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Like the nations of which the quotation speaks those lyric performances that have no history are generally to be accounted the happiest. Last evening's representation of "Merlin" at the Metropolitan Opera House was no exception to this rule. There is very little to be said about it - at least in view of the fact that the work and its interpreters have been referred to in these columns again and again - and withal it was commendable and enjoyable in every respect. Herr Alvary was seen as Merlin, Herr Robinson as the King, Herr Fischer as the Demon, and Fr?ulein Lehmann as Viviane; the alternately weird, sentimental, and dramatic music of the score was gone through with, by singers and band, with precision and accent, the changes of scene were accomplished smoothly and promptly, and, in brief, nothing was wanting to make the rendering of the opera interesting and striking. That "Merlin," will scarcely outwear "The Queen of Sheba" in point of popularity may be suspected already. The legendary plot and personages, and the importance given the supernatural element in its story, do not increase the chances of vitality that Goldmark's score, which abounds in measures of exceptional sweetness and richness, and which is conspicuously admirable as far as its orchestration is concerned, would have if linked to a libretto that appealed more successfully to the taste of miscellaneous audiences. "Merlin," all the same, is a nobly conceived and finely executed specimen of workmanship, and its occasional representation cannot fail to command attention and applause. The performers last night were all in excellent form; the love duet in the second act went particularly well. Herr Alvary and Fraulein Lehmann infusing unusual passion and vocal energy into this very effective number. Mr. Walter Damrosch conducted the orchestra with warmth and firmness.

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