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I would give much to know what Karl Boehm really thinks of the Metropolitan's Graf-Kerz-Merrill production of Parsifal. Mr. Boehm inherited this year's Easter assignment for the first time, and while he was virtually making over everything within the pit, all onstage remained substantially as it was before.

Some of Ramon Vinay's singing was dramatically moving and powerful, especially his "Amfortas, die Wunde!" I simply don't think his nasal tones are in any way suited to Wagner, from his [first] lines to an exceptionally unattractive "Nur eine Waffe taugt," and his acting was inadequate. As he showed no reaction whatever to Amfortas' pain in the first Grail scene, his sole function there was to block the view of a few happy spectators on the right.

Margaret Harshaw succeeded with a few well-chosen strokes in giving us an essentially different yet recognizable Kundry with each act. It was one of her most impressive achievements, in light of her dramatic limitations. Her work was further simplified by the fact that Kundry, like most of the cast of Parsifal, has no ensembles to sing, only solo lines, and she was thus spared the impossible task of blending with Mr. Vinay. The tender appeal of "Ich sah das Kind" contrasted well with the horror of "Kenntest du den Fluch," both facets projected for the most part with considerable ease.

Ralph Herbert's local debut as Klingsor was spotlighted by the only scene staged with real imagination (I am not including the brief reappearance with the woeful spear business.). The greenish glow and the few simple stylized gestures were far more evocative of evil than all the melodramatic posturing of Klingsors we have seen, Mr. Herbert used a small and not very frightening voice with subtle artistry to complete the baleful effect.

Hermann Uhde again performed a like service for Amfortas, though acting more exclusively with his voice than with his body. William Wilderman, as the offstage voice of Titurel, was barely audible. Laurel Hurley was a bright spot in the vapid flower scene as the first maiden, while Helen Vanni assumed two roles owing to the indisposition of Mary MacKenzie.

Amid the spate of undernourished voices, both solo and choral, that of Jerome Hines shone forth with the full majesty of a bygone age.

The management apologized before Act III because Mr. Hines was continuing, though not feeling quite himself. To the contrary, the only things I regretted were the cuts in his part.

Along with Mr. Hines, the orchestra sounds evoked by Karl Boehm were the most consistent reminder that here was enacted one of the most magnificent tonal dramas in the repertory. The mystic power of the play moved inexorably without dragging-intense but not ponderous.

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