As our first guest in 2007, we were delighted to welcome Mr. Tony Hall, Chief Executive, Royal Opera House. The interviewer was Robin Key, newly appointed Chairman of the London Ballet Circle. Members were very appreciative of the fact that Mr. Hall was able to come and meet us, as he has many other commitments, apart from the Royal Opera House.

Robin began by noting that in many recent interviews given by Tony Hall, the present state of stability at the Opera House was mentioned, but as the Opera House is a dynamic artistic environment, perhaps too much stability might not be a good thing. Tony pointed out that financial stability is necessary in order to enable dynamic productions of world class ballet and opera. He thinks the emphasis on stability now may be a reaction to the time when the Opera House was closed for rebuilding and the future was uncertain. He stressed that his first care is about the art and what goes on to the stage. He has a dedicated team at the Opera House who is passionate about its work and all have the same aim in producing the very best. In April he will have been six years at the Opera House and what really matters to him is this artistic achievement.

Tony described his working relationship with Monica Mason and Tony Pappano, leaders of the ballet and opera teams. He emphasised the teamwork involved, with himself and the opera and ballet company directors coming together to discuss future productions and mutual co-operation in relation to works for the main stage and at the Linbury Studio Theatre. He outlined some of the problems of long-term planning, as the opera has a longer advance planning schedule than the ballet and compromises have to be worked out. He paid tribute to Monica Mason as a wonderful colleague and friend, who was appointed to her present position soon after his arrival at Covent Garden.

His relationship with the opera company is different from the ballet, because Tony Pappano has other commitments and divides his time between London and Rome. Meetings are arranged at short notice and Tony Hall spoke of the impact of Pappano's warmth and energy on the orchestra. Robin mentioned Pappano's thrilling ballet conducting, which he had wanted to do, even though it meant taking a very short holiday between engagements. Deborah Bull is also part of the team, with ideas for more use of the Linbury, Clore Studio and other parts of the house.

Tony then gave us some details of the current financial situation and funding at the Opera House. He had asked for increased funding for the Linbury and Clore to enable them to produce new work. He got an increase to cover new work in ROH2, but pointed out that the outlook is grim, as with all the arts, and he will continue to make the best possible case for funding, privately and publicly. However, he considers there is no better place to be than London at present for the quality of dance, music, opera, theatre and art and we have to make an argument to keep up these standards. Regarding ticket prices, he tries to balance cheaper prices against more expensive prices, for example by reducing prices for triple bills which bring in a new audience as well as the regulars. He then described some commercial development initiatives, which make money, such as catering, programmes, the shop, CDs etc., and he is working on ideas to increase this necessary source of income. Regarding fundraising, this has increased and he is indebted to many generous donors for sums large and small; some of whom have given very large donations, and he knows they wish to continue their support However, the problem of keeping world class talent at the Opera House continues, because the cost of providing the top stars in opera and ballet rises all the time. The right balance of repertoire between new work and classics has to be considered in future seasons, and he also pointed out that the cost of maintaining the building (now seven years old) is also increasing. Items such as replacement of ballet floors, stage equipment, exterior painting has had to be paid for. Robin asked if funding on the American system of private benefactors who get tax relief had been considered, and Tony said that it had, but the Government was not interested. Tax advantages for endowments are worth following up, but so far this idea has not found favour in the UK.

Tony went on to describe the management structure at the Opera House. Monica Mason and Tony Pappano plan their programmes and with him they work out if the Opera House can afford what they wish to do. He has final responsibility and is also responsible to the Board. He sees his job as enabling the ballet and opera companies to put on their programmes. Expense and funding have to be considered all the time regarding future productions. Tony has a range of responsibility covering marketing, finance, development and operation of the house. There are regular meetings to work out the schedules and any problems between the departments. He went into some detail about Monica Mason's role, as she has her own team of four who develop programmes and arrive at decisions. Ways of encouraging new choreographers were discussed and development of young artists - singers and dancers.

Education was then considered, with particular reference to "Chance to Dance". Tony described their work in primary schools in London boroughs, and the wonderful impact on the children made by Sarah Lamb and Martin Harvey on a school visit. There are school matinees of opera and ballet, and he would like more Big Screen live showings of opera and ballet in public places, such as Trafalgar Square, and around the UK. Television performances are very effective, though some members are not happy that many TV productions are on digital channels only. He has plans for recording more ballets, especially one-act ones, and is enthusiastic about the technical advances which will help bring ballet and opera to a wider public. Of course, the orchestra must be involved in live broadcasts and this will be discussed with their union.

The evening ended with many thanks from members to Tony Hall for such a frank and wide ­ranging interview, and especially for re-arranging his diary so that he could meet us after the previous unavoidable cancellation.