For parents on Anglesey, it is a very special school indeed. “Any addition to the landscape of intelligent programmes is good news for all of us – programme-makers and arts fans alike,” Hadlow says. “Although, as channels, we are not direct rivals, it’s a development we will watch closely: any different competition sharpens the mind.”Whether Sky stays true to its pledge not to dilute the Artsworld formula as it strives to broaden its appeal remains to be seen. But Hambley, who is no longer directly involved in the channel, is optimistic. “It was always our ambition to make Artsworld more widely available as part of Sky’s basic tier,” he says. “And it was inevitable, even though our backers had deep pockets, that we would need an injection of cash from elsewhere, or else end up bumping along the bottom. “This sort of involvement is a great way for Artsworld to source new material that works well in between longer programmes such as ballets or plays,” Cassy says.Sky’s upgraded commitment to Artsworld was welcomed by a number of leading arts figures, including ENO’s artistic director and chief executive, Sean Doran, and the controller of BBC4, Janice Hadlow.

After this week’s announcement, Cassy is planning further commercial partnerships – especially with arts organisations outside London. “Looking ahead, one of the most exciting prospects is the development of creative initiatives in partnership with arts organisations, to grow their audiences by getting their arts out into a bigger arena,” he explains.Last weekend, for example, Artsworld staged and recorded a series of Q&A sessions with authors at the Althorp literary festival, which it will use as short programmes. “Our vision is to bring the best of the arts to a wider audience,” he says.Under a new initiative called Sky Seats, ENO – which Sky/Artsworld is sponsoring for £3m over three years – is selling 12,000 dress circle tickets for just £20 each, a £25 saving. “Its distinctive schedule will enrich Sky’s channel package and support our drive to bring a wider choice of viewing to even more customers.”Sky, a non-investment partner at launch and 50 per cent shareholder since 2003, sees Artsworld as a highly aspirational channel for Sky subscribers. Which is why it is quick to stress that although it is keen to broaden the channel’s reach, it is in no hurry to dilute its programming.

“It will remain a dedicated arts and cultural channel, entirely focused on providing high-quality, distinctive programming,” a company spokesman insists.Interest in the arts is growing, and for a significant proportion of the viewing public, having an arts channel as part of Sky’s basic, family package, rather than as a premium add-on, might make the difference in their decision whether to subscribe to Sky, he adds.Cassy points to Sky and Artsworld’s joint sponsorship of English National Opera and English National Ballet as proof of Sky’s on-going commitment to the arts. There’s a weekly ballet, and modern dance has a high profile, along with literary documentaries, world film and theatre.Audience numbers and advertising revenue have always been modest. Current estimates put the total number of Artsworld subscribers in the low hundreds of thousands – exact figures are not published. And with just two and a half minutes of advertising carried each hour, commercial revenue is limited – to say the least – in comparison with the channel’s costs.Even so, Artsworld has an important strategic role to play in the plans of Sky’s chief executive, James Murdoch, to change perceptions of Sky among potential subscribers and politicians. “Artsworld occupies a unique space in television broadcasting,” Dawn Airey, managing director of Sky Networks, explains. Extensive opera coverage includes a weekly performance – this week, the 2002 La Scala staging of Saint-Sa?’s Samson and Delilah, starring Placido Domingo.