From the Operas
The Berlin State Opera Orchestra, conducted by Max von Schillings:' Overture, Euryanthe (Weber)
Florence Austral (soprano) : Ocean, thou mighty monster (Obcron) (Weber)
Gheradi Franci (soprano) : Dunque io son, tu non m'ingani ? (The Barber of Seville) (Rossini)
Conchita Supervia (mezzo-soprano) :
Aria and Rondo Finale (La Cenerentola) (Rossini)
The Berlin State Opera Orchestra, conducted by Alois Melichar : Helge Roswaenge (tenor) : Selection, Les Huguenots (Meyerbeer)
Galli-Curci (soprano) : Shadow
Song (Dinorah) (Meyerbeer)
Members of The St. Gervais Chorus and The Concerts Pasdeloup Orchestra, conducted by Pierre Coppola : Soldiers' and Students' Chorus (The Damnation of Faust) (Berlioz)
The Berlin Philharmonic Orchestra, conducted by Julius Kopsch : Overture, Beatrice and Benedict (Berlioz)
The Third Edition of his
Compered by EDDIE POLA
See the short article by Eddie Pola , which forms this week's ' Background to the Broadcast' on page 611
'America Calling ' was broadcast in the National programme last night
(Led by LAURANCE TURNER )
Conducted by JOSEPH LEWIS LUCY SCOLLICK (pianoforte)
The four little numbers which have been arranged for orchestra by Haydn Wood for the first time, are part of the late Sir Edward Elgar 's ' Seven Lieder '. They were some of his earlier compositions, but the fact that they have lived through so many years, proves that they were the first of his really good work. The song ' Like to the Damask Rose ' has, of course, become a classic, and is one of the few Elgar songs that are used on practically all recital programmes. We understand that the songs were published very reluctantly by one firm in the early 'nineties, but were later taken over by the present publishers, who realised their worth. These orchestral transcriptions, made with loving care by a great admirer of Elgar's, may be said to be Haydn Wood 's ' Homage to Elgar'. '.
Alexandre Charles Lecocq was born just over a century ago and lived to within' a few days of the Armistice. But excepting for occasional performances of his most popular operetta, La Fille de Madame Angot , he is a practically forgotten composer. In his day, however, some fifty or sixty years ago, he was, even in England, one of the most successful operetta composers on a stage that almost idolised Offenbach and Johann Strauss.
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