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"Faust" is not the only opera that Gounod wrote. If less familiar than 'Faust" by reason of infrequent performance nowadays, "Romeo and Juliet" is a superb work of its kind, a fitting incarnation in the 19th century French musical style of Shakespeare's drama. Revived by the Metropolitan this season, it was fortunately included as one of the two excursions into French opera of the present Boston engagement. Last night's performance saw Gounod well demonstrated by singers and orchestra alike, and for the crowning touch, there was a Juliet of slender, girlish figure and extraordinary personal charm.

"Romeo and Juliet" has periods of favor and neglect, yet after 70 years continues to sound fresh. No vast music-drama on Wagnerian scale, Gounod's work is conventional, but unpretentious, skillfully wrought, more lyrical than magic. Gounod was especially gifted in the writing of love music; there was a voluptuous side to his nature that found expressive outlet in such pages as the garden scenes of "Faust" and "Romeo and Juliet," the duet of Shakespearian lovers in Juliet's chamber, and the final scene in the tomb of the Capulets.

Gounod's means were simple, amply flowing melody for the voices, lush harmonies and exquisitely delicate scoring for the orchestra. But passion was always governed by dignity. No matter how unspeakable his behavior, Faust takes off his hat in Marguerite's garden, and Romeo conducts himself as would gentlemen on a short acquaintance with a lady. Gounod's talent with depiction of love is perhaps the key to his inability to create really tragic music.

The ancient criticism that "Romeo and Juliet" is merely a series of love duets can become a blessing when the leading roles are essayed by two such artists as Bidu Sayao and Richard Crooks, whose voices and style are so thoroughly suited to the music. If nervousness caused Juliet's "Waltz Song" to be a little unsteady, the remainder of her part was executed smoothly and with notable feeling. Miss Sayao's acting was credibly that of a young girl. In the final scene she achieved pathos, decidedly rare in opera. Vocally an ideal Romeo, if not on the acting side, Mr. Crooks is perhaps as near a model of classical singing as the present day affords, despite a trivial flaw of "scooping" an occasional ascending phrase. One who can sing Mozart's "Il mio tesoro" as well as he can, given sufficiently large voice, sing anything.

Mr. Pinza's sonorous Friar Laurent was a joy. The robust style of Mr. Brownlee was something to admire, even if Mercutio's "Queen Mab" song required more delicacy than he brought to it. The chorus sang particularly well; Mr. Pelletier's conducting and the orchestral playing accounted in due measure for the pleasure of the evening.

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