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Wagner's "Tannh?user" was performed at the Metropolitan Opera House last night. The presentation of this familiar and admired work called out a remarkably large and brilliant audience and was received with every demonstration of pleasure. No comment is necessary on an opera so well known to all lovers of music. There are passages in "Tannh?user," as in all Wagner's works, which are wearisome to all but fervent admirers of his creations; but these passages are more than counterbalanced by those which are wholly delightful to all hearers. It would be doing an injustice to former interpreters of the work to say that it was heard at its best last night. One member of the company appeared for the first time. This was Frau Biro de Marion, a new soprano, to whom was entrusted the r?le of Venus. The newcomer was a buxom goddess not in the first bloom of youth. Frau Biro de Marion is, however, not unpleasant to the eye. Her voice is unfortunately much worn and very reedy in quality. She sang with considerable verve and some dramatic force, but she was by no means an ideal Venus. Herr Niemann was in poor voice, and his singing evidently cost him much effort. He looked Tannh?user, and acted the part with fine sincerity and manly dignity. His histrionic ability goes far to atone for his vocal shortcomings, but does not fill the place of such singing as is needed to give the noble music its full value. Herr Alexi was a poor substitute for Herr Robinson as Wolfram. He sang wretchedly out of tune, and dragged his tempi unpardonably. Frau Seidl-Kraus must be commended for her good singing as Elizabeth, and Herr Elmblad rendered the music of the Landgrave with a noble quality of tone and laudable expression. Herr Alvary sang Walter well, and Fr?ulein Dilthey deserves praise for her tasteful rendering of the shepherd boy's song. The chorus was frequently out of tune, but the orchestra, under Herr Seidl, was excellent, its fine performance of the masterly overture being especially praiseworthy.

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