"To measure the importance of Geraldine Farrar (at the Metropolitan
Opera House, New York) one has only to think of the void there would
have been during the last decade, and more, if she had not been there.
Try to picture the period between 1906 and 1920 without Farrar--it is
inconceivable! Farrar, more than any other singer, has been the
triumphant living symbol of the new day for the American artist at the
Metropolitan. She paved the way. Since that night, in 1906, when her
Juliette stirred the staid old house, American singers have been added
year by year to the personnel. Among these younger singers there are
those who will admit at once that it was the success of Geraldine Farrar
which gave them the impetus to work hard for a like success."
[Illustration: GERALDINE FARRAR]
These thoughts have been voiced by a recent reviewer, and will find a
quick response from young singers all over the country, who have been
inspired by the career of this representative artist, and by the
thousands who have enjoyed her singing and her many characterizations.
I was present on the occasion of Miss Farrar's début at the greatest
opera house of her home land. I, too, was thrilled by the fresh young
voice in the girlish and charming impersonation of Juliette. It is a
matter of history that from the moment of her auspicious return to
America she has been constantly before the public, from the beginning to
end of each operatic season. Other singers often come for part of the
season, step out and make room for others. But Miss Farrar, as well as
Mr. Caruso, can be depended on to remain.
Any one who gives the question a moment's thought, knows that such a
career, carried through a score of years, means constant, unremitting
labor. There must be daily work on vocal technic; repertoire must be
kept up to opera pitch, and last and perhaps most important of all, new
works must be sought, studied and assimilated.
The singer who can accomplish these tasks will have little or no time
for society and the gay world, inasmuch as her strength must be devoted
to the service of her art. She must keep healthy hours, be always ready
to appear, and never disappoint her audiences. And such, according to
Miss Farrar's own words is her record in the service of art.
While zealously guarding her time from interruption from the merely
curious, Miss Farrar does not entrench herself behind insurmountable
barriers, as many singers seem to do, so that no honest seeker for her
views of study and achievement can find her. While making a rule not to
try voices of the throng of young singers who would like to have her
verdict on their ability and prospects, Miss Farrar is very gracious to
those who really need to see her. Again--unlike others--she will make an
appointment a couple of weeks in advance, and one can rest assured she
will keep that appointment to the day and hour, in spite of many
pressing calls on her attention.
To meet and talk for an hour with an artist who has so often charmed you
from the other side of the footlights, is a most interesting experience.
In the present instance it began with my being taken up to Miss Farrar's
private sanctum, at the top of her New York residence. Though this is
her den, where she studies and works, it is a spacious parlor, where all
is light, color, warmth and above all, _quiet_. A thick crimson carpet
hushes the footfall. A luxurious couch piled with silken cushions, and
comfortable arm chairs are all in the same warm tint; over the grand
piano is thrown a cover of red velvet, gold embroidered. Portraits of
artists and many costly trifles are scattered here and there. The young
lady who acts as secretary happened to be in the room and spoke with
enthusiasm of the singer's absorption in her work, her delight in it,
her never failing energy and good spirits. "From the day I heard Miss
Farrar sing I felt drawn to her and hoped the time would come when I
could serve her in some way. I did not know then that it would be in
this way. Her example is an inspiration to all who come in touch with
her."
In a few moments Miss Farrar herself appeared, and the young girl
withdrew.
And was this Farrar who stood before me, in the flush of vigorous
womanhood, and who welcomed me so graciously? The first impression was
one of friendliness and sincerity, which caused the artist for the
moment to be forgotten in the unaffected simplicity of the woman.
Miss Farrar settled herself comfortably among the red silk cushions and
was ready for our talk. The simplicity of manner was reflected in her
words. She did not imply--there is only one right way, and I have found
it. "These things seem best for my voice, and this is the way I work.
But, since each voice is different, they might not fit any one else. I
have no desire to lay down rules for others; I can only speak of my own
experience."