spite of public notice forbidding encores by insistence Lauretta's aria was repeated. Principal strength Moranzoni magnificent. Farrar, Muzio, Easton, De Luca, Montesanto, Didur incomparable singers and actors. Daily press confirms success expressing itself very favourably on worth of the operas enthusiastically for Schicchi". Florence sang many other premiere roles including Aelfrida in Deems Taylor's The King's Henchman on 17 February 1927 and Mother Tyl in Wolff's L'oiseau bleu. She was also featured in many American premieres including La cena delle beffe, Così fan tutte and Der Rosenkavalier. Her repertoire included more than 100 roles in 4 languages. She appeared with Enrico Caruso at his final performance, on 24 December 1920, in Halevy's La Juive. By 1926, she was earning $800 for each performance of Turandot. In 1929 she sang her last premiere for the Metropolitan, Otto Kahn's staging of the jazz opera Jonny spielt auf. In 1929, she went to Europe for several months enjoying herself on the proceeds from years of singing with only a few short breaks. However, she lost a fortune in the Wall Street Crash of 1929. In the fortnight between 3 and 17 November 1927 she sang Maddalena in Andrea Chénier, La Gioconda, Rachel in La Juive, Madama Butterfly and the Marschallin in Der Rosenkavalier; it was surprising that she could manage them all and in such a relatively short space of time. The critical response to nearly every one was laudatory. Though unlike her in so many ways, Easton had this much in common with Lilli Lehmann. By dint of application, intelligence, musical facility and sheer hard work, she was able to transform a lightweight lyric soprano into a dramatic instrument capable not merely of scaling the Wagnerian heights but with the stamina to stay up there season in and season out. Florence Easton was famous for her ability to take an unknown part at 8 in the morning and perform it flawlessly in public 12 hours later. Frequently she was called upon to substitute for some leading soprano suddenly indisposed. She sang her first Isolde without a single rehearsal, called to do so at the last minute. In the middle of the 1929 season however, her memory suddenly failed her, and she asked to be released from her contract. She announced her retirement from opera and moved to a house in Hampstead, London. She married Stanley Roberts, a New York banker and executive