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Greek tragedy rose to its true larger-than-life stature in a magnificent performance of Strauss' "Elektra" Saturday night at the Metropolitan. I can recall no previous performance more searing in the intensity of its corrupt and psychopathic passions, more vivid in portrayal of the obscene madness of the three women transported variously by fear, hate and the insatiable appetite for cataclysmic revenge, and none in which vocal achievements more frequently touched greatness.

The evening had other points of interest, too. Not many of the audience knew it, but they were hearing Regina Resnik, the Klytaemnestra, for the last time at the Metropolitan. This was her final appearance of the season, and she informed this department that, owing to disagreement with the Metropolitan management about role assignments, she will not return. It is a sad loss for the company. As the decayed, hagridden old queen with the blood of her husband on her hands, she was a soul-chilling spectre as repellent in her grovelings before Elektra as in her cackling triumph when she believes that the source of danger-her son, Orest - is dead. It was a fabulous performance and Miss Resnik's finest hour in the theater.

Potentially big news, too, was the Metropolitan debut of Gladys Kuchta, young American soprano who has been having much success in Europe, in the role of Chrysothemis. It is difficult to get the full picture of a new singer from Chrysothemis since it is not a sustained part nor a fully developed characterization, and it is pale dramatically beside the other two women. But with the wide range, the power of penetration of a thick orchestral fabric, and with the frequently glorious tones at the top, this seems to be a voice ideal for Isolde and other Wagnerian heroines. Time and further hearing will tell.

Inge Borkh, who virtually never leaves the stage during the entire performance, again was tremendous in the impossibly difficult role of the vengeance-crazed Elektra. Like Salome, it is a challenge that only a great and improbably versatile singing actress can meet. Hermann Uhde was handsome in his tall, dark austerity as Orest, and Karl Liebl, appearing for the first time as Aegisth, dealt ably with his few fleeting entrances and exits. The conducting of Joseph Rosenstock had the cool assurance of a musician who knows his business thoroughly.

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