One of the outstanding facts about the rapidly emergent Metropolitan Opera season is the continued force of the work “The Emperor Jones”, which represents a singularly happy concatenation of the diverse talents of Eugene O’Neill, Louis Gruenberg, Lawrence Tibbett and Jo Mielziner. After the lapse of almost a year I find it as virile and real and worthy a piece as ever. And I can find little patience for the superciliousness with which Gruenberg’s charmingly self-effacing score is greeted in some quarters. It is a significant score and Gruenberg may well be proud of it. So may Tibbett be of his stupendous characterization of the Negro; Mielziner of his sets, and O’Neill of his “book”. But that is an old story.