An opera in two acts
Libretto by Lorenzo da Ponte
Music by Mozart
(sung in the original Italian)
Glyndebourne Festival Chorus
(Chorus-Master, Peter Gellhorn)
Royal Philharmonic Orchestra
(Leader, Arthur Leavins)
Conducted by John Pritchard (who also plays the continuo)

Act I
Scene 1: Outside the Commendatore's house in a Spanish town. Night
Scene 2: A street. Morning
Scene 3: The garden entrance to Don Giovanni's castle
Scene 4: A room in Don Giovanni's castle
Scene 5: Don Giovanni's garden
Scene 6: The ballroom in Don Giovanni's castle

Talk by Hugh Seton-Watson
Professor of Russian History at the School of Slavonic and East European Studies
Mr. Seton-Watson discusses the problem of German unity: how this problem is aftected by Eastern Europe, and how Germany's relations with her eastern neighbours have been transformed by the changes that have taken place in the last ten years in Eastern Europe.

The novel by Harold Acton
Adapted for radio and produced by Christopher Sykes
Others taking part:
Dorothy Black , Patience Collier Alexander Gauge. Olive Gregg Deryck Guyler. Carleton Hobbs
Julia Lang , Bryan Powley
Cyril Shaps , John Sharp
Roger Snowdon. Lewis Stringer
Ann Totten. Margot van der Burgh Marjorie Westbury , Ward Williams and Geoffrey Wincott
(Continued in next column)
Music composed and arranged by Norman Forber Kay played by a section of the BBC Northern Orchestra (Leader, Reginald Stead ) Conductor, John Hopkins

Acr 2
Scene 1: Outside Donna Elvira's lodging Scene 2: A courtyard in Donna Anna's house
Scene 3: A cemetery
Scene 4: A room in Donna Anna's house Scene 5: The supper room in Don Giovanni's castle

Talk by Otto Kahn-Freund
Professor of Law in the University of London
Professor Kahn-Freund considers to what extent the freedom to strike can or should be restricted bv legislation. He fears that many of the legal changes that have recently been suggested would only result in more unofficial strikes.

by Marjorie Mitchell

Talk by Sybil Wingate
The writer today has abandoned the public themes of the thirties in favour of the private theme, of which the Victorians were the great masters. The speaker believes there is a danger that instead of making a critical use of the past we shall merely furnish a certain number of ivory towers with the fashionable Victorian mahogany.