IF the audience isn't moved by w hat they see on stage, we haven't done our job properly.

That is the prediction of Alex Reedijk, general director of Scottish Opera, as he considers the exciting new season programme.

Kicking off with Carmen in October, with a strong cast led by Justina Gringyte and Noah Stewart, it includes much-loved favourites such as The Mikado, HMS Pinafore and Cosi fan tutte as well as the world premiere of The Devil Inside.

Alex describes it as "a balanced basket" of opera, with something for everyone, from newcomers to committed goers who attend every production.

"By that I mean not only titles that are separate and unique but also speak to each other," he explains.

"So if you came to all of them you would have a sense of what the company thought about itself. But we also try to make sure the productions this season have a relationship with the previous season and with the next."

He adds: "What underpins it is we try to specialise in fantastic music-making, singing and great story-telling. No matter who you are when you come to the opera, the thing that matters most is: has it sounded great and have you got what is going on on stage? Did you get the story?

"Each of the operas is full of passion, intelligence and emotion, and all sorts of human feelings and failings, strengths and weaknesses, but somewhere in all that you as a member of the audience should feel something for what we're trying to do on stage."

The new season showcases seven powerful operas, including a new production of Ariodante and Scottish Opera's first performance of Dvorak's Rusalka, conducted by newly appointed music director Stuart Stratford.

The numbers are impressive: 10 shows, two world premieres, six new productions and 111 performances in 46 venues across 41 towns over the next 12 months.

It could be a logistical nightmare, but the success of Scottish Opera is the fact that it excels at taking music to communities around the country.

From the stunning setting of its home at the Theatre Royal, Glasgow, with a new, beautifully designed foyer and curving staircase, nominated for four architectural awards, the company has a commitment to going out on the road. In the new season it will reach about 40 venues in far-flung destinations, from as far north as Kirkwall to Tarbert on the Isle of Harris and Stornoway to Castle Douglas and Kelso.

"We try to be really democratic in our delivery of opera all over Scotland," says Alex.

"The thing that matters to me is that we are Scottish Opera, it really matters. People in Orkney pay as much tax as us. Within the constraints available they are as much entitled to a professional performance as anyone else. We take that really seriously."

From sell-out shows at the Theatre Royal to tiny venues in remote parts of the country, an established education programme and a responsibility to nurture young artists, every link in the chain is meticulously planned.

New audiences can get their first taste of opera with free performances in the theatre on wheels, a refitted scenery trailer with a miniature stage that will visit festivals over the summer.

With the longest-established education and outreach programme of a European opera house, the company continues to thrive and constantly reach new fans of all ages.

"I think it is very important to bring people in at an early age because of the perception of an opera company and the kind of people who are associated with it; for a lot of people they wouldn't be interested in anything of that sort," comments music advisor Sir Thomas Allen.

"It is a policy that has been pursued by the company and I think it is extraordinary. You wouldn't normally imagine that kind of work went on."

This season's projects for younger audiences includes KidO, an interactive show for three to four year olds; ongoing visits to primary schools and a specially commissioned world premiere of The Cabinet of Dr Caligari by Scottish Opera's Connect Company, made up of young singers and players aged from 14 to 21 years of age.

"Connect Company was founded because I was conscious there were plenty of music making organisations for young people in Scotland but not one of them spoke to them about opera," says Alex.

"It ties in with our new work and commissions because just about every year we have to create new opera for those young voices because there is very little out there. That's part of where our commitment and our engine room of new work comes from."

Which completes the circle by bringing us to the Emerging Artists programme, which nurtures young talent through a period of full-time work.

Alex says he felt young singers were leaving Scotland to head to London or abroad and weren't as ready as they could be. This performance enhancement programme has grown from being just for singers to including a director, composer in residence and a costume cutter.

"I said to one of the girls in the programme recently, 'Have you any idea how lucky you are doing this?'," says Sir Thomas.

"What I meant was it is so easy to think that what you want to do is get on a young artist programme at one of big opera houses in one of the major theatres and sing a tiny role occasionally on stage.

"It is much better to get out touring and be in a big theatre one night and a little theatre or parish hall the next. The learning curve is so much steeper and more productive.

"There's a huge amount to be said for it. You learn how to deal with people in more difficult circumstances and get better artists as a result."

Stuart Stratford is looking forward to programming the popular orchestral concert series that previously took place at St Andrew in the Square in a new home in the Theatre Royal.

A purpose-build acoustic shell has been built to house the three-concert series, to be announced in September.

Commenting on the acclaimed design of the new foyer area, Stuart adds: "It opens up a new concert venue in Glasgow. It's a joy, you walk up the spiral staircase, it's a fantastic building to be in.

"It's brilliant for the orchestra to have an opportunity to get out of the pit, be centre stage and bring exciting new music to our opera audience."

A round of applause is due, and Alex should breathe a sigh of relief: Scottish Opera is doing its job exceedingly well.

Tickets go on sale from June 22. Visit www.scottishopera.org.uk for details.