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The opera repertory may vary from year to year, but we can nearly always be sure that "Aida" will be with us. It is an opera that takes a lot of punishment from many incompetent performances, but when it is well done it is one that is hard to beat. Yesterday's performance by the Metropolitan was one of the latter, due in great part to the superb performances of Zinka Milanov and Margaret Harshaw as Aida and Amneris respectively.

Mme. Milanov has been acclaimed here before, but her performance yesterday was about as fine a one as we have seen. Her voice is beautiful, clear land powerful, and she focuses it so that all its loveliness is heard to best advantage. It would be hard to find special points of merit in her singing, but "Ritorna Vincitor" and "O Patria Mia" were almost incredibly beautiful. Added to this was a compelling and vital histrionic performance.

Margaret Harshaw, substituting at the last minute for Bruna Castagna, again displayed her truly lovely contralto, and acted convincingly, although without the jealous fury that the role can display. She was especially good in the second act with Aida, and in her own big scene outside the judgment hall.

The opera really revolves around these two characters, Radames being pretty much of a cardboard figure at best. As sung by Arthur Carron yesterday he never came to life. Mr. Carron did well in his big aria in the first act, but his voice seemed to tire quickly. Leonard Warren was a terrifyingly ferocious Amonasro, and displayed his very powerful voice to best advantage.

Cesare Sodero directed the orchestra and got the most from the magnificent score, although there were occasional discrepancies as to tempos. The Triumphal scene was filled with pomp and circumstance, and the various ballets were warmly applauded.

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