 In the first decade of the 21st century WNO gave more than 120 performances a year , with a repertoire , generally , of eight full @-@ scale operas . Its regular audience figures totalled over 150 @,@ 000 annually , in ten principal venues , three of them in Wales and seven in England . During this period the company was criticised for being <unk> Welsh . A local politician , Adam Price , said that WNO ought to have a Welsh musical director ; Alun <unk> said in 2004 , " WNO has put on perhaps four or five Welsh operas over 20 years . ... They just seem to have an anti @-@ Welsh music bias . I am sad that they do not do something for Welsh composers , especially young ones . " A more positive view of WNO came from Scotland , where the two main newspapers , The Scotsman and The Herald , greeted a visit from the company in 2005 with enthusiastic praise , contrasting the flourishing of opera in Wales with its neglect by politicians in Scotland and the consequent decline of Scottish Opera . In 2010 WNO commissioned <unk> <unk> <unk> ( " Word on <unk> " ) , by <unk> ap <unk> and <unk> <unk> , with words in Welsh , described as " a contemporary story about Wales today ... inspired by the translation of the Bible " . 
