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The deal brokered this week by the Scottish Arts Council between the Scottish Executive and Scottish Opera (p1) may bring about a cease-fire in the war between the Executive and the country’s artistic community but (without wishing to overstretch the metaphor) there are signs of a new front opening up at the National Galleries of Scotland (NGS) (p3).

Attempts there to meet the requirements of a demanding, interventionist Executive to deliver access, education events and a top quality, internationally-envied collection within a “static” budget, have proved impossible and the organisation’s finances are teetering on the brink. By taking a close look at itself before reaching crisis point, NGS is playing its part in preserving Scotland’s cultural status. Would that Scottish Opera had done the same.

Scotland is not alone in struggling to adequately support an artistic community expected to deliver both excellence and accessibility. However, in a relatively small country with a correspondingly small artistic community, operating in a piecemeal fashion is even less of an option than for larger neighbours. In response to the suggestion that the permanent chorus at Scottish Opera will be sacrificed to achieve organisational efficiency, Equity General Secretary Ian McGarry warns of a talent drain from Scotland, envisaging Scottish Opera being “…forced to bus in experienced choristers from London”. Although many non-professional choruses, such as the one that performs with the Scottish Chamber Orchestra (p10), can deliver undeniably high quality performances and provide an immense boost to the artistic economy, without a full-time professional chorus, can Scotland expect to retain its place at opera’s top table? Having said that, just how many choices does the company actually have, until the Scottish Executive finally views the cultural agenda as being a potential vote-winner, and commits to a level of investment that will secure its cultural heritage once and for all.