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Richard Strauss’ “Der Rosenkavalier” made its welcome reappearance at the Academy of Music, after three years absence, presented by the Metropolitan Opera Company before a large and friendly audience last night.

It was a performance of great spirit and vitality, under the fervent direction of Fritz Reiner. Mr. Reiner, a Strauss specialist, conducted some unforgettable performances of “Rosenkavalier” at the Academy in 1934. It was a pleasure and a privilege to hear him once again at the helm of Strauss’ masterpiece.

Much of the rightness of spirit and color of last night’s performance was directly due to the distinguished conductor. The orchestra was transparent and flexible, and Mr. Reiner let us hear the soaring trio of the last act as it should be heard, not rushed and slighted in the climax.

Spirit Caught

A good cast caught Mr. Reiner’s spirit admirably. Two elements of interest were the Philadelphia debut of the well-known Berlin soprano, Erna Berger, in the role of Sophie, and the assumption of the part of the Princess von Werdenberg by Eleanor Steber.

Mme. Steber was a handsome and plausible Marschallin. The great lady is said to have been in her mid-thirties at the time of her affair with Octavian, and the American soprano looked just about that age. We have grown accustomed to some far too elderly Marschallins in the past.

Miss Steber sang the part with the refinement which one expected, though her voice was not quite incisive enough or dominating, especially during the first act.

Not Worldly Enough

Ten more performances of the part should find Mme. Steber in every way an excellent Marschallin. For the present the role, as she presents it, is lacking in worldly overtones and an ultimate and subtle assurance. She will undoubtedly acquire these qualities for her Princess.

Miss Berger at once made you feel that the Metropolitan had acquired an experienced artist. Her Sophie was quite a little person, and not the wishy-washy maiden we have often seen in the part.

The new soprano’s clear, firm high tones penetrated well. She brought to the role a small, compact figure, and a relaxed simplicity of deportment. The high tessitura, including the D-flat had no terrors for Miss Berger, who sings the Queen of the Night in Europe.

Ochs Jovial and Familiar

Familiar was the big, jovial Ochs von Lerchenau of Emanuel List. At this stage, Mr. List’s Ochs is one of the Metropolitan’s most valid operatic portraits of the day. The basso was also in good voice.

Equally familiar was Jarmila Novotna, whose Octavian is the most charming the Metropolitan has had since Maria Jeriltza’s. Aristocratic and irresistible, Mme. Novotna made one forget that some of her tones were occasionally pinched and produced with effort.

Kurt Baum’s fine voice soared effectively in the Italian aria of the first act, and Hugh Thompson, Herta Glaz, Thelma Votipka, Peter Klein, and Lorenzo Alvary contributed solidly with their portrayals of Fanninal, Annina, Marianne, Valzacchi and the Police Commissioner.

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