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Franco Vittadini's opera "Anima Allegra" was heard at the Metropolitan Opera House last evening for the first time this season. There was an audience of good size, though the theater could have accommodated more. But it was plainly and unmistakably a pleased audience. The moonlight ending of the first act, with Cousuelo mistaking the voice of the serenading Lucio for that of Pedro, was heard with an intentness which is too often missing at opera performances. No matter what opinion the cognoscenti may have about the tenuous texture of this music, there is no question that the auditors liked it and that they felt themselves surrounded by the atmosphere of the scene.

The contrast of the scintillant second act was by that much the more effective. The gay costumes, the riot of color, the spirited action, the exhilarating Spanish music all combined to arouse the audience to something like excitement, and excitement is what the majority desires in this nervous period. The third act carried every one back to gentler feelings and the perfect movie ending sent all home sighing with content.

When "Anima Allegra" was first performed here most old observers believed that its sustained mood of happiness, its complete lack of passionate undertone, or what is commonly termed "dramatic" style, would condemn it to early retirement from the stage. But the conclusions of experience were set at naught by the general public. People like "Anima Allegra" and the verdict of the public is unanimously in its favor. So long as it can be given as well as it now is at the Metropolitan it is likely to retain its popularity.

Miss Guilford in the Cast.

The cast was that of last season, except that Miss Nannette Guilford replaced Miss Queena Mario as Coralito. Miss Guilford was acceptable in the r?le. Miss Bori was, of course, the supreme attraction of the cast. She, of all Metropolitan artists, knows how to look, smile and act Spanish. She was an entrancing vision and she filled her impersonation with a vivacity, a complete and convincing realization of the blithe spirit indicated by the opera's title, which was without doubt the principal agent in imparting vitality to the work. She was in good voice and she sang all her music with beauty of voice and charm of style.

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