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Verdi's "La Forza del Destino" returned to the Metropolitan Opera repertory last night in a solid performance that had the capacity audience cheering almost everything it heard. The opera was last presented in the 1961-62 season. Herbert Graf's production was stylish. Eugene Berman's somber sets and costumes blended well with the heavy melodrama of the opera, and Nathaniel Merrill's stage direction kept the large masses in interesting groupings.

Five artists were new to the production, but the most satisfying performances came from carryovers. These were Carlo Bergonzi as Alvaro, Fernando Corena as Fra Melitone and Andrea Veils as Trabucco. Mr. Bergonzi's tenor is probably the most beautiful at the house, and he is certainly one of the most intelligent and sensitive of the company's singers. Mr. Corona played his usual buffa self with the usual droll results. And Mr. Veils again turned in a complete characterization showing admirable and detailed study. Nello Santi was new as the conductor, and his fondness for brass made for a noisy orchestra performance. But like a good circus conductor, he had a sympathetic eye for the action and matched his pacing to the stage's demands.

Gabriella Tucci. was lovely in her first Met performances of Leonora, and her singing had warmth, The pianissimos in the last act "Pace, pace, mio Dio" were expertly sung, but a deeper sense of drama might have been brought to her work. She moved around during much of the opera, beginning on a staircase and then descending. Why move at all in this prayer? Herlea was a manly Don Carlo, whose impression was lessened by a somewhat muffled delivery of his words. Robert Goodloe sang his first Surgeon well and managed to get quite involved in the action during his brief minutes in the first act. Joann Grillo in her first Preziosilla was nice but was upstaged by Mr. Corena and Mr. Velis against whom it is hard to hold one's own.

The opera has something for everyone: church scenes; mistaken identities; duels; pitched battles and murders. The dancing in the second act, choreographed by Alicia Markova, had zest and brilliance. In all it is a show to see.

Search by season: 1964-65

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