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Amahl and the Night Visitors was the first opera to be commissioned especially for television and was premiered in 1951. With this well-crafted setting by Lloyd Conley, string orchestras can enjoy the...

Amahl and the Night Visitors was the first opera to be commissioned especially for television and was premiered in 1951. With this well-crafted setting by Lloyd Conley, string orchestras can enjoy the...

Amahl and the Night Visitors was the first opera to be commissioned especially for television and was premiered in 1951. With this well-crafted setting by Lloyd Conley, string orchestras can enjoy the...

Amahl and the Night Visitors was the first opera to be commissioned especially for television and was premiered in 1951. With this well-crafted setting by Lloyd Conley, string orchestras can enjoy the...

Amahl and the Night Visitors was the first opera to be commissioned especially for television and was premiered in 1951. With this well-crafted setting by Lloyd Conley, string orchestras can enjoy the...

Amahl and the Night Visitors was the first opera to be commissioned especially for television and was premiered in 1951. With this well-crafted setting by Lloyd Conley, string orchestras can enjoy the...

Amahl and the Night Visitors was the first opera to be commissioned especially for television and was premiered in 1951. With this well-crafted setting by Lloyd Conley, string orchestras can enjoy the...

Amahl and the Night Visitors was the first opera to be commissioned especially for television and was premiered in 1951. With this well-crafted setting by Lloyd Conley, string orchestras can enjoy the...

Although fairly brief in duration, this exciting overture features plenty of power and musical depth. Originally a work for brass quintet, it wasn't until many years later that the full band version t...

In its original scoring, this Overture to Lysistrata--drawn from its heroine's first cabaletta, its second lady's aria of longing, and the raucous finale of the first act--already saluted the wind orc...

In its original scoring, this Overture to Lysistrata--drawn from its heroine's first cabaletta, its second lady's aria of longing, and the raucous finale of the first act--already saluted the wind orc...

In its original scoring, this Overture to Lysistrata--drawn from its heroine's first cabaletta, its second lady's aria of longing, and the raucous finale of the first act--already saluted the wind orc...

In its original scoring, this Overture to Lysistrata--drawn from its heroine's first cabaletta, its second lady's aria of longing, and the raucous finale of the first act--already saluted the wind orc...

In its original scoring, this Overture to Lysistrata--drawn from its heroine's first cabaletta, its second lady's aria of longing, and the raucous finale of the first act--already saluted the wind orc...

In its original scoring, this Overture to Lysistrata--drawn from its heroine's first cabaletta, its second lady's aria of longing, and the raucous finale of the first act--already saluted the wind orc...

In its original scoring, this Overture to Lysistrata--drawn from its heroine's first cabaletta, its second lady's aria of longing, and the raucous finale of the first act--already saluted the wind orc...

In its original scoring, this Overture to Lysistrata--drawn from its heroine's first cabaletta, its second lady's aria of longing, and the raucous finale of the first act--already saluted the wind orc...

In its original scoring, this Overture to Lysistrata--drawn from its heroine's first cabaletta, its second lady's aria of longing, and the raucous finale of the first act--already saluted the wind orc...

In its original scoring, this Overture to Lysistrata--drawn from its heroine's first cabaletta, its second lady's aria of longing, and the raucous finale of the first act--already saluted the wind orc...

In its original scoring, this Overture to Lysistrata--drawn from its heroine's first cabaletta, its second lady's aria of longing, and the raucous finale of the first act--already saluted the wind orc...

In its original scoring, this Overture to Lysistrata--drawn from its heroine's first cabaletta, its second lady's aria of longing, and the raucous finale of the first act--already saluted the wind orc...

In its original scoring, this Overture to Lysistrata--drawn from its heroine's first cabaletta, its second lady's aria of longing, and the raucous finale of the first act--already saluted the wind orc...

In its original scoring, this Overture to Lysistrata--drawn from its heroine's first cabaletta, its second lady's aria of longing, and the raucous finale of the first act--already saluted the wind orc...

In its original scoring, this Overture to Lysistrata--drawn from its heroine's first cabaletta, its second lady's aria of longing, and the raucous finale of the first act--already saluted the wind orc...

In its original scoring, this Overture to Lysistrata--drawn from its heroine's first cabaletta, its second lady's aria of longing, and the raucous finale of the first act--already saluted the wind orc...