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Sandor Konya sang his first Calaf in Puccini's "Turandot" at the Metropolitan last night. Looking every inch a prince and acting as such, he had the quality of voice to make the role quite real. Other tenors have had more brilliance for their top notes but have not sung with any more finesse. His was a performance that met the challenge of the rule successfully and left a satisfying impression of fitting nicely into it.

He was impressive in posing his question to the haughty Turandot after answering hers so triumphantly in the second act. Then, in the Palace Garden, he proved himself quite equal to the interpretation demanded and sang the last part of the scene with lyric grace. The audience obviously liked him.

Sustaining its top-billing as one of the thrilling performances the Met offers, "Turandot" varies little in general effectiveness as the season progresses. This fourth performance found Kurt Adler conducting with more musical control than dramatic intensity. He has a tendency to let the orchestral play too loud. Singers and conductor were not always together, and the offstage chorus strayed from strict timing. He conducts a faithful, straightforward performance.

Birgit Nilsson continues to dazzle everybody with her brilliant singing of the title role. It is difficult to get perspective on her because she maintains a standard of excellence with remarkable consistency. Not to hear her is to miss a great moment in opera these days.

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