The young coloratura portrayed the part with rare abandon, while keeping her lilting voice in perfect rapport.

Miss Peters has assumed a major part in the future of the Metropolitan, and in recent years has firmly established herself as one of the outstanding performers in the soprano lists. Her voice was full, flexible and beautiful in the melodic lines of Mozart.

Victoria de los Angeles played second fiddle to Miss Peters until the third act of the opera. Then she took over the prima role and sang some of most thrilling tones we have heard from a Metropolitan soprano.

Her voice had tremendous scope and thrilling resonance throughout. Her perfect tonality was a joy to hear and in the later duet with Miss Peters, the highpoint of the opera was reached. Seldom has it been out lot to hear two such perfect voices singing in perfect blend as in the third act duet.

In the role of the infectious Figaro, the town factotum, generally flunky and know-it-all, Cesare Siepi handled the lead male role in the excellent manner that has become associated with his bass-baritone voice.

He is the top bass on the Metropolitan roster and he was in rare form in Sunday night’s performance. His stage deportment has improved immeasurably in the last few years, and he handles the mantle of Pinza with the assurance of a veteran. He is handsome to look upon and a joy to hear.

Margaret Roggero, as the Cherubino of the piece, handled the role well and with the necessary comic overtones. Her vocalizing of “Voi che sapete” was one of the highpoints of the second act. Her conic antics in the role of a man dressed as a girl kept the audience in big good humor.