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The performance of "Lohengrin" at the Academy of Music last night was a sumptuous one, well sung, in the main, splendidly directed and staged and acted with a keen appreciation of the drama of the text.

Rudolf Laubenthal, a young German tenor, who has been winning fame in New York this season, sang the part of the "knight of mein angelic" and in both his tonal and dramatic interpretation won the commendation of the audience. His voice, without being robust, is even, splendidly under control and possessed of clear upper tones that do not require the use of falsetto.

To this reviewer the most impressive performance of the evening was the singing of Paul Bender as King Henry. Here was a bass of depth and sonority coupled with a stately presence that gave to the part the majesty it needs. Clarence Whitehill's Telramund was a distinctive, if somewhat florid, interpretation of this futile person. Margaret Matzenauer as Ortrud sang with full, opulent tone and was positively terrifying in the climax of her second act scene as she called upon her pagan gods for vengeance.

The Elsa of Delia Reinhardt was the fly in the excellent ointment which Mr. Gatti-Casazza sent from New York. Her voice is of curious timbre, almost too lush in the softer passages, and prone to become strident when she seeks dramatic effect. It may have been that in her concern to make Elsa an appealing, living figure (rather a thankless task) Miss Reinhardt strove too hard for her effects.

The conducting of Artur Bodanzky was a triumph of skillful musicianship. He has apparently taken some liberties with the text, notably by quickening the pace through the long recitative passages and the familiar "Wedding March." Some conductors appear to think that the "Wedding March" is designed as a premature announcement of Elsa's death.The orchestra played well, although the string section sounded a little thin. The singing and costuming were excellent and the lighting, particularly the moonlight of the second set, was ingenious and effective.

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