17
MUSICAL COURIER
April 19, 1923
EASTON
APPEARS IN RECITAL AT ORCHESTRA HALL, CHICAGO, ON APRIL 3
“Easton has become one of the notables in opera in America, her progress has been marked and her career has proved a most successful one. Last evening she demonstrated anew her many gifts in a program which was long, varied and highly interesting. Always pure in tone, warm in texture and even throughout its compass, EASTON’S VOICE IS AN ORGAN OF EXTRAORDINARY QUALITY AND HER SINGING HAS ALWAYS KEPT ON A HIGH PLANE OF ARTISTRY.”—Maurice Rosenfeld, Chicago Daily News, April 4,1923.
c. H \
APRIL 4,	1923.
FLORENCE EASTON CHARMING SONG RECITAL
BY HERMAN DEVRIES.
Spring■,” and Rogers' equally familiar "At Parting,” the latter beautifully phrased.
Ralph Leopold accompanied with
delicacy of touch cess
Pathway”) of Griffe's that displayed a fantasy quite freed from the fet ters Of convention, and another, “The Time of Parting,” by Hadley, which achieved the still more difficult goal, noble simplicity.
But if, she sang "Morning,” by Oley Speaks, or La Forge’s “Song of the Open,” for the friends of the obvious, at least she brought to these lyric banalities Interpretative aft of a quality that lent them mo• igentqry Worth- On the other hand, her interpretations of Hue’s gratefully familiar “Jai Pleure eh Reve” and Fourdrain’s "Ca.rnaval” were things to be treasured in memory.
Her Enunciation Pleasing.
Not less beautiful were the folksongs which came as enbores to the English group. And speajcing of the vernacular in song, Jyhn McCormack has a rival the ־matter of
Easton
enuncia-
a rival in Mme, English
tion ancT diction.
EASTON IN PROGRAM OF RARE ART
BY GLENN DILLARD GUNN.
,The perfect moment is as rare in ah as in nature, wherefore those persons who assembled last night in Orchestra Hail for the recital of Mme. Florence Easton, soprano, of the Metropolitan Opera may count themselves especially favored of fortune.
For this was an evening of perfect rst placé It exhibite־
gong. Tn the first place it exnmitea one of the beautiful voice's of the nr ¿Ши; a ■voice endowed bv nature
“A real voice, this of Easton’s, one with body and character and quality to it, and she uses it like an artist. HER RECITAL CLASSIFIES AS AN EVENT.”—Edward Moore, Chicago Tribune, April 4,1923.
and luster a voice that
.......hat tonal sbeen
1{hat thrills the senses;־
il............—. -	-
coffilhanas "many shades and colors of torte fbom a contralto-like warmth
and richness to the brilliance of ־the
?rano.
true
en-
tirely flawless display of. vocaf׳^ art; soffg that, just as song, was alto-
Flavvless Display of Art There was set forth also
perfect:
Finally Mme. Easton proved herself at home In every school, from the warm but serene beauty Qf the ancient Italian, to the hard-working emotionalism of-recent German song writers, the more fluent and Imaginative songs of contemporary French composers, or the often obvious sentimentalities of Americans. Threw Off Convention.
Not, be it said at once, that all her American songs fell into this category. On the contrary she found one (‘׳‘By a Lonely Forest
! Florence Easton's art, like royalty j can do no ־wrong. We know Mme
Easton. We have applauded her in the garments of operatic heroines, we have kept in our cabinet of precious memories the beauty of her Brunnhilde in “Siegfried,” as she sang it during the Campanini regime.
We were well prepared for pleasure when we learned that she was to give a recital at Orchestra Hall, and we were amply repaid for our confidence.
Mme. Easton satisfies the soul
upon	the concert platform	as	she
does	upon the operatic stage.		She
is an	artist by thé grace	of	iM-
created a style of song interpretation that is all refinement, dignity and simplicity, to iVhich her lovely voice adds the charm of color and meaning.
REVEALS SINCERITY.
Diction and intonation are likewise impeccable, and her musical sincerity is strikingly apparent. After an absence of several seasons one no-, tices that in the medium register resides the chief beauty of Mme. Easton’s voice, where it rings with silvery tone and caresses the ear with suave and well modulated quality
ENCORES PLEASING.
I heard the first two groups comprising songs by Secchi, A. L. Rich-i ardt, Veracini, Brahms, Schumann, Wolf and Strauss, and I was glad to share public ^enthusiasm forDoar
HjTpelTank,,
on m the Lecchi ’ When Two
cxcmisi
emission ___ ___ ______
That Love Are Parted,’
Strauss “Staendchen.”
The encores after this were Mrs. Beach's familiar “The Years at the
and for the
“Florence Easton has a lovely voice, rich in quality, firm in texture and with a something ample about it that assures you it will be ready for any calls made upon it. There was a straightforward quality in all she sang that had the true ring and the tone was always rich and full.
EASTON HAS THE VOCAL AND TEMPERAMENTAL GIFTS TO MAKE A DELIGHTFUL SINGER OF SONGS.”—Karleton Hackett, Chicago Evening Post, April 4, 1923.
Kranich & Bach Piano
Aeolian Hall, New York
HAENSEL & JONES
Brunswick Records
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