25
MUSICAL COURIER
February 1, 1923
MARGARET
MA TZENAUERTriu™i>hs
CARNEGIE HALL, JANUARY 17,1923
“Matzenauer’s Voice Was Absolutely Gorgeous2—״TÄÄS5
“After Arensky’s ‘On Wings of Dream’ the audience was hers to sway as she pleased.”—H. E. KREHBIEL, NEW YORK TRIBUNE, Jan. 18, 1923.
“Her full, rich, resonant voice and her command of dramatic accents are an asset in everything she does.”—HENRY T. FINGK, NEW YORK EVENING POST, Jan. 18, 1923.
“As a contralto she has few peers. She offered a program which was interesting and diversified, and produced some colorful, finely styled singing.”—NEW YORK WORLD, Jan. 18, 1923.
“Her dramatic powers and emotional eloquence lent conviction to her interpretations. Madame Matzenauer gave of her splendid voice with prodigality. There was much beauty in her use of middle and lower tones.”—NEW YORK HERALD, Jan. 18, 1923.
“Never, perhaps, had her extraordinary voice sounded so completely beautiful and technically she was at her best. The deep contralto quality of Matzenauer’s voice was absolutely gorgeous.”—PITTS SANBORN, NEW YORK EVENING GLOBE, Jan. 18, 1923.
“A remarkably versatile woman she is indeed. She sang to the delight of a large and extremely demonstrative audience. Her tone production was good, always true to pitch and beautiful. Her interpretations reflected intelligence and careful deliberation.”—MAX SMITH, NEW YORK AMERICAN, Jan. 18, 1923.
“Her style—and her torrid tone and the highly dramatic delivery which gave it birth, were redolent of opera, the all highest opulent opera. It was magnificently purple singing that Madame Matzenauer contributed. She is a passionate interpreter. Her emotions are thrown forward with her voice and give her voice flame.”— NEW YORK SUN, Jan. 18, 1923.
“Her noble voice was at its loveliest, whether its opulent tone illumined the gravity of Bach, whispered the tenderness of Brahms, dwelt meditatively on the poetry of Wolff or rang out in the longing of Strauss.”—NEW YORK EVENING MAIL, Jan. 18, 1923.
“Madame Matzenauer is a versatile artist. She sings both soprano and contralto roles at the Metropolitan Opera House. The same versatility was seen in her recital and all she sang well. She was in excellent voice. The audience was not slow to appreciate her efforts. Repetitions were demanded.”—NEW YORK TELEGRAM, Jan. 18, 1923.
“Matzenauer once more convinced them of the unimpaired and waxing glories of her wonderful contralto tones. She sang with all of the well-rounded opulence and potent repression of her great voice.”—MORNING TELEGRAPH, Jan. 18, 1923.
“Mme. Matzenauer is one of the mightiest and most brilliant wherever opera is sung, and she is able to win great success on the concert platform. Yesterday at Carnegie Hall she was applauded, and showered with flowers.
“Her voice sounded so rested and fresh, that no one suspected that she had sung the entire Isolde role only the evening before. Her voice is magnificent and her singing art, entirely aside from its dramatic effectiveness, finely developed. She has a beautiful legato, her head tones, piano, are delightful mezza voce, especially beautiful. The clearness of her. diction was notable throughout. She was compelled to add a great many encores.”—MAURICE HALPERSON, STAATS-ZEITUNG, Jan. 18, 1923.
IVOW BOOKING SF״RIIVG 1924. A Few Available Dates Spring 1923
Address: Chas. R. Hammerslough, Mgt. Margaret Matzenauer, 214 West 42nd St., New York City
Fall 1923 Now Being Booked—Booking Representative—Concert Management Arthur Judson.