Books › Musical Courier 1927-01-06: Vol 94 Iss 1, 1927 › scan 18
Scan 18
Musical Courier 1927-01-06: Vol 94 Iss 1, 1927
58 lines. Read by computer on 29 September 2026. Printed page 19. See the scan on archive.org.
1PHOTOGRAPHIC REPRODUCTIONS of what the CRITICS SAID
3Chicago Evening American, Dec. 16th
4MACBETH ADDS TO LAURELS IN OPERA PERFORMANCE
5BY HERMAN DEVRIES.
6At the Auditorium "La Sonnambula" was repeated last night with but one change of cast, Florence Macbeth replacing Toti dal Monte in the role of Amina. Miss Macbeth has always been a favorite of mine and again I had reason to approve my taste, for once more she convinced her public of many admirers that her gifts are valuable and delightful.
8I have no idea whether she continues studying ad infinitum, but her voice without a doubt is 50 per cent better than ever. It has gained in limpidity and euphony, while the high E flats are no less brilliant and true. To enumerate her qualities is only to repeat praise of her intelligence, her musicianship, her fine taste, and her simple modesty. She is one of the management's "trump cards." Of course, she was successful with the audience. Why not?
10Chicago Daily Journal, Dec. 16th
11By Eugene Stinson
12Macbeth Joins Opera
13Florence Macbeth, who has been one of the most obliging members of the Chicago Opera for a number of years, made her first appearance of the season in last night's repetition of "La Sonnambula."
15If this was not actually her first performance as Amina, it had novelty even for Macbeth's faithful following; for, when Bellini's work was revived three seasons ago, it was for the debut of Graziaella Pareto, and the work had not been frequently heard at the Auditorium for several years previously.
17Whether a new or familiar part, Macbeth is equal to it, as she is equal to all the roles she undertakes. Her voice was in its best condition last night and had what appears to be its maximum of roundness. Though it is not a voice which colors to the phrase with extreme generosity, the Minneapolis coloratura nevertheless uses it with expressive declamation, and her skill in all sorts of ornamental passages—barring occasional runs—is of the most adept sort.
19Chicago Evening Post, Dec. 16th
20Macbeth Sings with Charm in "Sonnambula"
21By Karleton Hackett.
22Mme. Florence Macbeth made her re-entry with the company last evening, looked very pretty, played her part with winsome simplicity and sang with charm. Her tone was pure and true, light in the middle register, clear in the upper notes and the florature were brought out cleanly. A pleasing personality and sincere singer. She has gained greatly in histrionic power. There was a light touch in the comedy and genuine force in the more serious moments. Mr Schipa was in his element.
24Chicago Journal of Commerce, Dec. 16th
25By CLAUDIA CASSIDY.
26Florence Macbeth was welcomed back into operatic circles last night when she appeared as the heroine of "La Sonnambula," that sleep-walking damsel who stirs up so much trouble and bursts into song as complicated as the raving of the mad Lucia. Miss Macbeth is a dainty talented soprano, whose personal charm goes far toward humanizing any role, and it is not her fault that Amina is not more amenable to honest efforts.
28FLORENCE MACBETH
29OPENS HER ANNUAL APPEARANCES AS PRIMA DONNA SOPRANO WITH
30CHICAGO CIVIC OPERA CO.
31AND
32SCORES AGAIN AS USUAL
33BETTER THAN EVER
35EXCLUSIVE MANAGEMENT
36FLORENCE MACBETH, INC.
37606 West 116th Street, New York City
39Chicago Daily News, Dec. 16th
40FLORENCE MACBETH IN OPERATIC DEBUT
41Makes Fine Appearance as Amina in Bellini's Old Opera, 'La Sonnambula.'
42BY MAURICE ROSENFELD.
43Florence Macbeth, dainty, petite, winsome, made her operatic debut with the Chicago Civic Opera company last evening, singing "Amina" in Bellini's opera, "La Sonnambula." And those qualifications named apply to her personality. As for her singing, that had a charm of its own; it was clear, flutelike in its tone, perfect as to intonation and smoothly liquid as to its flexibility.
45There is much florid music in this old-time opera, and Miss Macbeth put into the many cadenzas and extra embellishments some brilliant effects, singing with great ease in vocal production. She made a fine beginning for the present season.
47Chicago Herald and Examiner, Dec. 16th
48BY GLENN DILLARD GUNN.
49Bellini's "La Sonnambula" might become the scandal for this flapper generation that it was for the belles and beaux of 1835. Left to the traditions of that age and to the ministrations of a fine coloratura like Florence Macbeth, a lyric tenor like Schipa and a bass like Lazzari it was surprising to discover the great number of musical nonogenarians to be found in the ranks of the opera-goers.
51For it is not to be denied that last night's large audience seemed to enjoy this strange old relic of an earlier and more innocent age. They were less impressed by Miss Macbeth's thick, modest and old-fashioned night gown than our great grandfathers, but they were no less responsive to the placid, innocent and, to my ears, utterly faded melodies of Bellini.
53OR perhaps it was the lovely song of the prima donna that they applauded, or Schipa's moment of lyric ranting at the end of the second act that developed the very evident thrill. It was, of course, a feast of bel canto. Miss Macbeth, fresh of voice and with her high E flat, a brilliant resonant tone despite the broadening of the middle register, with all of her wonted facility in the matter of vocal display, made a happy re-entry into the ranks of the company. This was the occasion of the repetition and the public found it all sufficient.
55Chicago Tribune, Dec. 16th
56BY EDWARD MOORE.
57Miss Macbeth made her first operatic appearance of the season last night in "La Sonnambula." A charming artist vocally and personally, she and Mr. Schipa did some of the most exquisite singing of the season, almost good enough to resuscitate the opera. "La Sonnambula" is not well
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