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No matter how many times one has heard "Madama Butterfly" he will find, unless he is a dullard, new beauties and new allurements in Puccini's opera at every new hearing. At the Academy of Music last evening the Metropolitan Opera Company presented the colorful story of Cio-Cio-San and the performance was given with so much beauty, both vocally and scenically, that the audience was enthralled. The announcement that the principal roles were to be taken by others than those in the program caused some apprehension; but when the artists who were substituted began their work this apprehension and disappointment were wholly allayed. There had been some pleasant anticipation of hearing Florence Easton as Cio-Cio-San and Edward Johnson as Pinkerton, but Mme. Elisabeth Rethberg and Mario Chamlee proved so brilliant and capable in those roles that no one had a bit of cause for complaint.

Mme. Rethberg was not quite so sylph-like and diminutive as some other who have essayed the part, but there was no adverse criticism on that account. She had a gracious stage presence, which was augmented by rare ability as an actress and a voice of exceptional sweetness and brilliance. This is a combination that is not always found in operatic Cio-Cio-Sans. Her portrayal of the Japanese girl was flawless. She integrated the girl's varying moods with dramatic power and a sincerity that evoked admiration. In her merry moments - and these were too few - Mme. Rethberg was lithesome and vivacious; and in the tragic ones hers was a sorrow no one could misunderstand. The various arias which fall to Cio-Cio-San were gems no hearer can forget, and Mme. Rethberg won her way into every heart by the splendor of her performance. Her despairing solo in the final act was marked by such power and artistic restraint that the audience was swept with her emotion. Different was the wondrous duet with Pinkerton, following the fateful marriage ceremony, a duet that embodied the romance of both East and West, and overwhelmed all who heard it.

Chamlee won high honors as Pinkerton. Somewhat un-American in appearance , but blessed with a voice of fine quality and power, he portrayed the American naval officer in a most engaging way. His dramatic qualifications for the role were irreproachable. Giuseppe De Luca gave an air of distinction to Sharpless, the United State Consul, whose work as an intermediary required tact and courage; and Ina Bourskaya was a pleasing Suzuki.

"Madama Butterfly" as presented by the Metropolitan Opera Company was a demonstration of skill, not only in a musical sense, but in stage craft. That the settings are so few did not imply a lack of opportunity for directorial ingenuity. The settings were in perfect harmony, with not an unnecessary article on the stage, the pictures carrying the impression of ornateness with remarkable simplicity.

Tullio Serafin was accorded much applause for his work as conductor.

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