An opera in three acts sung in the original English

First Broadcast Performance in this country

The action takes place in a mountain inn
ACT 1
A spring morning in 1910

THE title of Hans Werner Henze's Elegy for Young Lovers, this year's eagerly awaited Glyndebourne novelty, is also that of the poem which, at the end of the opera, the callous, egocentric Gregor Mittenhofer declaims on his sixtieth birthday before a distinguished audience.

But the words of the poem are never heard, for at this point W. H. Auden's and Chester Kallman's English libretto leaves the composer the task of realising it by purely musical means. Thus the opera culminates in a wordless sextet in which Mittenhofer's baritone vocalisations are joined by the unseen voices of the expendable humans who, throughout the opera, have circled in dutiful orbit around his poetic sun.

These comprise: Hilda (coloratura), a widow, the imagery of whose visions the poet uses in his work; Caroline (contralto), his titled, wealthy, and unpaid secretary on whom he sponges, materially and spiritually; Dr. Reischmann (bass), his equally devoted personal physician; and Elizabeth (soprano), the poet's young mistress.

The resisting satellite is Toni (tenor), the doctor's young son, who falls in love with Elizabeth. Tragedy-set in motion by Mittenhofer-overtakes the romance between the lovers, and inspires the Elegy.

The scene of the opera is set, in the early spring of 1910, at an inn in the Austrian Alps.

A review of books of verse recently published in the U.S.A. by Robert Creeley, J.V. Cunningham, Robert Francis, Galway Kinnell, Denise Leverton, John Logan, John Frederick Nims, Charles Olson, Anne Sexton and Gilbert Sorrentino with selected poems arranged and introduced by Donald Hall and read by Donald Hall, Marvin Kane, and Sylvia Plath

Mr. Hall rejects the view that 'possum walked backwards,' that T.S. Eliot betrayed the literary revolution in the 1920s by becoming a member of the English Establishment; but he believes that the widespread acceptance of this view helps to explain the division of contemporary American poets into academics and wild men, 'palefaces and redskins.'

Divertimento (K.439b No. 3)
Jost Michaels (clarinet) Hartmut Stute (clarinet) Albert Hennige (bassoon) on a gramophone record

An early Chinese story from Ballads and Stories from Tun-huang translated by Arthur Waley
Read by Michael Aldridge
Introduction by Arthur Waley Produced by David Thomson
: third broadcast followed by an interlude at 7.65 app.

ACT 2: Some days later

by Andrew Forge
Some reflections occasioned by the exhibition of paintings and drawings by Daumier at present on view in London at the Tate Gallery.
: second broadcast

ACT 3: Scene 1: The next morning Scene 2: A lecture hall, some time later

HENRIQUE MINDLIN , one of the architects engaged in the designing of Brasilia, talks with J. M. RICHARDS , Executive Editor of the Architectural Review, about some of the architectural and economic factors which have influenced this imaginative and spectacular creation of an entirely new capital for Brazil.
: second broadcast

A piano work in three movements played by Ronald Smith

The composer and title of the work will be announced after the performance.