Florence Easton;  Giuseppe Crimi, Arthur Carron & Paul Althouse       (Symposium 1296)
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Florence Easton;  Giuseppe Crimi, Arthur Carron & Paul Althouse       (Symposium 1296)
V1946. FLORENCE EASTON: Songs by Scarlatti, Secchi & Liszt; Arias from Forza, Gianni Schicchi, Tosca, Madama Butterfly, La Boheme, Pagliacci, Hérodiade, Mignon, Faust, Carmen, Peer Gynt, Snegourochka & Sadko; w.Giuseppe Crimi: La Boheme – O soave fanciulla; w.Arthur Carron: Tristan – Excerpts; w.Paul Althouse: Götterdämmerung – Zu neuen Taten. (England) Symposium 1296, recorded 1918-42. Very long out-of-print, Final Copy! - 760411296026


"[Easton] was a singer’s singer: a consummate professional on whom one could count for a faultless performance…."

- Ward Marston, MARSTON, Vol. V, #1, Nov., 2001

"There really is a lot to admire: a steady and attractive sound over the required range, with little change over the years; good legato and dynamics; more correct pitch and rhythm than most of her contemporaries; excellent enunciation (one could write down the German texts from the two little-known songs by Erich Wolff that she recorded with Gerald Moore); care over phrasing; skillful management of portamenti….[Easton's] relative lack of posthumous fame may have to do with the labels for which she recorded in her prime: Vocalion, Edison and Brunswick."

- Nils-Göran Olve, THE RECORD COLLECTOR, 2006

“Florence Easton was one of the most versatile singers of all time. She sang no fewer than 88 roles, covering a wide range of styles and periods, from Mozart, Meyerbeer, Gounod, Verdi, Wagner, Puccini, Strauss, Schreker and Krenek. In Wagner she sang virtually every soprano part, large and small from Senta onwards, with the exception of the GÖTTERDÄMMERUNG Brünnhilde.

Florence Easton excelled, rivalling Lilli Lehmann [in the respect of singing dramatic roles]. Her high international reputation, founded mainly in Germany and North America, was almost unique for a British singer of her time. She could move easily through all stages from the light coloratura to the Hochdramatische, from girlish romanticism to powerful Wagnerian and Straussian drama. One of the most important Wagnerian records was made for HMV in 1932: ‘Heil dir Sonne!’ from SIEGFRIED (her best recording in her own estimation). In 1933 HMV recorded six sides of Lieder and songs for Victor, accompanied by Gerald Moore.

It was Richard Strauss who coached Florence Easton as Elektra and Sophie which she presented in English on a tour in Great Britain and in German in Berlin. She continued to expand her repertoire, the new role including Salome (again coached by Richard Strauss) and Minnie, singing with Enrico Caruso in 1913. Easton made her successful Met début as Santuzza in 1917. She remained at the Met for 12 seasons, singing 41 roles, but it was her performance as Saint Elisabeth in the staged version of Liszt’s DIE LEGENDE VON DER HEILIGEN ELISABETH (1918) which set her into the first rank of Metropolitan stars.

At Covent Garden in 1932 she was Isolde and the SIEGFRIED Brünnhilde opposite Lauritz Melchior, the only time they appeared together. Easton’s last appearance on the operatic stage was in 1936 singing Brünnhilde in DIE WALKÜRE at the Met. Her last appearance with orchestra was in a 1942 broadcast where she sang excerpts from TRISTAN AND ISOLDE, using her own English translations! She then taught privately and at the Juilliard School of Music, and still gave occasional recitals in New York.”

- Andrea Shum-Binder, subito-cantabile