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MUSICAL COURIER
May 3, 19 2 3
FLORENCE EASTON
PRIMA DOWA SOPRANO, METROPOLITAN OPERA COMPANY
SEASON’S SECOND NEW YORK RECITAL
“An audience had gathered that filled every seat in the house, with an overflow crowding all available platform space. AND WHAT AN OVATION IT GAVE THIS PRIMA DONNA OF THE METROPOLITAN OPERA COMPANY BEFORE ONE NOTE HAD BEEN SUNG!
To be sure, Easton did look very fetching in a cherry silk gown with stockings and slippers to match, but undoubtedly the rousing welcome was based on keen confidence in the quality of the entertainment to follow. There seemed to be no cause for disappointment. Easton sang with feeling and art. The notes of the lower and middle register were beautifully full and resonant, and enunciation and phrasing were a delight. The audience showed themselves more than pleased.”—Pitts Sanborn, New York Globe, April 21, 1923.
“FLORENCE EASTON IS ONE OF THE MOST SATISFYING INTERPRETERS OF SONGS TO | BE LISTENED TO NOWADAYS.
At her recital last evening she did some singing that for purity of tone, vocalization, clarity and justness of diction was REALLY SUPERB. And all these things—the material of the art rather than the thing itself—she employed with ease and fluency toward the main matter in hand namely, the communication of the spirit and letter of every song on her programme.”— Herman Weil, New York Journal, April 21, 1923.
“THIS SOPRANO’S VOCAL AND MUSICAL INTELLIGENCE ARE AMONG THE DELIGHTS OF THE METROPOLITAN OPERA SEASON.
Of the few that are blessed with a sound vocal foundation and a cultivated style, Mme. Easton’s opera impersonations are always genuine and artistic. THESE SINGING ESSENTIALS SHE BRINGS TO THE RECITAL PLATFORM. In her various song groups there were present the familiar impeccable diction, the easy phrasing, the necessary color, the fine tonal quality and the right grasp of the song’s meaning.”—Frank H. Warren, New York Evening World,
A pril 21, 1923.
“Florence Easton gave a second song recital last night presenting a program of wide variety and unusual interest. Mme. Easton is a careful singer, one who shades every song to suit the context. She is intelligent, and she has the voice to carry out the dictates of her mind. She is a very versatile artist, equally at home in French, German, Russian and American music. Her audience was large. Part of the stage was utilized to hold the overflow after all seats were taken.”—Paul Morris, New York Telegram, April 21, 1923.
BRUNSWICK RECORDS
Aeolian Hall, New York
2hin, N. Y.
“In opera or on the concert stage Easton is a skilled singer, knowing how to make full use of her vocal resources and to color her tones with a wealth of expression. It was a pleasing recital.
SHE GOULD SING THE ENGLISH LANGUAGE, AND MAKE THE TEXT CLEAR AND INTELLIGIBLE WITHOUT THE INTERVENTION OF A BOOK OF WORDS.”—New York Tribune, April 21, 1923.
“Florence Easton sang surrounded by admirers who filled the stage and all other corners of the Hall. As on other occasions, MME. EASTON BROUGHT TO THE RECITAL PLATFORM A RARE BEAUTY OF VOCAL ART AND LIMPID PURITY7 OF DICTION DELIGHTFUL TO HEAR. Both tone and diction were of equal clearness and beauty in her German lyrics.”—New York Times, April 21, 1923.
“Mme. Easton gave a fine program.
THE SINGING OF THE PRIMA Photo
those rare occasions when a singer has so large a following that seats are placed on the stage for the overflow. Easton is one of the most talented members of the Metropolitan Opera Company. SHE HAS, MOREOVER, A THOROUGH AND ARTISTIC COMPREHENSION OF THE ART OF SONG PRESENTATION, A MUCH MORE DIFFICULT ART THAN THAT OF THE OPERATIC STAGE. The manner in which she sang Handel’s ‘O, Sleep, Why Dost Thou Leave Me?’ disclosed her command of legato, her broad register, the golden quality of her unusual voice, an attractive sense of appeal, and diction that was a delight.”—Grena Bennett, New York American, April 21, 1923.
“The Hall was filled to the fullest extent of stage and balcony by an audience that found much pleasure in the second recital appearance of Florence Easton this season. Mme. Easton brought to her four groups of song the same distinct diction, the same warm geniality that bridges across the footlights on Broadway and creates the rapport on which her audiences may always rely. FROM THE PURELY VOCAL STANDPOINT THE SINGER MERITED COMMENDATION FOR THE PURITY OF HER INTONATION, THE ACCURACY OF HER ATTACK, THE SECURITY OF HER STYLE AND THE VARIETY OF HER PHRASEOLOGY.”—Gilbert Gabriel, New York Sun, April 21, 1923.
DONNA AGAIN ATTAINED THE byEh LOFTY7 HEIGHTS OF EXCELLENCE. Her beautiful voice was in good condition and she used it with a vocal skill and correctness in phrasing admirably adapted to the styles of the lyrics she delivered. Her intelligent use of color, sensitive feeling for the right accent and correct phrasing, together with tender feeling or again dramatic feeling or dramatic power, were accomplishments which served to reveal a full expression of the composer’s intent.”— New York Herald, April 21, 1923.
“Florence Easton scattered the vocal flowers that bloom in the spring with prodigal hand. The stage was full and the rows were full; Easton was in fine voice, beautiful to look at, and her hearers gave her such a welcome as is dear to any prima donna. EVERY ONE KNOWS WHAT A FINE VOCAL EQUIPMENT IS EASTON’S AND THE SKILL WITH WHICH SHE EMPLOYS IT IS TRADITIONAL. IT WAS A BRILLIANT AND SATISFYING SPOT IN A DULL MUSICAL WEEK.”—New York World, April 21, 1923.
“ONE OF THE MOST INTERESTING RECITALS OF THE SEASON WAS GIVEN LAST EVENING BY FLORENCE EASTON. Easton, in splendid voice, charmed a large audience with a well-selected program.”—New York Telegraph,
A pril 21, 1923.
“FLORENCE EASTON SANG TO A CAPACITY AUDIENCE. It was one of
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