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The Metropolitan's new "Macbeth" returned this season better than ever, with the cast substantially unchanged from last year. Absolutely transcendent were Leonie Rysanek, as Lady Macbeth, and Leonard Warren, in the title role. With sensitive collaboration from Erich Leinsdorf and the orchestra, they not only sang their solo arias magnificently but made such duets as the "Fatal mia donna!" of Act I, Scene 2, incredibly gripping.

I do not think I have ever heard a more consummate control of dynamics and of dramatic emphasis conveyed through intricate vocal figures than in this duet. What good fortune that this was broadcast, so that millions throughout the land could know what great singing is being heard at the Metropolitan today, and that we, too, have our Golden Age of Song.

There were two newcomers to the cast: Daniele Barioni, as Macduff, and Teresa Stratas, as the bloody child who appears to Macbeth in Act III, at the witches' cave. Mr. Barioni sang the "Ah, la paterna mano" movingly, albeit too strenuously; and Miss Stratas brought atmosphere to her brief encounter with Macbeth.

Jerome Hines was again a mellow-voiced and touching figure as Banquo. William Olvis sang with notable vitality as Malcolm. Carlotta Ordassy and Gerhard Pechner, as the Lady-in-Attendance and Physician, contributed to the emotional magic of Miss Rysanek's Sleepwalking Scene. And the others were also in top form: Louis Sgarro (A Warrior), Osie Hawkins (A Murderer), and Mildred Allen (A Crowned Child).

The ballet was of help in making Verdi's weak music for the Witches more palatable, with its grotesque dancing and mime.

Mr. Leinsdorf obtained equally admirable results from the stage and the pit. He has made some changes (mostly to the good) in this season's production. Acts I and II remain the same. But in Act III, he omits the scene between Macbeth and Lady Macbeth, in which she confronts him on the heath after his second encounter with the witches. This is replaced by the slow section of the ballet music, accompanying the appearance of Hecate, which is played as a prelude to Act IV, and eliminates the third intermission. (Since the Metropolitan does not have a revolving stage or other modern devices, the frequent scene changes are a severe problem to the producer).

The silly basket shields and posies in the battle scene, Act IV, Scene 4, have been happily eliminated. The curtain closes while the orchestra plays the battle music. The combat between Macbeth and Macduff is omitted, and Macbeth dies alone on stage. Then the final choral passage with Macduff and Malcolm leads to the end.

The chorus was again deeply impressive, not only in the monumental "Schiudi, inferno, la bocca", of Act I, Scene 2; the choral finale of Act II; and the heart-searching "Patria oppressa," of Act IV, Scene 1; but in the assassin's chorus of Act II, Scene 2, "Chi v'impose unirvi a noi?" In this, the deft pianissimo singing added an ominous touch to what might have seemed trivial.

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