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[N this series Mr. Stobart and Miss Somerville will illustrate the history of that very attractive branch of poetry-narrative-in its various forms, from the time of the Iliad to the poetry of today. Tho Odyssey and the Æneid, the Canterbury Tales, Paradise Lost, the Faerie Queene , the lays of Scott and Macaulay, the Ancient Mariner and Kubla Khan --these are some of the famous poems that will be included in their list.

A CENTRIFUGAL tendency distinguishes the intelligent theatre of today, and the drama-lover who has learnt to forsake the West End for the suburbs and the provincial centres now begins to find that even the village has something to contribute to the progress of the art. The amateur spirit, of course, thrives there as nowhere else. In this series of talks
Mrs. Penelope Wheeler , who has had much experience of village play production, will pass on some useful advice to those intending to follow in her footsteps, dealing with all sorts of points, from the choice of a play to stage decoration, and from authors' fees to tho niceties of production.

GWEN KNIGHT (Soprano)
The HENRY BRONKHURST TRJO :
JULIUS ROSTALL (Violin)
EDWARD .T. ROBINSON (Violoncello)
HENRY BRONKHURST (Pianoforte)

TRIO Trio in E Flat, Op. 1, Xo. 1 - Beethoven (1) Quick; (2) Slow, in a singing style; (3) Scherzo ; (.1) Finale-Quick
4.25 GWEN KNIGHT Das Wandorn (A-Roaminu) - Schubert
Wobiii (Whither ?) - Schubert
Der Xeugierige (The Inquisitive One) - Schubert
Trockene Blumen (Faaed Flowers) - Schubert
4.35 HEXRY BRONKHURST Musieal Moment, No. 3, in F Minor - Schubert
Impromptu, No.4, in A Flat - Schubert
4.48 GWEN KxiGHT Gretchen am Spinnrade (Margaret at the spinning wheel) - Schubert
Du'bist die Ruli' (Thou art my rosl) - Schubert
Lied der Migiton (Mignon's Song) - Schubert
Rastlose Liebe (Love's unrest) - Schubert
4.58 HENRY BRONKHURST Trio Phantasy Pieces for Piano, Violin and Violoncello. Op. 58 - Schumann Romance ; Humoresque ; Duet; Finale

HOW much do you know ? That seems to be the question that most people are trying to answer nowadays. This evening's broadcast will not disclose your lack of knowledge of the fauna of Somaliland or the name of the mother .of the king who never smiled again, but it will probe your acquaintance with the English poets.
Listen to 'the parodies that will be read over the microphone ; make your guess at the poet at whom the parodist aimed ; and, instead of turning to page 3 for the correct answer, wait to hear them broadcast at the end.

An Opera in Threo Acts
By MONTEVERDI
Revised by VINCENT D'INDY

The Story of the Opera.

We count Monteverdi (1507-1643) as one of the greatest forces in Opera. He was a keen. fine thinker, and bold experimenter, in the days when opera was just coming to light - about the turn of the sixteenth and seventeenth centuries. He was both a summer-up of other people's styles and a maker of new. In dramatic effect (especially the power to depict scenes of deep feeling) and in his striking ideas about the use of the Orchestra, Monteverdi stands out above his contemporaries.

In 1613 he was appointed master of the music at St. Mark's, Venice, and there, were he had voices and instruments at command, he settled, to pursue in comfort his experiments in the composition of Opera. Some of the works of this most fruitful period are lost. The Oxford University Opera Club has recently revived Orpheus and The Coronation of Poppæa.

The Return of Ulysses to his Native Land came out in 1642. Its libretto was by Badoaro.

The work in the new edition made by d’Indy, is cast in three Acts, split up into.a number of short scenes.

Act I.

Scene I.—In Ulysses's Palace. Penelope (Soprano) laments the loss of her husband Ulysses, who has for years been absent. The nurse, Kurykleia (Mezzo-Soprano) tries to console her. Now there is interpolated a charming love scene between Melantho (Soprano), Penelope's attendant, and her swain Eurymachos (Baritone).

Scene 2.-On the coast of Ithalca. A number of Phæacians leave Ulysses (Baritone), who has been shipwrecked, upon the shore. To him comes Minerva (Soprano) in the guise of a shepherd. He does not know where he is, but soon recognizes the goddess who promises him that, disguised as an old man, he shall see what trouble has come to his wife (who is wooed by a number of presumptuous suitors of whose presence she cannot rid herself).

Act II.

Scene 1. — In Eumœus's grove. Eumæus (Tenor), a swineherd, a faithful old retainer of Ulysses. He is discovered alone, reflecting on his happy, free life in the open air. Iros (Tenor) comes in. He is the gluttonous 'sycophant' who plays jester for the amusement of Penelope's suitors.

Now enters Ulysses, disguised. Eumœus welcomes him for what he seems to be - a poor old man. Ulysses delights the swineherd by telling him that his master still lives, and will come to his own again.

Scene 2. — On Telemachos's Ship. Telemachos (Tenor) is Ulysses's son. Minerva is guiding his ship homeward.

Scene 3. — In Eumœus's Grove. Telemachos arrives in Ithaka, and is welcomed by Eumœus, who tells him of the old man's prophecy - that Ulysses shall come to the rescue of Penelope. When the swineherd has gone, Ulysses reveals himself to Telemachos. and sends his son to the palace to tell his mother that soon the King of Ithaka will be at hand.

Scene 4. - In the Palace of Ulysses. To Penelope who is being pestered by some of her suitors — Antinoos (Bass), Amphinome (Baritone), Pisander (Tenor), and others. Eumœus brings the tidings of the coining of Telemachos and the news of Ulysses. The suitors take counsel on this threat of danger. They determine to try if riches will tempt Penelope to yield.

Act. III.

Scene 1. — Under the Portico of Ulysses's Palace. Antinoos rebukes the swineherd for bringing the old beggar man to the palace. Iros, the jack-in-office pipes up too and bids him be gone. Ulysses answers him roundly. Penelope enters, in time to see a wrestling bout between the two, in which Iros is beaten.

Now Pisander, Amphinome, and Antinoos tempt Penelope with jewels. She, temporizing, promises to wed whichever shall win a shooting match, using Ulysses's bow (which, she hopes, none of them will be able to bend). They, with many fine words, attempt to handle it, but fail. The disguised Ulysses asks to be allowed to try. He does so, and draws the bow, making good use of it by transfixing the suitors with successive arrows.

Scene 2. — In Ulysses's Palace. Gluttonous Iros laments the death of the suitors, because he can never more feast as he used to. He decides to kill himself rather than forego his feasting.

Scene 3. — In the Palace. Penelope still doubts Ulysses's coming, but her husband succeeds in convincing her that it is indeed he who stands before her and the Opera ends with the moving joy of their reunion.

2LO London

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This data is drawn from the Radio Times magazine between 1923 and 2009. It shows what was scheduled to be broadcast, meaning it was subject to change and may not be accurate. More