Boston threadbare hub of the intellectual artistic universe, seems to have found itself an opera company. Last year Boris Goldovsky's New England Opera Theater was merely a new idea, a well executed but conceivably short-lived one. now it looks as though Mr. Goldovsky and his company are established happily from the points of view of both achievement and potential audience.

The Opera House was as near full as most people have seen it for Sunday afternoon's "Marriage of Figaro," and the efforts of the group seemed to have grown along with its surroundings since the switch from last year's site, Jordan hall. The added stage area made the production itself less cramped, allowing the participants a little freedom of motion and contrast in position.

But for one part, the cast of "Figaro" was exactly the same as that at last year's Opera Theater premiere. The one change which brought Margaret Brink in as the Countess, was, if musical memories are accurate, an improvement. Miss Brink's crystal tones and appealing voice were perfect for the part, and she sang her showpiece aria, "Dove Sono," well with the possible exception of a slightly breathy conclusion.

Mildred Mueller as Cherubino was better in both appearance and voice than anything the Metropolitan has offered in recent years in the part. The only exception to the east in fact, might have to be made for Margaret Goldovsky, who as Susanna overacted into "cuteness" and did not display an outstanding voice.

Mr. Goldovsky deserves credit not only for the staging of the opera and the general management of the enterprise, but especially for his conducting. the orchestra, though not enormous made Mozart's superb instrumental passages stand out Sunday as they seldom do, with the winds particularly good; and the entire opera was done with real spirit and good humor. "Don Giovanni" and "Idomenco" are next on the list in this Mozartean year; Mr. Goldovsky's treatment of their more difficult problems is awaited with interest and confidence. J.A.L