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At popular prices Giulio Gatti-Casazza gave in the Metropolitan Opera House last night what proved to be, as he himself may have noted with surprise, the best performance of "Die Walkure" New Yorkers have heard since the Italian general manager took charge of operatic affairs in this city. The impressive results of the evening were due in large part to the appearance of Jacques Urlus as Siegmund, for the new tenor gave so inspiring a portrayal of that role, vocally and histrionically, that he not only cast a spell over the audience, but also over Alfred Hertz, the conductor, and the musicians in the orchestra, who put to their credit a performance of the first act such as one cannot recall in recent years.

Exigencies of time do not permit an adequate description of what Urlus accomplished last night. Briefly, however, it may be said that his singing had a lyric charm, a sensuous beauty and a refinement of nuance which are rarely bestowed on the heroic figures of Wagner's music dramas; also that his acting showed a refreshing departure from conventions and was characterized by penetrating intelligence, musical and dramatic insight, temperament and intensity of felling.

The other newcomer in the cast, Carl Braun, who impersonated Wotan, also made an excellent impression. Bruennhilde's impulsive father, as impersonated by the young basso, is more vibrant in action than any of his predecessors on the local lyric stage. The high-towering singer neither spared himself physically nor vocally in expressing the demi-god 's rage. But the unusual interpretation certainly gripped the listener. It also gripped Braun's throat before the final curtain.

Olive Fremstad as Sieglinde, Margaret Matzenauer as Bruennhilde, Basil Ruysdael as Hunding, Louse Homer as Fricka and the other singers in the cast contributed their familiar share to the success of the performance.

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