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The Metropolitan's first performance here of Mozart's "The Magic Flute" with the new stage settings by the Cleveland artist, Richard Rychtarik, drew a large audience to Public Hall yesterday afternoon and provided another high point artistically in this week of operatic thrills.

This opera of whimsical fantasy and mysterious symbolism was ideal entertainment for a matinee audience in which there was naturally a larger number of children than in the evening. It was evident that that element in the audience delighted especially in the childlike innocence and playfulness of the character Papageno, so brilliantly interpreted by John Brownlee. And the informality of its being presented in English with spoken dialog brought it within closer range than most operas are for the comprehension and enjoyment of the uninitiated.

The speaking parts multiply the requirements of the singing actor, some of whom come off better than others in their enunciation. Though he has improved some since his last appearance here, Alexander Kipnis sill speaks and sings English with a marked foreign accent. It is remarkable how well all the speaking parts got over. This was, of course, made possible by the amplification system so skillfully operated in Public Hall.

I liked Rychtarik's scenery and costumes. They provided a fresh, distinguished background in perfect harmony with the esoteric atmosphere of the work. Particularly lovely was the Milky Way backdrop for the Queen of the Night. Touches like this seemed on a level in inspiration with the mystery and magic of lovely passages for flute and bells in the score.

As an allegory, the opera has meaning for the average listener only though its general theme of virtue triumphing over the powers of darkness. The story, if it can called that, of Tamino and Papagno being subjected to various trials before they can marry their respective brides in the Temple of the Sun, whatever else it may be, is a useful thing about which to drape much marvelous music.

Special interest in this performance centered in the debut here of Rosa Bok, who sang the difficult coloratura arias allotted to the Queen of the Night with impressive skill. Her voice is on the thin side, but she uses it well. Another newcomer in this performance was the conductor, Paul Breisach, who is said to have conducted "The Magic Flute" yesterday for first time. He did the job very competently.

The sweetness of Charles Kullman's tenor pleased in his able projection of the important role of Tamino. Brownlee highlighted the performance with his clowning as the bird man, Papageno, and applause for one of his ingratiating monologs nearly stopped the show at one point. The noble smooth tones of Kipnis's middle register were impressive in his fine delivery of the part of Sarastro. Norman Cordon as the high priest was up to his usual excellence. The work done by Louis D'Angelo, particularly in the spoken lines, was praiseworthy.

Nadine Conner as Pamina made a beautiful little heroine, and, though her voice is not large, she did some effective singing. Stella Andreva was commendable as Papagena and John Garris likewise as the blackamoor, Monostatos. Mention should be made of the pleasing trio of genii consisting of three good voices, those of Marita Farell, Mona Paulee and Helen Olheim. Another feminine trio included Eleanor Steber, Maxine Stellman and Anna Kaskas, all of whom sang well. Emery Darcy and John Gurney took the parts of guards.

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