Audioscripts IELTS Practice 18 Listening Test 04

Part 1

You will hear a man from a recruitment agency phoning a woman about a job vacancy at a hotel.

First, you have some time to look at questions 1 to 5.

(pause)

Now listen carefully and answer questions 1 to 5.

Agent: Good morning. Is that Sarah Miller?

Sarah: Yes, speaking.

Agent: Hi Sarah, this is David from Top Job Agency. You registered with us last week for administrative or front-of-house roles?

Sarah: Oh, yes, hello David.

Agent: Well, good news. A position has just opened up that I think would be perfect for you.

Sarah: Oh, really? What is it?

Agent: It’s a position for a Hotel Receptionist. I see from your file you have some experience in customer service?

Sarah: Yes, I worked in a department store for three years while I was studying.

Agent: That counts. Now, this hotel is the Carlton Hotel. It’s located in the suburbs, so the commute should be easy for you.

Sarah: Where exactly is it?

Agent: It’s on Winslow Road.

Sarah: Sorry, could you spell that?

Agent: Sure. It’s W-I-N-S-L-O-W. Winslow Road. It’s just off the main highway.

Sarah: Okay, got it. And what does the job actually involve? Just checking people in and out?

Agent: Mainly, yes. But it’s a small team, so you’d have a few other responsibilities. You won't have to do any cleaning, they have staff for that, but you will be dealing with guest enquiries, of course.

Sarah: That’s fine.

Agent: And you would also be responsible for managing bookings. That means taking calls and replying to emails from people who want to reserve rooms.

Sarah: I’ve done similar things before.

Agent: Good. One other specific duty they mentioned is handling payments. You’ll need to process credit cards and cash when guests leave.

Sarah: Okay, I’m comfortable with numbers.

Agent: Excellent. Now, I thought of you because they were very specific about the kind of person they want. They know you might not have hotel experience specifically, but they loved the fact you worked in retail.

Sarah: Oh, did they? My time at the department store?

Agent: Yes. They feel that retail experience gives you the right attitude for customer care.

Sarah: That’s good to know. Do they need someone really energetic?

Agent: Well, it can be a stressful environment, especially when there’s a queue of people waiting. So what they really need is someone who is patient.

Sarah: I think I am. You have to be patient when you have two teenagers at home!

Agent: I can imagine. They also want someone who is well-presented, obviously.

Before you hear the rest of the conversation, you have some time to look at questions 6 to 10.

(pause)

Now listen and answer questions 6 to 10.

Agent: Now, let's talk about the contract. Are you still available to start immediately?

Sarah: Yes. Is it a permanent role?

Agent: I need to make you aware that this isn't a permanent role. It is a temporary position to cover a staff member who is going on maternity leave.

Sarah: Oh, I see. How long is the contract for? A full year?

Agent: No, the contract is for 6 months initially.

Sarah: That actually suits me fine. I’m planning to go back to university next year anyway.

Agent: Perfect. Now, the shifts. It involves early starts.

Sarah: How early?

Agent: The morning shift starts at 6.30.

Sarah: 6.30 am? I thought it might be 7:00. That is early. But... yes, I can manage that. My husband can take the kids to school. What time does it finish? Around 3:00 pm?

Agent: Actually, it finishes at 2.30 pm. So you’d have the afternoon free.

Sarah: That sounds okay.

Agent: One final thing. Do you drive? Because the train service isn't great that early in the morning.

Sarah: Yes, I do. Is there a charge for parking?

Agent: No, the hotel provides free parking for all staff members.

Sarah: Oh, that’s a relief. Paying for parking every day would cost a fortune.

Agent: Exactly. So, shall I arrange an interview for you?

Sarah: Yes, please!

That is the end of part one. You now have one minute to check your answers to part one.

Part 2

You will hear a volunteer guide talking to a group of tourists visiting the Old Railway Station Arts Centre.

First, you have some time to look at questions 11 to 14.

(pause)

Now listen carefully and answer questions 11 to 14.

Guide: Good morning everyone, and a warm welcome to the Old Railway Station Arts Centre. I know many of you are visiting the town for the first time, so before you look around, I’d like to give you a brief history of this beautiful building and tell you what’s available today.

So, as you can see from the architecture, this isn't a modern building. It was originally constructed in 1895 to serve the booming coal industry in the region. It functioned as a busy passenger and goods station until 1965, when the line was closed. For a long time, it sat empty and started to fall apart, and there were plans to demolish it to build a supermarket. But luckily, a local historical society saved it in 1998, and after extensive renovations, it finally reopened as an Arts Centre in 2012.

Regarding access, the centre is now owned by the City Council. Please note that while the ground floor galleries and the outdoor sculpture park are fully open to the public, the upper floor—which used to be the Station Master’s house—is now rented out as private studios for local artists. So, I’m afraid that area is restricted and you can’t go up the stairs to look around there, although sometimes the artists hold open days.

We are very proud that entry to the Arts Centre remains completely free of charge. We want art to be accessible to everyone. This includes all the temporary exhibitions, so there is no extra charge for those. However, maintaining a Victorian building is very expensive, so we do rely heavily on the generosity of our visitors. There is a large glass donation box in the foyer, and we suggest a contribution of £5 if you can manage it, but that is entirely voluntary.

A quick practical point before we start. We do have a secure locker room behind the reception desk. We ask that you leave any large bags or suitcases there, as the aisles in the gallery can be quite narrow and we don't want any artwork getting knocked over. However, please keep your coats and jackets with you, as the heating in the old Engine Shed area is a bit temperamental and it can get chilly. Also, unlike many galleries, we are very happy for you to take photos, provided you don't use a flash, so hold onto your cameras and phones.

Before you hear the rest of the talk, you have some time to look at questions 15 to 20.

(pause)

Now listen and answer questions 15 to 20.

Guide: Right, let me guide you through the layout of the centre. We are currently standing in the Grand Hall, which used to be the main ticket office, though obviously you can't buy tickets for events here anymore. Instead, it's our main exhibition space. Currently, on the walls, you will see a collection of black and white photographs. These were taken by local residents in the 1950s and show what life was like in the town before the railway closed. It’s a very moving collection.

If you go through the double doors to your left, you will enter the Waiting Room. We’ve kept this room almost exactly as it was in the Victorian era. It still has the original wooden benches, though we ask you not to sit on this antique furniture as it is quite fragile. Instead, we use this space for poetry readings and acoustic music sessions. It has wonderful acoustics, so it's a great place to attend live performances.

Straight ahead, you’ll step out onto Platform 1. This is now our covered walkway. It’s a great place to sit if it’s raining. Along the platform, we have set up several craft stalls. Today, we have a local potter and a jewellery maker selling their work. It’s a great place to pick up a handmade gift.

At the far end of the platform, you will see a tall building. That is the old Signal Box. It’s quite a climb up the stairs, but the view is worth it. Inside, we have installed hands-on exhibits about the mechanics of steam trains. It’s particularly popular with children, as they can pull the old levers and see how things worked.

Outside in the garden area, we have the Goods Shed. This is a large, open space. We use this for our messy activities. At the moment, there is a sculpture workshop taking place there. You can watch a professional sculptor shaping metal and stone, but for safety reasons, you have to stay behind the barrier while you observe.

Finally, parked permanently on the old tracks, you will see a vintage Dining Carriage. We have converted this into our café. It serves tea, coffee, and homemade cakes. We’ve tried to keep the menu traditional, so you won’t find any fancy espresso machines there, but it is the perfect spot to get some refreshments before you leave.

That is the end of part two. You now have 30 seconds to check your answers to part two.

Part 3

You will hear two trainee teachers, Tom and Alice, discussing the use of school gardening as a learning activity.

First, you have some time to look at questions 21 to 25.

(pause)

Now listen carefully and answer questions 21 to 25.

Tom: So, Alice, we need to review that video of the Year 4 gardening lesson and discuss how effective it was as a teaching strategy. Shall we start with our general impressions?

Alice: Sure. Honestly, I used to think gardening was just a bit of a break from real work, just digging in the dirt. I know some teachers find it difficult to manage, but what surprised me the most about watching that video was realising how much educational value it actually had.

Tom: I agree. It really highlighted how many different skills they were developing simultaneously. What stood out to me was the communication. It wasn't about the children working faster than usual, but rather how they interacted.

Alice: Yes! I didn't expect them to learn the scientific names of plants, but instead of just sitting quietly, they had to negotiate who was doing what. They were really listening to each other.

Tom: Exactly. Moving on to the teacher's role. Why do you think that particular lesson went so smoothly? Did she let them choose their own groups?

Alice: No, the groups were pre-assigned. And it wasn't because she explained the instructions very slowly either. She didn't.

Tom: I think it was down to the preparation. Did you see how she had organized the equipment beforehand?

Alice: Yes. Instead of a chaotic scramble for tools, she had laid everything out in designated stations. That visual organization really helped the children understand the workflow.

Tom: Absolutely. If it works so well, why don't more teachers do gardening? I know some feel they lack the necessary botanical knowledge.

Alice: That's rarely the case. And while the school schedule is always busy, they could easily fit it in. I think the main reason is the mess. Teachers are genuinely concerned about kids bringing mud back into the classroom and having to clean up afterwards.

Tom: That’s a valid point. It does create extra work. Anyway, for our own teaching practice next week with Year 3, how should we use the garden? We could do an Art project, sketching the leaves?

Alice: We could, but they did plenty of drawing last term. And I thought about linking it to Science, maybe looking at plant biology, but they’ve just finished that module. I think it would be a great way to teach Maths.

Tom: Maths? How?

Alice: Well, they need to practice measuring. We could get them to measure the perimeter of the flower beds and calculate how many seeds they need for the area.

Tom: That’s a brilliant idea. Real-world application. Let’s do that.

Before you hear the rest of the discussion, you have some time to look at questions 26 to 30.

(pause)

Now listen and answer questions 26 to 30.

Alice: Shall we go through the notes we made on the specific children in the video? I wrote down a few names.

Tom: Me too. Let’s start with Leo. He’s usually the one running around the classroom, easily distracted by other students.

Alice: I know. But in the garden, he was totally different. You'd think he'd find the physical work too difficult, but actually, the effort of digging seemed to channel his energy perfectly.

Tom: Yes, he became surprisingly calm and focused. It obviously helps him to be active. What about Maya?

Alice: Well, she usually struggles with academic work, but here she really took charge. She was organizing the other students and telling them where to put the equipment.

Tom: Yes, she showed real leadership qualities that we don't usually see in the classroom.

Alice: Then there was Sam. Did you notice him?

Tom: The boy standing at the back?

Alice: Yes. At first, I thought he was just watching the others, but then I realized he was actually frightened. He really didn't want to touch the soil or the worms. He was afraid of getting dirty.

Tom: You're right. He looked very hesitant. But he eventually joined in.

Alice: What did you make of Chloe?

Tom: She was interesting. She clearly does a lot of this at home. She already possessed a lot of knowledge, knowing the names of all the plants and correcting the other students.

Alice: Yes, she was very confident. I think the teacher could have given her a more advanced task, actually.

Tom: I agree. And finally, Ben.

Alice: Oh dear. He was a bit of a disaster.

Tom: He just had no patience! He planted the seeds and then five minutes later he was digging them up to see if they had grown yet.

Alice: Yes, he really needs to learn to wait. He wanted instant results.

That is the end of part three. You now have 30 seconds to check your answers to part three.

Part 4

You will hear an art history student giving a presentation about the Mexican artist Frida Kahlo and her famous home, La Casa Azul.

First, you have some time to look at questions 31 to 40.

(pause)

Now listen carefully and answer questions 31 to 40.

Student: For my presentation on a significant figure in the arts, I’ve decided to look at the Mexican painter, Frida Kahlo. She is instantly recognizable today, not just for her unibrow and traditional Mexican dress, but for her intense and vibrant self-portraits. While many people have seen her paintings on merchandise or in galleries, fewer people know the intimate details of the place where she was born, lived, and died: La Casa Azul, or The Blue House.

First, a bit of background. Kahlo’s life was marked by extreme physical suffering. You might assume her lifelong pain was solely due to the polio she contracted as a child, but the defining tragedy was actually a horrific bus accident when she was 18. This event left her in constant pain for the rest of her life and required dozens of surgeries. It was during her recovery in bed that she began to paint. Her work is often associated with Surrealism, but she famously said she never painted dreams, she painted her own reality.

The house itself was built by her father in 1904. Originally, the exterior was completely white, but Frida later painted the walls a brilliant cobalt blue, which she believed would ward off evil spirits. This color has become the defining feature of the property.

Inside, the house is a fascinating reflection of her personality and her marriage to the muralist Diego Rivera. Let’s look at the kitchen first. In the 1930s and 40s, most wealthy Mexicans were installing modern gas appliances. However, Frida wanted to celebrate traditional Mexican culture. So, she insisted on cooking on a traditional wood stove. The floor was painted a bright yellow to contrast with the blue pots and pans. It was a place full of noise and smells, where she cooked elaborate meals for her friends.

The living areas display the couple's obsession with Mexico's past. The rooms are filled with folk art. Not paintings, as you might expect in an artist's home, but a vast collection of ancient stone statues. These pre-Hispanic figures are placed on shelves and in corners throughout the house, giving it the feeling of a temple rather than a domestic residence.

Perhaps the most important room for her work was the studio, which was added later on the second floor. Unlike the darker rooms downstairs, this room is flooded with light from large windows. This was crucial for her painting. But the most significant object there is not her easel. Because she was often unable to move around, she used a large mirror mounted in the room to observe herself, which explains why there are so many self-portraits in her collection.

Adjacent to the studio is her bedroom. This room is quite stark and holds the memory of her pain. Her bed is a four-poster style, and she had another mirror mounted on the canopy above it so she could paint while lying down. Her death mask and the urn containing her ashes are actually kept in this room today, resting on her bed.

The house is built around a central courtyard or garden. This was Frida’s sanctuary. It is a lush, green space filled with tropical plants, cactus, and fountains. But it wasn't just for plants; she kept many pets there, including monkeys, dogs, and even a deer, which appear in many of her famous paintings.

The Blue House was also a hub of intellectual and political activity. Frida and Diego were heavily involved in politics as active members of the Communist Party, and they hosted many international figures. Most famously, they provided refuge for the exiled Russian revolutionary Leon Trotsky, who stayed with them for two years.

In 1958, four years after Frida’s death, the house was turned into a museum, in accordance with her wishes. It remains exactly as she left it, with her brushes still in the studio and her clothes in the wardrobe, offering a powerful insight into the life of this extraordinary woman. Today, if you travel to Mexico, you can visit this remarkable property. It is located not in the bustling city centre, but in Coyoacán, a quiet suburb of Mexico City.

That is the end of part four. You now have one minute to check your answers to part four.