Prior to the Second World War, the Royal Opera House at Covent Garden was the home of ‘international’ opera (original-language performances, multinational casts, a cosmopolitan audience), and was an outlier in a country where ‘national’ opera (performances in English, predominantly British casts, ‘opera for the people’) was the norm. The theatre reinvented itself in 1946, launching a new national company that would perform in English and use unknown British singers. Within a short period of time, this modus operandi would fail. Focusing closely upon internal policy documents, this article examines how the company navigated a course between the two models, national and international, between 1946 and 1969. It found itself attempting to satisfy parties with diverging viewpoints: audiences who preferred international opera; the Arts Council, which demanded the company serve the nation; politicians who recognised opera as a tool of cultural diplomacy; competitor institutions overseas; and the public. The company had to strike a fine balance between two apparently contradictory imperatives: the need to consolidate its status as a key national institution, in order to justify public funding, while also establishing itself as a ‘transnational’ entity, projecting an image of British cultural confidence to those watching from abroad.