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The new Metropolitan management, in its search for a repertoire that will draw the public, has revived "La Juive" this season. Last night it was performed for the first time in one of the subscription series, the initial presentation having taken place as a Saturday evening benefit ten days ago. A large audience was present last night, indicating that the recent survey as to the popularity of the standard operas had rightfully given credit to "La Juive" as one of the best sellers.

Miss Lawrence sang her season's farewell in the role of Rachel last night. She was suffering from a cold, but, except for difficulty with high notes in the early stages of the opera, she gave a moving performance. The soprano has sung this r?le frequently in Paris. She has a thorough command of its music and drama. For the first time in her visit here she sang in French, the language in which she had made her entire operatic career until she sang in German at the Metropolitan. It is hoped that when she returns next season she will have worked on her voice and removed the few flaws that mar it.

"La Juive" provides Mr. Martinelli with what may be his best r?le. His Eleazar has dramatic rightness and he sings the old Jew with compassion and fire. His interpretation of the music of the end of the first scene in the last act brought a thunderous response which he had earned. He had sung at the top of his form. Mr. Pinza was an impressive Cardinal Brogni; he lends authority and dignity to r?les of this kind. Creditable interpretations were contributed by Miss Mario, Mr. Clemens and Mr. Gandolfi, although a genuine lyric tenor in the r?le of Leopold would have improved the trio in the second act. Mr. Marwick, who made his debut in this opera, did not have opportunity enough to reveal his full talents. His voice, however, has smoothness and warmth.

Mr. Pelletier, a valuable musician, has not conducted much more than the Sunday night concerts in the past. He deserves a chance at first rank directing. He turned in a workmanlike job last night, although the musicians did not always respond to his wishes. But Mr. Pelletier sought to establish the spirit of a work that that saw the light of day in Paris a century ago and that has cogency of theme as well as operatic tinsel. The American Ballet's elaborate dances were in the spirit of the Paris of a century ago which required the tinsel. The conductor, it might be added, was the nearest to French in the entire production. He is a Canadian of French stock. Not one of the principals was of Gallic persuasion. French singing has fallen on hard days, a least at the Metropolitan.

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