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Verdi's "Aida" was given its second presentation of the season at the Metropolitan Opera House last night. The performance was one that held the interest of the capacity audience firmly at all times and moved along with animation and address. Because of the continued indisposition of Elisabeth Rethberg, who was cast originally for the title role, the part was sung by Dusolina Giannini. This was Miss Giannini's initial appearance of the Winter with the company here and she was enthusiastically welcomed.

From long acquaintance with the exactions of Aida's music, Miss Giannini met them with security and assurance. The upper reaches of her voice were especially brilliant and penetrating, so that she dominated the heaviest ensembles easily and without forcing her tones.

Miss Giannini did some of her most effective singing in the second act duet with Amneris, and here Gertrud Wettergren, entrusted with the duties of the Egyptian princess, also accomplished much that was admirable vocally and from the dramatic angle. The Swedish contralto was in first-rate form and gave an impressive and well-rounded interpretation, which only needed more sweep and expressiveness of line to make it all that it should be.

As Radames, Mr. Martinelli, who was assuming his Metropolitan duties for the first time this season, lived up to his usual standard of attainment in the part. Amonasro was allotted to John Charles Thomas. Mr. Thomas made a vividly barbaric figure as the Ethiopian chieftain, and managed to invest his acting with the needed emphasis and fervor while at the same time keeping his histrionism in leash by means of a most commendable sense of restraint. The tones he produced were mellow and warm and all of his vocalism remained consistently up to the mark.

Thelma Votipka successfully delivered the tricky measures of the priestess. The rest of the cast, all of whom had been active in the previous performance of the opera on New Year's Eve, included Norman Cordon as the King, Virgilio Lazzari, as Ramfis, and Giordano Paltrinieri, as the messenger. The pageantry of the opera was on its accustomed plane of elaborateness. As at the earlier performance, a group of children participated in the dances of the American Ballet Ensemble and occasioned much enthusiasm. The chorus sang sonorously and exerted every effort to make the big ensembles compelling. Mr. Panizza at the conductor's desk led with authority and a sure hand.

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