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Mozart's "Le Nozze di Figaro" last night was presented by the Metropolitan Opera Association at the Academy of Music before a large audience. The performance proved one of great brilliance, in fact one of the best heard here in many seasons. Under the authoritative direction of Fritz Busch, Mozart's enchanting comedy moved forward with irresistible charm. Nor was this a matter of glib rhythms or breakneck speed. Mr. Busch's tempi were singularly just; there was a sense of sparkle which owed nothing to rushing matters. Equally communicative was Herbert Graf's telling stage direction with its many neatly scored points.

The cast provided by Edward Johnson for this altogether happy occasion was one that only a company such as the Metropolitan could have assembled. It was an international aggregation which boasted an Australian, three Italians, four Americans, a Czechoslovakian, a Brazilian, two Hungarians and an Austrian. Italo Tajo, the Metropolitan's new basso buffo, followed the absent Ezio Pinza in the role of the volatile Figaro and proved an immense success. Mr. Tajo is a big man who moves around the stage with plenty of spirit and vivacity, if hardly with the animal grace of his predecessor. He is a deft comedian. The new singer has a large voice which he uses with much artistry and finish. Particularly admirable was his handling of the Mozart recitatives. The aria, "Aprite un poco gl'occhi," addressed by Mr. Tajo to the audience was one of the outstanding successes of the evening.

Other singers were familiar in various roles. Eleanor Steber's Countess has matured since it was last seen here. In the past one had the impression of a young girl trying her darndest to be the Countess, but last night Miss Steber was every inch the character. The soprano's voice was in excellent condition. Particularly lovely was her pianissimo singing of the reprise of "Dove sono." Pared with Miss Steber's Countess was the admirable Count of John Brownlee, which also seems to have gained some subtle increase of stature.

The audience had the pleasure of renewing its acquaintance with Bidu Sayao's enchanting Susanna, which seems like perfection itself; Jarmila Novotna's adorable Cherubino (Miss Novotna was in unusually good voice) and Salvatore Baccaloni's rotund Bartolo with its sonorous "La Vendetta." Anne Bollinger, a young American soprano and audition winner, made an unusually agreeable impression in the small role of Barbarina.

This was a cast which achieved excellent ensemble, but which also radiated personal distinction and individual color. Such a well-balanced state of affairs is an ideal one for performing so complex a musical masterpiece as Mozart's wonderful comic opera.

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