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Moussorgsky’s “Khovanchina,” which was given for the fourth time at the Metropolitan Opera House last night, had several changes in cast to distinguish the occasion from the performances that had preceded. The changes had been scheduled, but in view of Regina Resnik’s indisposition, the part of Susanna was again sung by Polyna Stoska, who had appeared in it earlier this season. The main newcomer to the production was Irra Petina, who sang the leading feminine role of Marfa. Thomas Hayward was the new Andre, son of Prince Khovansky, while Frank Guarrera sang the role of Shaklovity for the first time. George Cehanovsky was new as the musician, Kuska, who has a brief part in the last scene of Act III.

Miss Petina handled the stage action well and gave a convincing, though not very impassioned, dramatization of her role. Her low notes, however, were lacking in warmth and power, and there was little of the legato, the smooth linking of the notes within a phrase, so essential to conveying the pathos in Russian opera. Thomas Hayward brought vocal freshness and animation to his stormy encounter, in Act I, with Marfa and Emma. Shaklovity’s big aria in Act III had intensity and vocal amplitude, but Mr. Guarrera has, on previous occasions, achieved better tone quality. Mr. Cehanovsky’s song did not carry too well and left something to be desired, though the orchestra, which was particularly loud in Act III under Emil Cooper’s generally expert and authoritative direction, may have been partly responsible.

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Search by title: Khovanshchina,

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