Sarasota Ballet’s Ashton performances during the Season mark the opening of ASHTON WORLDWIDE, the Frederick Ashton Foundation’s five-year international festival conceived to celebrate the work and legacy of Frederick Ashton. Further information on the festival will be announced by the Foundation in due course.
Kenneth MacMillan’s dramatic flair is celebrated with the romantic tragedy Manon, which this Season celebrates its 50th birthday, and a mixed programme – Requiem, Danses Concertantes and Different Drummer – plus performances and a film premiere by Yorke Dance Project, illustrating the choreographer’s exceptional artistic development across the decades.
In other revivals, Carlos Acosta’s vibrant production of Don Quixote opens the Season for The Royal Ballet. This celebrated production, which premiered in 2013, is the perfect showcase for a Company dancing at its peak. The enduringly popular 19th-century classics The Nutcracker and Swan Lake will also feature in the Season.
Royal Ballet Resident Choreographer Wayne McGregor’s The Dante Project returns following its critically-acclaimed world premiere in 2021. Inspired by Dante’s Divine Comedy, the afterlife is brought into blazing life through the poetic vision of McGregor and his creative team, including pioneering composer Thomas Adès and artist Tacita Dean.
Artistic Associate of The Royal Ballet Christopher Wheeldon’s adaptation of Shakespeare’s late romance The Winter’s Tale celebrates its 10th anniversary. With striking designs by Bob Crowley and atmospheric music by Joby Talbot, The Winter’s Tale is widely considered a modern ballet classic.
Two award-winning works, Cathy Marston’s The Cellist, which takes its inspiration from the life and music of Jacqueline du Pré, and Valentino Zucchetti’s breezy Anemoi, receive their first revivals in a mixed programme of powerful musical heft.
The Festival of New Choreography champions new and diverse choreographic voices through the many spaces of our iconic Covent Garden home. A collection of new work will be seen on the Main Stage, and also included is an immersive new work for The Royal Ballet by Robert Binet presented in the Linbury Theatre and co-produced by the National Ballet of Canada.
The Royal Ballet presents the world premiere of a new production in the Linbury Theatre adapted from the play Lemons, Lemons, Lemons, Lemons, Lemons by Sam Steiner. The Limit combines spoken word and dance with choreography by Royal Ballet Principal Character Artist Kristen McNally and direction by Ed Madden and features Royal Ballet Principals Francesca Hayward and Alexander Campbell in one of the casts. The Limit is set to a newly commissioned score by Isobel Waller-Bridge, who composed the score for the BBC series Fleabag as well as film scores for Vita and Virginia (2018) and Emma (2020).
We look to the future with our continued development of emerging creative and performing talent with Draft Works, International Draft Works and the Next Generation Festival. The Royal Ballet continues its long-standing commitment to fostering dance partnerships, with Northern Ballet, Fallen Angels Dance Theatre, Ballet Black and Sydney Dance Company in the Linbury Theatre.
Fallen Angels Dance Theatre make their Linbury Theatre debut. Led by Artistic Director Paul Bayes Kitcher, former Birmingham Royal Ballet soloist, the award-winning company supports those recovering from addiction and mental health adversity through dance, performance and creativity. This work marks the first collaboration between Fallen Angels and New Note Orchestra, a Brighton-based collective of 18 musicians in recovery.
Northern Ballet return to the Linbury Theatre with a programme of new contemporary ballet, including the premiere of a new work by Royal Ballet Soloist Benjamin Ella and a work by New York City Ballet Principal Tiler Peck.
INTERNATIONAL DRAFT WORKS_LINBURY THEATRE_ROH,
Canto De Ossanha_choreography; Joshua Junker, The Royal Ballet,
Ballet Black present a double bill featuring Will Tuckett’s Then or Now and Mthuthuzeli November’s Nina: By Whatever Means, a tribute to Nina Simone. Yorke Dance presents a new programme including work by Robert Cohan, Martha Graham and Kenneth MacMillan, and Sydney Dance Company make their Linbury Theatre debut.
On Wednesday 1 November, World Ballet Day, a much-loved global celebration that brings together over 50 of the world’s leading ballet and dance companies, celebrates its tenth anniversary. Over the course of 24 hours, rehearsals, discussions and classes are streamed for free across six continents, offering unique behind-the-scenes glimpses of ballet’s biggest stars and exciting new performers.
Director of The Royal Ballet, Kevin O’Hare, said: “As we approach next Season, we are thrilled to showcase the extraordinary artistry and skill of our brilliant dancers and orchestral performers in a fantastic range of heritage and award-winning contemporary classics.
“We also look forward to the creative energy that the Festival of New Choreography will bring to the whole of the Royal Opera House, and to continuing to spread the love of ballet through our far-reaching global and UK-wide partnerships. We can’t wait to welcome back existing audiences and to connect with those new to the art form.”
The Royal Opera Season
The Royal Opera opens its Season with two landmark works on both of our stages. On the Main Stage, Antonio Pappano partners with Barrie Kosky for the first time to conduct a bold new imagining of Wagner’s first chapter of the Ring cycle, Das Rheingold – a massive undertaking for any opera house with an outstanding cast including Christopher Maltman as Wotan and Christopher Purves as Alberich.
In the Linbury Theatre, George Benjamin and Martin Crimp bring us Picture a day like this – a major new work which receives its UK premiere following the world premiere this summer at the Festival d’Aix-en-Provence. After the historic success of Lessons in Love and Violence and Written on Skin, Benjamin and Crimp return alongside stage directors Daniel Jeanneteau and Marie-Christine Soma.
Antonio Pappano, whose first new production at the Royal Opera House was Christof Loy’s production of Strauss’ Ariadne auf Naxos in 2002, conducts his last new production at the Royal Opera House in Loy’s eagerly anticipated adaptation of Strauss’s Elektra – uniting two of today’s leading dramatic sopranos: Nina Stemme in the title role, and Karita Mattila as the haunted queen Klytämnestra.
In May, a Farewell Gala Concert for Antonio Pappano will see a stellar cast of soloists perform alongside the Chorus and Orchestra in celebration of his 23-year tenure. Maestro Pappano will then lead a cast that includes his longtime collaborator Jonas Kaufmann, and Sondra Radvanovsky and Carlos Álvarez in a revival of David McVicar’s lavish production of Giordano’s Andrea Chénier.
In June 2024, The Royal Opera is delighted to be returning to Japan on tour for the first time since 2019 with performances at Bunka Kaikan Theatre and NHK Hall in Tokyo, and Kanagawa Kenmin Hall in Yokohama. Antonio Pappano will be conducting spectacular casts in Oliver Mears’s darkly elegant production of Verdi’s Rigoletto and Andrei Șerban’s classic staging of Puccini’s Turandot.
The Royal Opera’s exploration into Handel’s Covent Garden operas and oratorios continues with his final masterpiece, Jephtha, which premiered on this site in 1752. This epic new production is staged by Director of The Royal Opera Oliver Mears and is conducted by Handel specialist Laurence Cummings. Extraordinary tenor Allan Clayton performs the title role, joined by an outstanding, largely British cast including Jennifer France, Alice Coote and Brindley Sherratt.
Aigul Akhmetshina and Vasilisa Berzhanskaya share the role of Carmen in Damiano Michieletto’s poetic, contemporary new staging of Bizet’s beloved Carmen. Antonello Manacorda and Emmanuel Villaume conduct two accomplished casts in this sultry new production which evokes the passion and heat of Bizet’s score.
Next Season, the Royal Opera collaborate with Fuel for the first time, presenting the world premiere of Woman & Machine – a ground-breaking binaural opera experience from Mercury-nominated songwriter ESKA, directed by Kirsty Housley. Incorporating the sonic worlds of the neonatal unit and the womb, with influences of contemporary, electronic and Zimbabwean Shona Music, this new work connects themes of life, survival and womanhood.
This Christmas, a range of family favourites return to our stages. Little Bulb’s Oliver award-winning Wolf Witch Giant Fairy will excite children and families in the Linbury Theatre with the original troupe of travelling players returning as the energetic ensemble cast, bringing this endearing folk opera to new audiences, young and old.
On the main stage, music lovers of all ages can enjoy Antony McDonald’s mischievous production of Humperdinck’s Hansel and Gretel, newly translated into English by Kelley Rourke. Mark Wigglesworth conducts two stellar casts including Anna Stéphany, Hanna Hipp, Anna Devin and Lauren Fagan.
Following the Irish National Opera’s (INO) Olivier award-winning Bajazet and Least Like The Other, INO and The Royal Opera present their third collaboration: a brand-new staging of Vivaldi’s 1734 opera, L’Olimpiade. The production is directed by Daisy Evans, with conductor Peter Wheelan leading the Irish Baroque Orchestra.
In April, the Jette Parker Artists present a thrilling double-bill. Eleanor Burke directs Martinů’s surreal one-act opera Larmes de couteau and Harriet Taylor directs John Harbison’s adaptation of text from W.B. Yeats’ Full Moon in March. Both works are conducted by Edward Reeve, who will lead the Britten Sinfonia.
The 2023/24 Season also features a raft of beloved revivals including Christof Loy’s La Forza del Destino, Laurent Pelly’s L’elisir d’amore, Oliver Mears’s Rigoletto, Damiano Michieletto’s heat-soaked double-bill Cavalleria rusticana/Pagliacci, Richard Jones’ production of La bohème, Jonathan Kent’s Tosca, Tim Albery’s production of Wagner’s The Flying Dutchman, Moshe Leiser’s and Patrice Caurier’s Madama Butterfly, Katie Mitchell’s production of Donizetti’s Lucia di Lammermoor, and Jan Philipp Gloger’s production of Così fan tutte.
Director of The Royal Opera, Oliver Mears, said: “Despite opera in the UK being under pressure as never before, The Royal Opera is determined to mark Antonio Pappano’s final season as Music Director with ambition and style across our diverse output.
“We embark on the mammoth task of a new Ring cycle directed by Barrie Kosky, produce eight thrilling new productions across both our stages, continue our Covent Garden Handel odyssey, and – as we have for three hundred years – present the very finest singers and conductors working in the world today. This will be a season our audiences will love – and a fitting final bow for one of our most treasured ever colleagues.”
Royal Opera House across the UK
The Royal Opera and The Royal Ballet present 13 productions in 1500 cinemas across the globe next Season, including such beloved classics as Swan Lake and The Nutcracker and exciting new productions of Carmen, by Damiano Michieletto and Das Rheingold, by Barrie Kosky.
Message In A Bottle, the acclaimed dance theatre production by Sadler’s Wells Associate Artist Kate Prince, set to the music of Grammy Award-winning artist Sting, has also been filmed for cinema release in May 2024, in partnership with Sadler’s Wells and Universal Music UK. The international refugee crisis is at the centre of this production – an imagined story about one displaced family, and a universal story of loss, fear, survival, hope and love. Songs including ‘Every Breath You Take’, ‘Roxanne’, ‘Every Little Thing She Does Is Magic’ and ‘Fields of Gold’ feature in new arrangements.
This is on top of wider digital innovation as we make available 24 more productions on ROH Stream. These will include work from Wayne McGregor, and Joseph Toonga’s See Us, as well as The Royal Ballet’s new production of Cinderella. These will be supported by a raft of new behind-the-scenes films, interviews and performances, including a celebration of Antonio Pappano’s tenure as Music Director of The Royal Opera; a host of choreographic and vocal masterclasses; and exclusive World Ballet Day content, with rehearsals and insights from across its rich ten-year history.
We also announce our biggest, boldest and most impactful national learning programme to date, inspiring creativity of children and young people across the country. Our flagship Create & Learn programmes drive this national output, which sits alongside industry-leading talent development projects, a new partnership in South Yorkshire, with Rotherham, and a raft of daytime events, family activities and free concerts in our Covent Garden home.
In July, we unveil our first ever national Create Day, connecting more than 2,000 children across four locations around the country: Coventry, Doncaster, Thurrock and Covent Garden. Large scale events, connected via live broadcast, take place in each location and see participants perform pieces inspired by Crystal Pite’s Light of Passage, the culmination of months of work in schools around the UK. This will be expanded still further in 2024, with every school in the country being invited to take part, making it the largest shared cultural schools project ever hosted in the UK.
In Rotherham, we work with local partners to deliver a programme of activity with the aim of reaching every primary school in the region. The programme gives pupils aged 5-11 access to curriculum-linked lesson plans, in school workshops, the chance to see live performances at the Royal Opera House, and to participate in large-scale performance opportunities locally.
It features a collaboration with the Rotherham Music Service on a performance at Magna Science Adventure Centre in June 2024, with more than 1,400 primary school children performing alongside artists of the Royal Opera House in a unique celebration of art, learning and participation. The programme intends to support the creative confidence of teachers and young people in the run up to Rotherham being the first Children’s Capital of Culture in 2025.
Following on from the great legacy of ROH Bridge, we also launch ROH East, a dedicated new programme which works in Levelling Up for Culture schools across the East of England, building confidence of teachers and inspiring creativity of young people across Essex, Hertfordshire, Bedfordshire and North Kent. We also celebrate the tenth anniversary of Thurrock Trailblazer, which has delivered arts initiatives to almost 100,000 children and young people in 57 schools across the region to date.
At home in Covent Garden
Following this Season’s programme of work in support of Ukraine and those displaced by the war, we continue to work with the displaced Ukrainian community inspiring hope through the collective act of singing. This builds on work undertaken across the 2022/23 Season with the Ukrainian community in London. This included the Songs for Ukraine project, as well as dedicated performances from both The Royal Ballet and The Royal Opera, which helped to raise £450,000 for Disasters Emergency Committee’s Ukraine Humanitarian Appeal.
Young ROH goes from strength-to-strength in its third year, with 10,000 tickets made available to 16–25-year-olds for just £30. The scheme has helped attract younger audiences, which now make up the single largest audience group at the Royal Opera House. This programme sits alongside six whole house Schools’ Matinees, offered at a heavily discounted rate to state school children, and the Paul Hamlyn Christmas Treat, offering a specially-invited audience the chance to see The Nutcracker in our first ever relaxed performance on the Main Stage. We will welcome more than 10,000 young people up and down the country as part of this project.
147 events take place in Covent Garden including 16 free Live at Lunch performances and 40 Insights, offering a unique behind-the scenes look at our resident companies. Many of these are broadcast online for free. We also unveil our biggest programme of guided tours to date, offering 11 unique behind-the-curtain experiences which promise to build on the more than 50,000 tour guests we welcomed last Season. This includes high teas, a look at our second home at the High House Production Park in Thurrock, and curated histories of the Royal Opera House through the lens of Pride and International Women’s Day.
We unveil a host of thought-provoking free exhibitions and displays throughout next Season which bring our spaces to life and invite audiences to delve deeper behind the scenes. These include a celebration of the huge talent that was Maria Callas, celebrating the centennial of her birth, and a dedicated exhibition by photographer Mary McCartney who captured exclusive behind the scenes images of Wayne McGregor’s critically acclaimed ballet The Dante Project. There will also be commemorative displays of beautiful historical costumes including a celebration of the centenary of Nicholas Georgiadis who designed sumptuous costumes for Kenneth MacMillan ballets including Manon and Mayerling.
Nurturing Talent
We continue our efforts to offer new projects that develop future talent and drive diversity across both of our art forms and the industry. Following the success of our Pilot Orchestra Mentorship programme in 2022/23, we launch ‘Overture’ in partnership with Black Lives in Music, continuing to work with young musicians aged 18-25 from the global majority or other underrepresented backgrounds to provide essential mentoring tailored to the participants’ individual needs while enhancing skill sets, insight and training in the classical music field.
Over the Season, we run six more Creative Exchanges with community groups around London, providing a creative space for Royal Opera House artists and external participants to come together, share their experiences and create their own work inspired by ballet and opera stories.
Chance to Dance, our flagship programme aimed at giving primary school children from areas with limited artistic provision their first opportunity to engage creatively with ballet, expands to include five areas, and the Youth Opera Company, our in-house chorus of 50+ state school children, perform in two main stage productions: Cavalleria rusticana/Pagliacci and Carmen.
The Jette Parker Artists recruit an additional seven international artists to take their first steps on the international stage; and we welcome our biggest ever cohort of apprentices (15) into a range of departments across the organisation- including roles in costume, lighting, technical and production, IT, and marketing.
The Cellist_The Royal Ballet, ROH Covent Garden,
Choreography: Cathy Marston ,
The Cellist; Lauren Cuthbertson,
The Conductor; Matthew Ball,
The Instrument; Marcelino Sambe
Scenario; Cathy Marston and Edward Kemp,
Music;Philip Feeney,
Designer;Hildegard Bechtler,
Costume designer;Bregje van Balen,
Lighting designer; Jon Clark,
Alex Beard, Chief Executive of the Royal Opera House, said: “I am delighted to introduce our extraordinary 2023/24 Season – a Season packed with bold and exciting new work and much-loved revivals, alongside the biggest and most impactful programme of national learning work in our history.
“We make full use of our iconic Covent Garden home with a full schedule of daytime events, tours, exhibitions and artistic insights, and continue to secure the future of ballet and opera with our ongoing programme of talent development and innovative creative partnerships.”
Join us in person, watch in cinemas, via ROH Stream, or experience our work through programmes country wide. Tickets are from £9 across the Season.
The inquiry will see the Committee look at the Scottish Government’s Cultural Strategy, which focuses on what it calls a ‘place-based’ approach. The Committee will look at what this means for communities up and down the country and what barriers are in the way to developing local cultural activities.
Now the Committee want to hear from those who participate, attend or organise cultural activities in their local areas. It wants to find out what more needs to be done to support these activities and what difference they make to people’s lives.
Speaking as the inquiry launched, Committee Convener Clare Adamson MSP said: “Scotland has a rich cultural heritage and the very heart of that lies within our local communities. From community choirs to book clubs, local galas to theatre groups, there is a huge range of activities taking place each and every day.
“But these activities are not always easy to access or indeed organise, so we want to find out what support is needed to make these events happen. And importantly, where this support should come from.
“Culture enriches us all and this is especially true for our communities. Which is why we want to hear directly from those at the very heart of Scotland’s local communities.”
Questions the Committee is asking include:
What are the key factors that support you to attend or participate in cultural activities?
What support has there been in place to develop and grow cultural activities or events in your local area?
What needs to be in place to enable or to support a variety of cultural activities or events being organised and delivered in your local area?
Preparations are well underway for Celtic Connections, Europe’s premier folk and roots music festival, which launches in Glasgow next week.
This year marking its 30th edition, the 18-day event kicks off on Thursday 19th January, and features some of the world’s most celebrated musical artists in genre-defying spectacles and one-off collaborations.
Organisers and contributors are full steam ahead with arrangements for what is set to be a full-scale return and celebration of the Scottish music scene’s resilience in the face of adversity.
1200 musicians will take to the stage for 300 events at more than 25 venues across the city, with shows spanning traditional folk, roots, Americana, jazz, soul and world music from Thursday 19th January – Sunday 5th February.
Donald Shaw, Creative Producer for Celtic Connections, said: “It feels remarkable that in just a matter of days the 30th edition of Celtic Connections will kick off in Glasgow, celebrating all genres of music, a variety of world cultures, and bringing communities together from across the globe.
“A huge amount of work and preparation has gone into this year’s festival; it is testament to the strength and tenacity of the Scottish music industry, which has successfully overcome an incredibly tough period.
We are so appreciative of the musicians and artists who have contributed in all manner of ways to Celtic Connections over the past three decades, and we will pay homage to them throughout the 2023 festival, as well as looking forward towards a bright and hopeful future. We look forward to seeing venues full, artists doing what they do best and the musical community thriving right across the city in a week’s time.
Among the wall-to-wall shows taking place across the start of 2023 is a show-stopping performance from Irish six-piece contemporary ensemble NOTIFY, who celebrate their 10th anniversary at Saint Luke’s on Saturday 21st January, with special guests Caoimhe and Séamus Uí Fhlatharta. Support comes from The Canny Band, whose music fuses piano, diatonic button accordion and bodhrán.
On Wednesday 25th January, the Mackintosh Church will play host to Scottish folk singer, songwriter and ukulele player Claire Hastings and Welsh language singer, songwriter and musician Gwilym Bowen Rhys, along with Icelandic sibling trio Blood Harmony, who are making their unmissable Celtic Connections debut with their unique fusion of Nordic melancholic folk and Americana.
Elsewhere, Róisín Reimagined sees award-winning Irish singer Muireann Nic Amhlaoibh and the Irish Chamber Orchestra team up for an exciting new project that combines Muireann’s exceptional vocals with fresh orchestral arrangements of sean nós songs, breathing new life into the noble, classical music of 16th-19th century Gaelic Ireland.
The first time another national orchestra has played Celtic Connections, they will share the stage at Glasgow Royal Concert Hall on Wednesday 25th January, with Brìghde Chaimbeul, Ross Ainslieand Steven Byrnes, who will perform their new album LAS, a collaboration featuring tunes from France, Scotland, Bulgaria, Ireland alongside self-penned compositions.
On Friday 27th January, Afro Celtic Connections will see Saint Luke’s play host to Rise Kagona, the founder, lead guitarist and only remaining member of the mega-successful Zimbabwean rock band The Bhundu Boys.
Also on the bill is Diwan, who bring an exuberant fusion of funky mbalax and Afrobeat grooves, with undercurrents of ska, rock and Senegalese soul led by charismatic Senegalese singer Samba Sene and Chief Cheb, a celebrated African philosopher, poet storyteller and music teacher.
One of the most successful contemporary folk musicians from Finland, Maija Kauhanen will be combining her expressive voice with Finnish kantele and inventive percussion on Friday 27th January. She will perform at The National Piping Centre along with acclaimed traditional trio Oakes // Bews // Thorpe, and talented accordion player and composer Andrew Waite.
On Sunday 29th January, audiences at Drygate Brewery will be able to enjoy uplifting performances from Rozi Plain and Terra Kin. London-based folk musician Rozi Plain will perform tracks from her upcoming fifth LP, Prize, which continues to display her musical growth whilst retaining the home-grown intimacy and a familial warmth she is known for.
Local musician Terra Kin will present their debut EP Too Far Gone. Combining a love for jazz, ambient and folk music with a soft soulful voice, the resulting sound defies genres and is sure to delight audiences.
Malian husband-and-wife duo Amadou Bagayoko and Mariam Doumbia will bring their rich, radiant blend of desert blues, Afro-pop, rock, disco and hip-hop to Glasgow Royal Concert Hall on Wednesday 1st February.
Since their 2004 breakthrough album Dimanche à Bamako, produced by Manu Chao, the duo have grown a passionate international following, and have regularly appeared in Damon Albarn’s Africa Express and collaborated with Johnny Marr, Flea and David Gilmour as well as fellow African greats including Toumani Diabaté and Bassekou Kouyate.
The incredible wealth and breadth of talent on display doesn’t stop there. Saint Luke’s will also showcase the talents of Hen Hoose and Man of the Minch on Saturday 4th February. Founded by Tamara Schlesinger (aka MALKA), Hen Hoose are an all-female/non-binary songwriting collective, bringing together an array of artists from across the creative industries including Karine Polwart, Emma Pollock, Jayda and Elisabeth Elektra to produce groundbreaking new music.
Man of the Minch is the stage name of Pedro Cameron, who has become one of the most exciting names at the forefront of Scottish folk music. Performing tracks from his debut album, The Tide is at the Turning, with a full live band, he blends traditional Celtic sounds with personal and profound storytelling.
Also on Saturday 4th February, The Old Fruitmarket will host Rokia Koné’s first UK live performance of her debut album Bamanan, which was named as one of the New York Times Best Albums of 2022.
One of Mali’s most beloved and dynamic artists, Rokia will share the stage with the Togo All Stars, renowned for their spectacular live performances showcasing their distinctive blend of afrofunk and voodoo rhythms from the musical heart of West Africa.
BOYACK: BBC Radio Scotland cuts will be a massive hit for artists, audiences and our Scottish heritage’
Commenting on the open letter sent by members of the music scene to Angus Robertson regarding the BBC Radio Scotland cuts,Scottish Labour culture spokesperson Sarah Boyack MSP said:“The arts and culture sector is collapsing.
“These BBC Radio Scotland cuts will be a massive hit for artists, audiences and our Scottish heritage. This decision must be reversed given the perfect storm our artists and musicians are facing.
“The proposed cuts to Creative Scotland in the Scottish Government’s budget which were announced just before Christmas will also add to the huge pressures the sector is facing and are undermining the Scottish arts and culture industry putting jobs and livelihoods at risk.
“It’s difficult to avoid a “culture of doom” when the sector desperately needs urgent solutions but all we get is vague answers.
“We need urgent action to support our musicians from both the BBC and the Scottish Government.”
6 new recordings launched between January and April
The Royal Ballet: The Cellist, Romeo and Juliet and Sylvia
The Royal Opera: La traviata, Fidelio and Madama Butterfly
This New Year, the Royal Opera House will add six new performances to Royal Opera House Stream for audiences around the world to enjoy: The Cellist, Romeo and Juliet and Sylvia from The Royal Ballet; and La traviata, Fidelio and Madama Butterfly from The Royal Opera.
The new titles join a library of over 50 beloved productions and over 100 behind-the-scenes videos, giving audiences an opportunity to discover more by the artists they love, and watch world-class art wherever they are.
The year kicks off with a recording of Cathy Marston’s extraordinary one-act ballet The Cellist (2020).
The production – the choreographer’s first work for the Royal Opera House’s Main Stage – is a lyrical memoir of the momentous life of the cellist Jacqueline du Pré, whose brilliant career was cut short by the onset of multiple sclerosis at the age of 28.
Composer Philip Feeney incorporates music by Elgar, Beethoven, Fauré, Mendelssohn, Piatti, Rachmaninoff and Schubert into an exquisite score that is itself an homage to the cello. This multi award-winning production stars Royal Ballet Principals Lauren Cuthbertson, Marcelino Sambé and Matthew Ball.
On Thursday 19 January 2023, our latest revival of Verdi’s ever popular La traviata arrives on Royal Opera House Stream.
Richard Eyre’s production, with sumptuous belle époque-inspired designs by Bob Crowley, has long been a Royal Opera favourite, winning critical acclaim for its exquisite sets, lavish costumes, and unforgettably dramatic staging.
The performance (recorded in 2022) is sung by a truly international cast that includes Pretty Yende as Violetta Valéry, Stephen Costello as Alfredo Germont and Dimitri Platanias as Giorgio Germont.
February begins with the release of Tobias Kratzer’s production of Beethoven’s only opera, Fidelio (2020), with Music Director of The Royal Opera Antonio Pappano conducting a spectacular cast led by Lise Davidsen and David Butt Philip.
Then, on Valentine’s Day 2023, Romeo and Juliet will be made available. Kenneth MacMillan’s classic adaptation of Shakespeare’s play – set to Prokofiev’s iconic score and featuring evocative designs by Nicholas Georgiadis – has remained a firm favourite of The Royal Ballet’s repertory since its premiere in 1965, which was danced by Rudolf Nureyev and Margot Fonteyn.
The production offers dancers in the lead roles a wealth of opportunity for differing interpretations of the star-crossed lovers.
Two further new productions will be available from March: Frederick Ashon’s ballet Sylvia (2005), starring former Royal Ballet Principal Darcey Bussell and Guest Artist Roberto Bolle; and Puccini’s devastating opera Madama Butterfly (2022), conducted by Nicola Luisotti and sung by a stunning cast that includes acclaimed Italian soprano Maria Agresta as Cio-Cio-San, American tenor Joshua Guerrero as Lieutenant B.F Pinkerton, Spanish Baritone Carlos Álvarez as Sharpless, and English mezzo-soprano Christine Rice as Suzuki.
All Royal Opera House Stream productions come complete with extra wraparound material – interviews, masterclasses, rehearsal footage and more – giving audiences a unique behind the scenes insight into one of the world’s leading theatres.
Royal Opera House Stream currently hosts over 50 stunning works from The Royal Ballet and The Royal Opera, with highlights including Wayne McGregor’s The Dante Project, Katie Mitchell’s production of Handel’s Theodora, Frederick Ashton’s La fille mal gardée, Christopher Wheeldon’s The Winter’s Tale and Puccini’s Tosca.
In addition to the 100+ pieces of behind-the-scenes content already online, further features – ranging from rehearsal footage to interviews and masterclasses – will be made available across 2023 for subscribers to enjoy.
Join today to watch the world’s greatest performers, emerging talent, leading choreographers and trailblazing creative teams from the comfort of your own home. From family favourites and modern masterpieces to heartbreaking arias and passionate pas-de-deux, Royal Opera House Stream offers it all: truly transformative experiences for only £9.99 a month or £99 annually.
Whatever your interest – whether classical or contemporary – there’s a breadth of content for you.
New productions from March 2023 will be announced over the coming months.
