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The Metropolitan Opera is running into good luck these days. Its latest newcomer, Mihaly Szekely, who made his debut as Hunding in "Die Walkuere" last night, turned out to be a singer of quality. Exactly how good Mr. Szekely, a basso from Hungary, can be remains to be seen, for Hunding is a short, ungrateful role, but there is no question that he is good enough to be welcome.

Mr. Szekely's voice has more fluency and smoothness than most deep bassos, though it can reach low enough to encompass Hunding's music without turning the sound into a hollow growl. The new basso also has the happy faculty of singing accurately on pitch, instead of wobbling precariously around it, like a comedian on a tight rope. He sings with the discrimination

of a musician.

Of course, Hunding did not give him much time or opportunity to show his full capacities. He seemed to be warming up - and heavy voices need generally a good deal of warming up-when he was required to call it quits in the first act. The second act did not even give him occasion to warm up again.

But it is certain that he will have more extensive opportunities before the season is out. He has the experience and repertory to fit into the German as well as the Italian and French wing of the company. He has sung not only in Budapest, his hometown, but in a number of major opera centers, and he has done most of the important basso roles.

Last night's "Die Walkuere" was on high plane throughout. Torsten Ralf, singing his second

Siegmund of the season improved considerably on the first. Astrid Varnay was a much better Sieglinde than she was earlier in the season. With Helen Traubel as Bruennhilde, Joel Berglund as Wotan, Blanche Thebom as Fricka and Fritz Stiedry conducting, this was top-notch Wagner.

Photograph of Mih?ly Sz?kely as Hunding in Die Walk?re.

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