Florence Ashton Marshall

Summary

Florence Ashton Marshall A Dictionary of Music and Musicians (1900)

Her performances are still fresh in the memory of all opera and concert goers. Never was so mighty a soprano voice so sweet and luscious in its tone: like a serene, full, light, without dazzle or glare, it filled the largest arena without appearing to penetrate. It had none of a soprano's shrillness or of that peculiar clearness called 'silvery'; when it declined, as it eventually did, in power, it never became wiry. It had a mezzo-soprano quality extending to the highest register, perfectly even throughout, and softer than velvet. Her acting in no way detracted from her singing
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Florence Ashton Marshall A Dictionary of Music and Musicians (1900)

Fluency and flexibility were not hers by nature, but by dint of hard work she overcame all difficulties, so as to sing with success in the florid music of Rossini and Bellini. Indeed she attempted almost everything, and is perhaps the only singer, not even excepting Malibran, who has sung in such completely opposite rôles as those of Semiramide and Fides. But her performance of light or comic parts was a mere tour de force; her true field was grand opera.
Source: Wikisource

Florence Ashton Marshall A Dictionary of Music and Musicians (1900)

At Madrid, in the same year, her performance of Paisiello's 'Olimpiade' won warm admiration, but her European fame dates from 1778, when her singing at Paris and Versailles created a lasting sensation. She returned for one year to Lisbon, but in 1781 was at Paris again. In 1782 she engaged herself for several years to the Berlin Opera, at a yearly salary of 2000 thalers. But the Prussian public thought her affected and over-French in manner, and at the end of a year she gave up her engagement and returned to Paris, where she always found an enthusiastic welcome.
Source: Wikisource

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