THE ROCK opera is not likely to become the new art form. Even in the Who’s capable hands, it is misnamed, for although there is a story in "Tommy," there is little true dramatic action, upon which an opera is dependent. The music is always the most important aspect of this "opera," which is difficult to imagine ever being dramatized.

Even the character of Tommy competes for attention while the Who do Who things. Their rock is so pure and precise — so satisfying as a totally abstract thing — I question the choice of such a vehicle for their music.

But Peter Townshend (with a couple of exceptions the sole composer) has had the bug for the last five years to do an opera; ergo, "Tommy." The news about the group's progress (in addition to Townshend, who is also lead guitarist, the Who consists of lead singer Roger Daltrey, drummer Keith Moon and bassist John Entwhistle) became particularly frequent after its "mini-opera," "A Quick One While He’s Away," appeared on the lp, "Happy Jack," in early 1967.

I don’t mean to berate "Tommy." On the contrary. The double-record package, which includes lyric sheets and illustrations is one of the most exciting releases of the year.

As for the young title hero, he is deaf, dumb and blind; not because of disease or accident, but because his parents demand it (the reason will not be disclosed; after all, one cannot spill all the beans). Later, he is cured (I’ll spill most of the beans, though) because he desires it. Hailed as the benefactor of a miraculous cure, Tommy becomes (take your pick) a true messiah or a demagogue. His once enthusiastic followers leave him and he is able to save only himself once more.

Employing a formal structure, side one includes an overture (which features Entwhistle’s oft-boasted skill on French horn), several scene-setting songs and an instrumental, "Sparks."

Sonny Boy Williamson’s "Hawker" (distorted into "The Acid Queen" on side two) is read not as a blues, but the way Happy Jack would sing about his girl.

"Christmas," one of the best songs, attempts to include some of the few moments of recitative. Others occur on another of my personal favorites, "Go to the Mirror!" on side three, with the dialogue between Tommy, the doctor and Tommy’s father. The songs, or arias, concentrate on the internal feelings of the participants (such as Tommy’s recurring plea, "See me, feel me, touch me, heal me"). Tommy, growing up under the care of unwise or unkind people (Cousin Kevin, Uncle Ernie) develops one talent — pinball; hence, "Pinball Wizard," one of the all-time superb rock songs.

"The Underture" at the end of side two is the only part I find a bit slow. Too long (9:59), it develops all the nice guitar and drum work of the Who, but its basic theme is never expanded beyond some superficial chord progressions; it’s tight, but uneventful.

Side three is all gold, having the popular "Wizard" song and two fantastic numbers, the aforementioned "Go to the Mirror!" and "Sensation," the latter post miracle cure.

Side four builds to a respectable climax for an "opera" with little real drama. The final "We’re Not Gonna Take It!" is actually bunched together with the short "Tommy’s Holiday Camp" (sung by Uncle Ernie), and has a couple of different melodies, including a slower reprise of a chorus which Tommy debuted in "Go to the Mirror."

An important aspect of the Who’s music is its layers. The textual quality is aided in no small part by Moon’s very active drumming, among the heaviest in rock. On "Tommy," the use of kettle drums plays a significant role.

There is a problem with the music, however. The quality is almost too good throughout, which poses a slight handicap. The nature of Who music is such that a great deal of tension is built without release patterns, which can have an unsettling effect. Even so, the situation is not serious and I suspect complaining about the high quality of music might appear hypocritical, so suffice it to say "Tommy," with its handful of flaws and abundance of strong points, joins the rapidly-growing list of rock recordings which are going to be significant decades from now.