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Except for the substitution of Ren? Maison for Charles Kullman, the production of "Louise" which the Metropolitan Opera Company brought to the Academy of Music, last night, has changed in no important particular since the revival was introduced here two seasons ago.

Grace Moore was again in the title role, with Ezio Pinza and Doris Doe retaining the parts of the father and mother. And yet the production has improved considerably in the span of two seasons, an improvement probably accountable in the growth, individual and collective, of the young American singers who account largely for the myriad small roles without which "Louise" would not be the distinctive opera it is.

In the importance of the smaller parts "Louise" bears a certain resemblance to "Boris Godunov," As Moussorgsky's is a national opera, so Charpentier's is, in a similar fashion, municipal. The full Parisian flavor resides with the sewing girls, the vendors, the bohemians and the rag pickers and cast-offs, just as in "Boris" the Russian character of the opera derives from the friars, the simpleton, the hostess, the moujiks and the boyars.

In its recognition of this circumstance, the Metropolitan has given real distinction to the production. The enduring fiber of the cast is to be found in the unsung members - Irra Petina, Maria Savage, George Rasely, Norman Cordon, Maxine Stellman, John Gurney and Alessio de Paolis - to name only a few. Also in Ettore Panizza's authoritative direction.

Into this fine ensemble Miss Moore's Louise fits none too well. It is decorative - when not in motion - and it is fairly well sung. But it is also impossibly mannered, and there is not a leading female part in the literature of opera than can afford mannerisms as little as Louise.

The peculiar shoveling movement, which is one of Miss Moore's most frequent gestures, and a strangely angular gait, something akin to what Philadelphians know as the mummers' strut, which she employs while ambulating under the stress of emotion do not lend themselves convincingly to this Parisian dress-maker.

Mr. Maison's Julien was not mannered and it was well sung, but in physical appearance and even in the vocal requirements Julien is not one of this splendid artist's most congenial roles. Mr. Pinza and Miss Doe were wholly admirable.

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