The Two Misers, an opera-comique by Gretry, opened last night as the annual production of the Lowell House Musical Society. The Lowell House dining hall, with its ornate chandeliers, provided an ideal setting for this engaging eighteenth century trifle which is to be repeated tonight.

Gretry's work lacks the exuberance and sparkle of the finest opera boufle tradition of that period, as exemplified, for example, in Cosi fan Tutti. Yet if Mozart is not advanced in comparison, Gretry's music must be adjudged an effective and delightful score. The characters are given subtle musical characterizations, there are some hilarious ensembles, and the coloratura has ample opportunity to show off her best.

The two misers here suffer none of the crushing caricature of Moliere's L'Avare, written a century earlier. Gretry's characters romp through their villanies like a couple of school-children. In the end the misers' greed is duly admonished and their young wards are awarded their rightful inheritances and are allowed to marry.

The translation from the French by Irving Yoskowitz and John Bowman is in good style (in spite of an occasional clash like "yearn to earn"). These gentlemen are also chiefly responsible for the attractive staging and fast pace of the production. The emphasis is on slapstick comedy and this generally succeeds in keeping the ridiculous script from falling flat. The orchestra under Edward Troupin is excellent; this is one of the few student productions that I have ever heard where the orchestra did not overbalance the vocalists.

The vocalists are quite uneven. Only Mildred Allen in the feminine lead and Bernard Barbeau as one of the misers is vocally satisfying. Miss Allen displays a light, flexible soprano in her numerous arias, Mr. Barbeau an agile yet powerful bass. Anthony Giarraputo's characterization of the other miser is consistently funny. Peter Elvin's caricature of the hero perhaps goes beyond his intentions at times. Elizabeth Kalkhurst is appealing as the shrewd maid.

Lowell House's annual presentation of an opera has always been a gracious tradition. On occasion it has been musically significant. This year it has not. The Two Misers may have been quite adequate as a diversion in the court of Louis XV; however, as the only serious operatic presentation staged each year at Harvard, it seems to me an unfortunate waste of some excellent talent and much very hard work. Much great but neglected music remains to be brought to light; some of the finest contemporary scores are in operatic form; these considerations might guide Lowell House's choice in the future.