In the meantime, some ballet companies and an opera company began to receive C. E. M. A. support. The Sadler’s Wells Opera Company and Sadler’s Wells Ballet Company, for instance, began their association with C. E. M. A. in 1943. C. E. M. A. was also interested in plans stirring in 1944 and 1945 to reclaim the Royal Opera House, Covent Garden, as a national center for ballet and opera. I have pointed out how this great theatre in London, with a history dating back to the eighteenth century, was leased in 1944 by the international music firm of Boosey and Hawkes, who, in turn, rented it to the newly formed Covent Garden Opera Trust. The Trust, an autonomous body whose original chairman was Lord Keynes, is a non-profit body which devotes any profits it may make to Trust projects. Late in 1949, H. M. Ministry of Works succeeded Boosey and Hawkes as lessees, with a forty-two-year lease. The Arts Council, in taking over from C. E. M. A., inherited C. E. M. A.’s interest in using Covent Garden for national ballet and opera. The Council granted Covent Garden £25,000 ($70,000) for the year ended 31 March, 1946, and £55,000 ($154,000) for the following year. At the same time, it was granting Sadler’s Wells Foundation £10,000 ($28,000) and £15,000 ($42,000) in those years. The Covent Garden Opera Trust, in the meantime, had invited the Sadler’s Wells Ballet to move to Covent Garden from their famous ballet center, Sadler’s Wells. This it did, early in 1946, leaving behind another company called the Sadler’s Wells Theatre Ballet. Ninette de Valois continued to direct both groups. It was a year later the Covent Garden Opera Company gave its first presentation under the Covent Garden Opera Trust, and the two chief Covent Carden companies, opera and ballet, were solidly settled in their new home. The Trust continues to receive a grant from the Arts Council (£145,000 [$406,000] in 1949-1950), and it pays the rent for the Opera House and the salaries and expenses of the companies. So far as the ballet company is concerned, the Sadler’s Wells Ballet pretty well pays its own way, except for that all-besetting expense in ballet, the cost of new productions. The opera company requires relatively more support from the Trust grant, as it has re-staged and produced every opera afresh, not using any old productions. Moreover, the attendance for ballet is greater than that for opera. The aim of Covent Garden and its Administrator, David Webster, is to create a steady audience, and to appeal to groups that have not hitherto attended ballet and opera, or have attended only when the most brilliant stars were appearing. Seats sell for as little as 2s 6d (35¢), rising to 26s 3d ($3.67) and the ballet-and-opera-going habit has grown noticeably in recent years. It is interesting to note the audience for opera averaged eighty-three per cent capacity, and for the ballet ninety-two per cent.