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Having made an agreeable impression in "Manon," the personable Brazilian soprano, Bidu Sayao, yesterday tackled the somewhat more exacting role of Violetta in "Traviata."

A good-sized audience, in expectant mood, proved cordial rather than wildly enthusiastic. The role is, of course, one that has been associated for many a recent Metropolitan season with the personality of that well-loved artist, Lucrezia Bori. And she who steps into Miss Bori's gilded slippers faces an extra hurdle or two.

Again Miss Sayao was a beautifully costumed and otherwise pleasing figure on the stage. Verdi's coloratura arias were approached with clear and agile technique, and a style of considerable finish. Her voice is a small one for such purposes, and she showed a regrettable tendency toward a lowering of pitch in her unaccompanied cadenzas. There was some rather persistent flatting in her "Dite alla giovine" too. Setting aside a few such lapses, however, the interpretation had its measure of poise and charm.

The outstanding performance of the afternoon was unquestionably the Giorgio Germont of John Brownlee. This distinguished operatic craftsman, whose Rigoletto and Lord Ashton have already won much favorable comment, revealed the same cultivated and refined artistry that had been noted in his previous appearances. The elderly Parisian gentleman became, at his hands, a figure of unusual warmth and humanity. And the skill and polish of his delivery in "Di Provenza" was something of the distinctly memorable sort. The voice, as before, had its moments of throatiness. But the quality of his workmanship made one forget this occasional defect.

Charles Kullman was an acceptable Alfredo, as Alfredos go nowadays at 39th and Broadway. His dramatic impersonation was convincing, and his vocal interpretation light but well schooled.

Remaining parts were taken by the Mmes. Votipka and Browning, and the Messrs. Bada, Engleman, Cehanovsky and Cordon. Ettore Panizza conducted.

Search by season: 1936-37

Search by title: La Traviata,

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