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MUSICAL COURIER
A prit 13, 1922
MACS
PRIMA DONNA COLORATURA SOPRANO CHICAGO OPERA ASSOCIATION
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TRIUMPHS AT LOS ANGELES
MARCH 18th, 1922
“I suppose none of us has heard Mozart sung quite as pleasurably in ages, as Miss Macbeth sang him yesterday. The warmth, the color, the life of the singer’s voice inspired us. Every tone was tinted with a beautiful feeling so that we followed the melody as one would watch the rosy clouds floating in the sky.” (Edwin Schallert, in the Daily Times).
“Macbeth was in magnificent voice and her clear lyric tones were heard with delicacy and the perfect nuance of traditional rendition in the two Mozart arias. Her beautiful stage presence and charming, unaffected manner enhanced the really classic charm of her work. Later, in the ‘Hymn to the Sun’ aria she repeated her earlier triumphs.” (Florence Lawrence, in the Examiner).
“Macbeth was a dainty and charming singer. Her tone was produced with authority, perfect pitch, clarity, resonance and lined with velvet. She sings with beautiful relaxation.” (Florence P. Reed, in the Record).
I	As GILDA in “RIGOLETTO”
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A SENSATION IN SAN FRANCISCO
22nd, 1922
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MARCH
“The appearance of Florence Macbeth created a mild sensation. The charming singer was recalled so many times that it seemed doubtful if the concert could proceed.” (Helen M. Bonnet in the Bulletin.)
EVERY CONCERT DATE BOOKED FOR THE THIRD SEASON IN SUCCESSION AND NOT A SINGLE CANCELLATION.
COLUMBIA RECORDS
MASON and HAMLIN PIANO
Management: NATIONAL CONCERTS, Inc.
New York
SAMUEL GENEEN, President !4SI Broadway
“Florence Macbeth was received by junior music lovers with an enthusiasm that would have done credit to an audience sophisticated in such matters as vocal technique. Whether or not they were aware of the fineness of her artistry, they came under the influence of her personal charm and rewarded her with many recalls.” (Ray C. Brown in the Chronicle.)
“When Florence Macbeth, who is that rare thing in song, a singer of florid melody who possesses a heart, ended the ‘Hymn to the Sun’ aria they applauded with tremendous persistency. It seemed they would not be denied. Then she sang ‘Charmant Oiseau’ with rare vocal purity and with just the right modicum of sympathy to rescue it from the category of display pieces.” (Redfern Mason in the Examiner.)
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