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In the Metropolitan's young season Charpentier's "Louise" had its turn last evening. If you admit a French opera without one French singer in the cast you may go far. But your first station for the night may be Metropolitan-atte-Bowe. However, let the night's lodging pass.

"Louise" makes an effect, thanks to a libretto which, demoded, if you like, or not, makes its effect. The thing is human, universal, "ideological," as you prefer. There is always the young girl drawn by the white lights, the moth and the flame, and there are also the parents, prejudice, and routine of what not.

Last night's performance made its due effect. Ettore Panizza conducted with authority, even if the purist might find fault with some of tempi, and the general results were impressive. Paris never looked in the old days quite like the backdrop of Act III, but what of that? Paris for some of us is always Paris.

Grace Moore (Louise), Doris Doe (the Mother), Charles Kullman (Julien) and Ezio Pinza (the Father) were all at their best, and the performance went. Here was opera very definitely about something, and the large audience approved and made known its approval.

Perhaps a special word should be said of Miss Doe and Mr. Pinza. Miss Doe has not only digested the character of Louise's mother but her low tones in the scene of Montmartre were eminently effective. Mr. Pinza, too, made good use of his excellent vocal resources.

Had it not been for a touch of exaggeration, which made one feel that the overanxious Father was a new immigrant in the 18th arrondissment, his acting and singing would have run away with the performance.

As it was, the representation stood high in the Metropolitan's present scale of achievement. But why not English instead of French of Metropolitan-atta-Bowe?

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