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The first "Aida" of the season at the Metropolitan Opera House last night was hardly one to bring much pleasure to lovers of fine singing or to those who remember some of the casts which have appeared here in better days in Verdi's masterpiece and were able to do justice to his wonderful melodies. Only one singer among those heard last night brought to his part the essential vocal distinction throughout the evening - that singer was Norman Cordon, who projected his rich bass voice with an even vocal line, never shouting or distorting his phrases for emotional effects, but always singing expressively and with befitting dignity.

In the title role Miss Milanov sang as she nearly has always done here - sometimes, but very rarely indeed, with discreet use of her brilliantly vibrant voice, mostly forcing it beyond all bounds of beautiful sound, with unfocused sounds indeterminate in pitch as a result. She paid the cruel penalty for this mistreatment of her voice in "O patria ma" by attempting a high C which not only fell short of its mark, but splintered like cracking glass. It is indeed unfortunate that the possessor of such remarkable native gifts should not be able to learn to employ them more expertly.

As Amneris Miss Harshaw, too, failed to make the most of her voluminous, voluptuous contralto voice, not only spreading her tones but delivering much of her music with an excessive vibrato and on occasion, as in the first scene of the second act, reaching for her highest tones and not quite arriving at the true pitch.

Since one can no longer expect satisfying singing from Mr. Tibbett nowadays there seems little object in dwelling at length on his shortcomings. Mr. Whitfield, who made his first appearance here as the King, has the physical stature for the part, but unhappily not the vocal stature, displaying a dry, hollow bass voice not capable of much expressiveness. Richard Manning, who made his debut in the role of the Messenger, sang loudly and "whitely." Mr. Jagel's Radames had its customary routine and its usual want of sensuous appeal.

Mr. Cooper, who had not conducted "Aida" here before, had some peculiar ideas about the pacing of the score, for the most part dragging unconscionably, but occasionally whipping up the tempi so that the singers could not keep up with him and in general offering a static, unexhilarating account of what has always been considered a fool-proof opera. But even "Aida" can prove a dull affair when voiced and conducted as it was on this occasion.

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