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It has taken the public a surprisingly long time to discover Frieda Hempel. But now that the German prima-donna at last has won the recognition she so thoroughly deserves, folk will begin to wonder why they didn't appreciate her artistic persuasions sooner or else imagine she has undergone some remarkable metamorphosis.

Last night, for instance, when Mme. Hempel appeared once more in the leading role of "La Traviata," many among the Metropolitan Opera Company's subscribers no doubt marveled at the eloquence of her portrayal, noting with astonishment among other things the vocal and interpretive refinement she brought to the 'Ah, fors e' lui" aria and the emotional fervor she infused into the florid music of the "Sempre libera."

Now unquestionably the famous soprano was in particularly good spirits yesterday and it may be that she accomplished finer results as Violetta than on any previous occasion. Yet her interpretation of Verdi's heroine already was a remarkable achievement two years ago - one of the most dramatically intense and moving interpretations, indeed, ever heard in New York, as was noted in The Press.

Miss Hempel's associates in the cast last night were Luca Botta, who again made and appropriately youthful and appealing Alfredo; Pasquale Amato, who repeated his familiar portrayal of the elder Germont, evoking tumultuous applause with the "Di Provenza" aria; Minnie Egener, who was a handsome Flora; Maria Mattfeld who appeared as Annina, and Bada, Reschiglian, Begue and Ananian, who filled the other parts competently.

The chorus acquitted itself brilliantly as usual and Giorgio Polacco gave a carefully planned and spirited reading of the score.

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