A decision that makes a mockery of campaign to expand audience

Last year, the Royal Opera House inaugurated its new extension, christening it “Open Up”. Intended to signify that the iconic British home of opera wanted to expand its narrow audience base beyond the hardcore devotees, it was meant to symbolise that the house is for everybody and not just an elite.

These good intentions, however, have been made a mockery of, after reports surfaced that the majority of tickets for the new production of Beethoven’s Fidelio have been sold to the Friends of Covent Garden before booking is open to the general public.

It is true that the Friends of Covent Garden are a very vocal and passionate minority and they are always complaining that they don’t get enough access to tickets for their subscription fee, but there can be no justification for giving them such extensive access at the expense of other opera lovers.

The whole thing is trying to placate the friends of Covent Garden who are constantly angry that they have paid an annual subscription and get only minimal benefits.

Obviously there is a balance to be struck here, as there is in Premier League football and test cricket.

It is perfectly reasonable that members are given a certain number of seats, but the fact that almost the entire house appears to have been handed over for all performances for this show is outrageous and baffling.

What is extraordinary is that the house would have no problem in selling these tickets to the general public. Why have they effectively confined the sales to their supporters? And how could Arts Council England – equally dedicated to opening up opera and ballet to the wider public – have allowed this to happen?

This is a public relations disaster. Not just for the Royal Opera House, but for opera in its entirety. It will give the impression that opera is a closed club and the excuse which will be given that one of the performances will be relayed in cinemas around the country really does not wash.

There is no substitute for being in the presence of the real thing.

Of course opera of the highest quality is enormously expensive to produce, but tickets for these performances, starring one of the world’s biggest box office draws, Jonas Kaufmann, are phenomenally expensive.

There is no doubt that Alex Beard, the CEO of the opera house, should be ashamed of himself for having permitted it.