by a Vice-President of the National Federation of Meat Traders' Association, Incorporated

In these days, when the prime cuts of home-produced meat are too expensive for many of us, it is of particular interest to hear from an expert exactly how we can reduce our weekly meat bills and yet obtain meals which are both nutritious and palatable.

Olive JENKIN (Soprano)
THE MADELINE MOONEY QUIN
TET

From the Hotel Cecil

2.0 2.25 (Daventry only) Experimental Transmission of Still Pictures by the Fultograph Process

HILDA SEABLE (Soprano)
LEo SHEFFIELD (Baritone)
Doris VEVERS (Violoncello)
RosA SPIER (Harp)

Conducted by ARNOLD EAGLE
From the Shepherd's Bush
Pavilion

Lady TREE Entertains

DEBUSSY'S SONGS
Sung by ANNE THURSFIELD (Soprano)
Ariettes oubliees (Forgotten ariettes) (Little songs)
(1888)
C'est l'extase langoureuse ('Tis the languorous ecstasy
11 pleure dans mon oteur (Within my heart I weep)
L'ombre des arbes (The Shade of the Trees)
Chevaux de bois (Wooden horses)
Green

AMONG the birds that come under Mr.
Massingham's close scrutiny this evening are the Tree-creeper that is so like the bark on which it searches for food that to the untrained eye it is invisible ; the gay little Nuthatch, sturdy and bright, that is such a ready visitor to the nut trees ; the elfin Wood-wren ; the brilliant and amorous Bullfinch ; the Long-tailed Tit that lives in flocks and haunts the wood edge, and the Woodpecker whose hammer-beat is like the pulse of the green wood where he lives. This is the fourth talk in Mr. Massingham's series, in which this well-known writer on Natural History is telling his own persona! impression of birds in their natural settings.

ALBERTO YOLONNINO (Tenor)
BEATRICE EVELLNE (Violoncello)
THE WIRELESS MILITARY BAND
Conducted by B. WALTON O'DONNELL

of music from the Opera, to be broadcast at 9.53 p.m.
BEFORE the third act of the Valkyrie is relayed from the Royal Opera House this evening, gramophone records chosen from the first and second acts are to be broadcast, with brief explanations of the points in the tale at which they occur. In this way, listeners who know the opera will be reminded of it sufficiently well to hear the third act as the culmination of the whole beautiful work, and those who are not familiar with it will, it is hoped, learn something of its beauty, and gain a more coherent sense of the story than would be possible if the third act broke in without any introduction.

( ' THE VALKYRIE )
ACT III
Relayed from The Royal Opera
House, Covent Garden ;
THE third act begins with the stirring ' Ride of the Valkyries' as the Warrior Maidens gather on their grim rook. It is one of the best. known extracts from the whole Cycle, and is indeed music which is well able to present its own picture without the aid of scenery. Each of the Valkyries has a slain hero across her saddle, whom she is bearing to ValhaUa, but when Briinnhilde, the last to come, reaches the rock, it is Sieglinde whom she is carrying. She hides Sieglinde in the forest, and then Wotan hastens to the crag, in angry pursuit of his disobedient daughter. The sisters plead with him to spare her, but he bids them go, and the last part of the act is a splendid duet between the god and Brunohilde. Gradually she recalls his former pride in her, and prevails on him to let her punishment be less severe than he had thought. She is to be laid to sleep on the summit of the rock with a great fire about her, so that none may come to her save a hero who knows no fear. The opera comes to an end with Wotan's splendid farewell as she is laid to sleep, the wonderful music of the fire blending with the other motives to form one of the finest of all Wagner's conceptions.

The Piccadilly Players, directed by Al Starita, and the Piccadilly Hotel Dance Band, directed by James Kelleher, from the Piccadilly Hotel