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Rigoletto" was given at the Metropolitan Opera House last evening in the presence of a large audience. The performance brought with it the second appearance of Miss Marion Talley as Gilda in which role she made her operatic debut a few days ago. Those who heard her last evening and did not hear her before are entitled to the information that she sang the part somewhat better on the previous occasion. Miss Talley was less forceful and had less quality than a week ago. It must be added that this youthful soprano is too inexperienced and has too little resources to cover the difficulties caused by temporary vocal derangements.

Even great singers cannot cover them all, but an older artist would have known how to make some modifications. The prima donna received considerable applause, of course, and so did the other singers in the cast. Searching examination of Miss Talley's unripe art may now be left to opera goers who will, in time, determine her standing. Meanwhile it must be reiterated that she has much to learn, especially in those fundamentals of technic which are essential to the longevity of the voice.

Many young singers have followed the path of easy celebrity for a season or two before realizing that many more seasons were to come and without the glamour of novelty to blind the public. Then some of them have reformed their methods and improved their styles. Perhaps Miss Talley will follow their example. She has a good operatic voice and can make a long and happy career for herself provided she does not allow herself to be persuaded that she has nothing to learn. The greatest singers always bestowed thought and study on their art throughout their careers.

Mr. De Luca as Rigoletto, Mr. Lauri-Volpi as the Duke, Miss Telva as Maddalena and Mr. Rothier as Sparafucile were other principals. Mr. Serafin conducted.

Search by season: 1925-26

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