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Goldmark's "Merlin" attracted a very large audience to the Metropolitan Opera House yesterday afternoon, and an admirable performance of the work brought out in the happiest manner the sensuous beauty of the composer's music, and imparted all possible effect to the weird romance of the librettist's story. Throughout this season, at any rate, "Merlin" will hold a conspicuous place in the current repertoire. The impression it produced, on first acquaintance was not as vivid, perhaps, as that which was wrought by "The Queen of Sheba," but from later indications it would not be at all surprising, in our judgment, if the newer and less characteristic opera wore even better than its predecessor. Of its present popularity there is no question, and whatever fault the too-exacting listener may find with the composer's eclecticism, and whatever complaint may be made by the unmusical auditor whose longing for tune will scarcely be appeased by any production of the modern school, the strange and potent charm diffused by parts of Goldmark's score, and the vague but delicious memories its hearing leaves behind cannot fail to endow "Merlin" with far greater vitality than was expected. Yesterday's representation enlisted the artists that originally appeared in the opera, and progressed smoothly, pleasantly, and uneventfully. Both Herr Alvary and Fr?ulein Lehmann were in excellent form; the prima donna was at her best in the second act, which, with its fine duet and pretty ballet measures, is the most effective of the three, and Herr Alvary, with rather more ambition and earnestness than prudence, spared neither voice nor feeling at the same trying but impressive stage of the lyric and dramatic proceedings. The remaining roles were in the hands of the familiar artists, and were efficiently sustained. It may be suggested to Herr Fischer, however, that a little more of the conventional glamour of diabolism - If nothing more striking is to be thought of - might with advantage surround his portrayal of Merlin's demon. In some of the scenes in which the personage figures Herr Fischer brings to his performance the nonchalance and colloquialism of a hero of Robertsonian comedy; so easy-going and amiable a fiend, indeed, has never before been beheld upon the stage.

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