Studs interviews David Diamond who is in Chicago for a concert at Thorn Hall. Diamond reflects on his family background and his exposure to diverse theater and movies of a variety of cultures that influenced his music. He explains his training and how he uses emotion and then structure to create his work. Studs and David discuss McCarthyism and its affect on performers and the personal affect it had in Diamond's life. The musical pieces are removed from this edited version of the original recording.

Studs interview with Mattiwilda Dobbs, first female and black to perform at La Scala. Dobbs describes her musical beginning as a child within a musical family in Atlanta, Georgia. She explains her training and professional background with various opera houses and theaters. The musical pieces are removed from this edited version of the original recording.

Studs interviews George Esteves, the director of the Chicago Chamber Choir. They discuss the musical numbers that the choir will perform in their Mother's Day concert. Dexter Bailey will accompany. Esteves reads the lyrics in Italian of "Ecco Mormorar L'Onde" a Torquato Tasso poem, and Studs reads it in English. Esteves also reads some lyrics of the "Contate Irene Kiesewetter" by Schubert Franz. Esteves shares how members of the choir are recruited. Esteves names all the soloist members of the choir.

Sir Geraint Evans discusses his career in opera. He also discusses his life in Wales and the Welsh language.

Sir Geraint Evans discusses opera and his time as a performer. Includes an in-depth discussion of the opera Peter Grimes.

Studs interviews Lukas Foss about his career as a classical composer and conductor. Foss talks about his work with the Milwaukee Symphony Orchestra. He reflects on how teachers influenced his career and how he learns from each orchestra that he works with. He shares his love for poetry and explains how he makes music from poems and uses "Thirteen Ways of Looking at a Blackbird," a poem by Wallace Stevens, to illustrate. They discuss how Foss composes and how it is very similar to the way Jazz is composed with improvisation.

Studs rebroadcasts an interview he did five years ago with George Flynn, composer and head of the music department at DePaul University. Flynn explains the creative part of his music and how worldly events such as the Vietnam War help him and other musicians like him, write their avant-garde music. Flynn defines some of his compositions that include: "Wound," "American Rest," and "Canal." He shares the people and events in his life from a teenager who have influenced his work.

Mirella Freni discusses her career, her colleagues, and opera.

Studs interviews John Eliot Gardiner about his career in baroque music and his background and interests. Studs announces that Gardiner is performing at Orchestra Hall in Chicago. Gardiner explains the instruments that his group uses and how they are different and capture the original sounds of pieces. He also describes the history and time period of baroque music. Gardiner explains various pieces that the choir performs such as Handel's "Israel in Egypt" and Henry Purcell's "King Arthur." The musical numbers are removed from this edited version of the original recording.

Oscar Ghiglia discusses studying under Andres Segovia and reviews different types of guitars and composers through history, including Weiss, Villa-Lobos, and Scarlatti. Music is played throughout: "Prelude, Fugue and Allegro in E-Flat Major, BWV 998 (Arr. for Guitar) : I. Prelude" composed by J.S. Bach, "Canarios (Air De Danse)","La Maja De Goya", "Fantasia in E-Minor" composed by S.L. Weiss, "Five Preludes, W. 419: No. 1 in E Minor (Andantino expressivo)" composed by Heitor Villa-Lobos, "Sonata In G, L.79" composed by Domenico Scarlatti, and "Tarantella, Op.