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BBC: New strategy for Classical Music prioritises Quality, Agility and Impact

Nic Robinson said:
Not at all. An hour of top BBC drama costs the fat end of a million. Between them, drama and news cost some 3/4 Billion a year. Are you suggesting that this crucial institution should get into bed with corporates for a tiny fraction of that?
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If it's the only way they're going to get money to keep going, why not?
 
Seeker_UK said:
If it's the only way they're going to get money to keep going, why not?
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Because the BBC is (for now) a Public Service Broadcaster, financed from a single pot of revenue, collected through the license. There are many brilliant choral groups which rely on corporate sponsorship, charities etc. But all of the (many) experts in the field I know consider the BBC Singers to be uniquely suited to what it does. I think a lot of this is due to its funding model.
 
Nic Robinson said:
Because the BBC is (for now) a Public Service Broadcaster, financed from a single pot of revenue, collected through the license.
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Sorry, Nic, that's not true. The BBC already receives advertising revenue (https://www.statista.com/statistics/1310351/bbcs-advertising-income-uk/) and conducts some commercial activity (https://www.bbc.com/aboutthebbc/whatwedo/commercialservices)

Nic Robinson said:
There are many brilliant choral groups which rely on corporate sponsorship, charities etc. But all of the (many) experts in the field I know consider the BBC Singers to be uniquely suited to what it does. I think a lot of this is due to its funding model.
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I don't disagree. Although I hate choral music, and would rather my licence money went on "Top Gear" and "The Cleaner" (;)), it's part of an essential service to provide cultural sustenance to the UK. My point was, that if this is not up for debate and money will be withdrawn, then it would be a real shame to lose it just on a matter of principle of "publicly funded or nothing". If money has to go, then I would rather it went where public funding was most important - I see there being less of an issue with a sponsored choral group or orchestra than, say, the News brought to you by NewsCorp or similar.
 
Seeker_UK said:
Sorry, Nic, that's not true. The BBC already receives advertising revenue (https://www.statista.com/statistics/1310351/bbcs-advertising-income-uk/) and conducts some commercial activity (https://www.bbc.com/aboutthebbc/whatwedo/commercialservices)



I don't disagree. Although I hate choral music, and would rather my licence money went on "Top Gear" and "The Cleaner" (;)), it's part of an essential service to provide cultural sustenance to the UK. My point was, that if this is not up for debate and money will be withdrawn, then it would be a real shame to lose it just on a matter of principle of "publicly funded or nothing". If money has to go, then I would rather it went where public funding was most important - I see there being less of an issue with a sponsored choral group or orchestra than, say, the News brought to you by NewsCorp or similar.
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As I understand it, the commercial arm (BBC Studios) is largely separate and only contributes a small amount back to the Public Service (10% maybe?). I think it is very much up for debate. We shall have to see if the BBC decides to forge ahead.
 
Nic Robinson said:
As I understand it, the commercial arm (BBC Studios) is largely separate and only contributes a small amount back to the Public Service (10% maybe?). I think the issue of the Singers is still very much up for debate. We shall have to see if the BBC decides to forge ahead.
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Nic Robinson said:
As I understand it, the commercial arm (BBC Studios) is largely separate and only contributes a small amount back to the Public Service (10% maybe?). I think it is very much up for debate. We shall have to see if the BBC decides to forge ahead.
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The amounts don't matter - that UK public services receives funding money from the commercial arm activity means that commercial sponsorship for a BBC entity is not novel, and a reasonable approach if no other sources of public money are made available.
 
Seeker_UK said:
The amounts don't matter - that UK public services receives funding money from the commercial arm activity means that commercial sponsorship for a BBC entity is not novel, and a reasonable approach if no other sources of public money are made available.
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I don't think you understand how it works. It's not sponsorship, the Corporation is commercially exploiting assets in this case. What money the BBC feeds back goes into the general pot. Which other part of the BBC's Public Service offer is sponsored in the way you propose?
 
Sue Pertwee-Tyr said:
So, keep the licence fee, but reform the BBC and remove the role of government, any government, from any oversight mechanisms.
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Absolument.

Saw the BSO recently at Saffron Hall performing a four part set including Dvoraks no8 symphony. Marvellous spectacle and sound. It was a sell out at £90 a ticket so I presume they are at least partly self funding.
 
In light of ACE's recent bombshell which has destroyed ENO in London and created an existential crisis for Britten Sinfonia, I can't see the orchestra cuts being reversed, sadly.
 
PE has in the recent past been reporting what could be called 'self harm' happening at the ENO. Before the 'cuts' threat showed up from the Arts funders. However since I live far from London I can't tell what has gone on more directly.
 
Jim Audiomisc said:
PE has in the recent past been reporting what could be called 'self harm' happening at the ENO. Before the 'cuts' threat showed up from the Arts funders. However since I live far from London I can't tell what has gone on more directly.
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And to be fair, I have heard similar. It's BS I weep for. They have tried so hard to being music to the communities in East Anglia.
 
gavreid said:
Dreadful! My uncle used to conduct the ENO for a while under Charles Groves in the 70s.
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I cut my teeth on Opera at the ENO in the 80s. Orpheo et Euridice with sets by Gerald Scarfe. Jonathan Miller’s 50s New York mafia Rigoletto, Carmen, Cavalleria Rusticana. I’m going back nearly 40 years after the first time, for Akhenaten in a couple of weeks time. What ENO does is priceless- bringing world class Opéra performed in English for young audiences perhaps for their first time.
 
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