January 16, 2019 · 4:22 pm
Part 1 covers Geraldine Farrar’s background, childhood, and European training. This second part looks at her American career in opera and film.
During the Gilded Age, in contrast to their European counterparts, American musicians were often viewed as fundamentally incompetent and incapable of great artistry. This anti-American prejudice was so strong that in 1905 an agent forced Texan pianist Lucy Hickenlooper to adopt a foreign pseudonym before her debut; for the rest of her career, she was known as Olga Samaroff.
But Massachussetts-born soprano Geraldine Farrar never used a pseudonym or shied away from her American roots. Instead she embraced them and even used them to fuel her ascent. She presented herself professionally as a kind of real-life embodiment of the American Gibson Girl ideal: independent, self-assured, often self-absorbed, magnetically charismatic, stunningly beautiful, and inarguably talented.
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December 5, 2018 · 12:57 pm
In 1898 a sixteen-year-old soprano named Geraldine Farrar auditioned for Maurice Grau, manager at the Metropolitan Opera. Dissatisfied with the provided pianist, she fired him on the spot and took to the bench to accompany herself. “What my emotions were when I passed in through the stage door I cannot describe,” she later wrote. “I sang as I believe I had never sung before.”
Although Grau was duly impressed, he also thought that Farrar would benefit from European training before making her debut. But as a consolation prize, he offered her a slot singing at one of the Met’s Sunday night concerts.
“No, thank you, Mr. Grau,” I replied. (No tame concert appearances after my imagination had been dazzled by a possible début in opera!)
“But it might be valuable to you to have your name on the billboards of the Metropolitan Opera House,” he urged good-naturedly.
“You will see it there some day,” I replied with firm conviction.
Farrar’s unflappable (some would say unfeminine) self-confidence must have been a sight to behold, even in an art form famous for its egos. But her confidence wasn’t misplaced. Geraldine Farrar was exactly right: not only would she soon see her name on the Met’s billboards, she would eventually become one of the greatest operatic performers of her age.
Geraldine Farrar was born in Melrose, Massachusetts, on 28 February 1882, a year after her parents’ wedding. Her father Sidney was a haberdashery store-owner and later the first baseman for the Philadelphia Phillies, and her eighteen-year-old mother Henrietta was the musically inclined daughter of a violin teacher. Both Farrars sang in the choir of the First Universalist Church of Melrose. So it was only natural that their only child would develop an interest in music. As a toddler, little Geraldine banged on piano keys and sang barrel organ airs. At three she sang at her first concert at church. When she finished, she walked to the edge of the platform and asked, “Did I do it well, mamma?” Her audience was entranced by her moxie.
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