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: The English Opera Group presents 'LET'S MAKE AN OPERA'

An entertainment for young people
Libretto and radio version by Eric Crozier
Music by Benjamin Britten
(Characters in the play are given in roman type; characters in the opera, in italics)
The Children:
(Continued in next column)
The English Opera Group
Chamber Orchestra
(Leader, Hans Geiger )
Conducted by Norman Del Mar
Produced by Eric Crozier and Basil Coleman
The stage shortly before a dress rehearsal. Time: The Present


Unknown: Eric Crozier
Music By: Benjamin Britten
Leader: Hans Geiger
Conducted By: Norman Del Mar
Produced By: Eric Crozier
Produced By: Basil Coleman
Mr. Chaffinch (Black Bob, the sweep.;and Tom, the coachman): Norman Lumsden
Max Westleton (Clem, Black Bob's son; and Albert, the gardener): Max Worthley
Mrs Parworthy (Miss Baggott the housekeeper): Gladys Parr
Annie Dougall (Juliet Brook): Anne Sharp
Elisabeth Parrish (Rowan, nursery-maid to the Brook children): Pamela Woolmore
Sammie Fisher (Sam, the new sweep boy): John Moules
Gay Parworthy (Gay Brook, agedthirteen): Bruce, Hines
Sophie Stevenson (Sophie Brook, aged eleven): Monica Garrod
John Chaffinch: Peter Cousins
Johnnie Crome, aged fourteen: Brian Cole
Hugh Lark (Hughie Crome aged eight): Ralph Canham
Christina Chaffinch (Tina Crome,Hughie's twin): Mavis Gardiner


Lectures on the Christian faith reviewed by W. A. Whitehouse , Reader in Divinity, University of Durham


Reviewed By: W. A. Whitehouse


Part 2
The children's nursery at Iken Hall
January 1810
Scene 1: Mid-morning
Scene 2: Afternoon
Scene 3: Next day


by C. A. W. Manning
In discussing international issues, what do we mean by right and wrong? Professor Charles Manning , Professor of International Relations, University of London, enquires into the issues involved in moral judgments on international affairs.


Unknown: Charles Manning


An essay on the portrait of Goethe in the Campagna
Arranged for broadcasting and produced by Douglas Cleverdon
In his ' Italian Journey' Goethe frequently refers to the painting of his portrait by his indefatigable compatriot Johann Wilhelm Tischbein. When 'Quia Imperfectum' was written in 1918 Max Beerbohm was unaware that the finished portrait now hung in the Stadel Institute at Frankfurt, and allowed his fancy to play upon its possible inclusion in a gallery of unfinished masterpieces.


Arranged for broadcasting by/Producer: Douglas Cleverdon
Sir Max Beerbohm: James McKechnie
Johann Wolfgang von Goethe: Dennis Arundell


Gareth Morris (flute)
Edward Walker (flute)
Terence MacDonagh (oboe)
Leonard Brain (oboe) Donald Bridger (oboe)
(Continued in next column)
Cecil James (bassoon)
Dennis Brain (horn) Aubrey Brain (horn)
Maurice Clare (violin)
Lucille Wallace (harpsichord)
The Boyd Neel String Orchestra Conducted by Nadia Boulanger


Flute: Gareth Morris
Flute: Edward Walker
Oboe: Terence MacDonagh
Oboe: Donald Bridger
Bassoon: Cecil James
Horn: Dennis Brain
Horn: Aubrey Brain
Violin: Maurice Clare
Harpsichord: Lucille Wallace
Conducted By: Nadia Boulanger


Written and read by Stephanie Fone
This story was awarded a prize in the Third Programme competition earlier this year.


Read By: Stephanie Fone


Symphonic Studies played by Solomon (piano)


Played By: Solomon


A selection from his poetry
Readers, Phyllis Neilson-Terry and Barry Morse


Readers: Phyllis Neilson-Terry
Readers: Barry Morse

About this project

This site contains the BBC listings information which the BBC printed in Radio Times between 1923 and 2009. You can search the site for BBC programmes, people, dates and Radio Times editions.

We hope it helps you find information about that long forgotten BBC programme, research a particular person or browse your own involvement with the BBC.

Through the listings, you will also be able to use the Genome search function to find thousands of radio and TV programmes that are already available to view or listen to on the BBC website.

There are more than 5 million programme listings in Genome. This is a historical record of the planned output and the BBC services of any given time. It should be viewed in this context and with the understanding that it reflects the attitudes and standards of its time - not those of today.

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