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Mozart's closing, work, "The Magic Flute," that opened the Metropolitan Opera Company's engagement in Baltimore last night, proved to meet all anticipations. It was exactly what an opera called "The Magic Flute," might be expected to be, strengthened with profounder undertones, and enlivened with considerable frivolity.

The story was set forth in a consequence of fifteen beautiful scenes, designed in harmony with the fantastic character of the plot, by Richard Rychtarik and artfully handled to achieve swift continuity, outstanding being the temple crypt entrance.

On the musical side the dominating figure was that prince of conductors, Bruno Walter, who carried the speed with such facility and balanced the whole so justly that the music emerged in an effortless current.

SHARES HONORS

Sharing honors with Mr. Walter was Alexander Kipnis, an example of voice production and style, majestic and serene in the impressive role of the philosopher Sarastro, through whom Tamino and Pamina are given the opportunity to test their steadfast purpose, by fire and water.

This is the climax leading to their union, after Pamina has eluded the influence of her mother, that power of darkness, the Queen of Night.

Charles Kullman had the role of Tamino, and was warmly received in his first act aria, and later magic flute obbligato, charming the wild beasts from their lairs.

CHARMING FEATURE

This orchestral effect is a charming feature of the score, as well as passages sounding the magic chimes given to Papageno, whereon, he performs when occasion offers,

John Brownlee made much of that lively vendor of birds, through admirable baritone, vivacious countenance and appropriate movement.

Last season we were introduced to the lovely Jarmila Novotna, who remains beautiful and charming, using her agreeable voice with impeccable taste and skill as Pamina.

The two "big" arias fall to the lot of the Queen of Night, and were sung by Rosa Bok with reasonable success and accuracy, considering that they run to high F and really call for a Pons.

DELECTABLE TRIOS

Natalie Bodanya was a captivating little Papagena, the Misses Steber, Stellman and Kaskas sang several delectable trios, and the three Genii, the Misses Farrell, Paulee and Olheim, proved to be very useful and ornamental young persons, always arriving in the nick of time with song, refreshment, or to prevent important characters from committing suicide.

Nor must mention be omitted of Friedrich Schorr, the High Priest, Karl Laufk?tter as the designing Monostatos, and the splendid chorus in noble harmonies

As a production, the whole reached a high standard throughout, in every department, and the unfamiliarity of the opera inspired a craving for time and space to dwell on the score and each scene in some detail. But these elements failing, one can only note the warm audience reception.

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