Geraldine Farrar, Such Sweet Compulsion (New York: The Greystone Press, 1938), p. 253. 31. Huneker, “Opera,” 25 January 1919. 32. Farrar, Such Sweet Compulsion, pp. 253454. 33. Ibid., p. 150. 34. Helen Noble, Life with the Met (New ...
Author: Elizabeth Nash
"From 1906 until 1922, Geraldine Farrar was the Metropolitan Opera's most popular and glamorous prima donna.Enrico Caruso was her frequent operatic partner, guaranteeing sold-out houses. She performed 493 times in 29 roles, creating Puccini's Madama Butterfly in 1906. Farrar was also a star of the silent screen, appearing in 14 films from 1915 to 1920"--Provided by publisher.
Geraldine Farrar: The Story of an American Singer is a classic American music autobiography by Geraldine Farrar.
Author: Geraldine Farrar
In offering these little sketches of some of the interesting events that have helped shape a career now fairly familiar to the general public, it has not been my intention to weary the indulgent reader with a lengthy dissertation of literary pretension, or tiresome data resulting from the obvious and oft-recurring "I."
Geraldine Farrar Collection [hereafter GFC], Library of Congress, Box 16. 28. Contract between the Metropolitan Opera Company and Geraldine Farrar, June 1908, Clause V. GFC, Box 12. “When Stars of the Opera Sings at Concerts: Their ...
Author: Mari Yoshihara
Publisher: Oxford University Press on Demand
As exemplified by Madame Butterfly, East-West relations have often been expressed as the relations between the masculine, dominant West and the feminine, submissive East. Yet, this binary model does not account for the important role of white women in the construction of Orientalism. Mari Yoshihara's study examines a wide range of white women who were attracted to Japan and China in the late nineteenth and early twentieth century and shows how, through their engagement with Asia, these women found new forms of expression, power, and freedom that were often denied to them in other realms of their lives in America. She demonstrates how white women's attraction to Asia shaped and was shaped by a complex mix of exoticism for the foreign, admiration for the refined, desire for power and control, and love and compassion for the people of Asia. Through concrete historical narratives and careful textual analysis, she examines the ideological context for America's changing discourse about Asia and interrogates the power and appeal--as well as the problems and limitations--of American Orientalism for white women's explorations of their identities. Combining the analysis of race and gender in the United States and the study of U.S.-Asian relations, Yoshihara's work represents the transnational direction of scholarship in American Studies and U.S. history. In addition, this interdisciplinary work brings together diverse materials and approaches, including cultural history, material culture, visual arts, performance studies, and literary analysis. Embracing the East was the winner of the 2003 Hiroshi Shimizu Award of the Japanese Association for American Studies (best book in American Studies by a junior member of the association).
Correspondence with Samuel Goldwyn, July 24, 1918, box 9, folder 26, Farrar Collection. Ibid. See Anne Morey for more detail about Farrar's troubles with Goldwyn and Hollywood in general, “Geraldine Farrar: A Star from Another Medium,” ...
Author: Jennifer Fleeger
Publisher: Oxford University Press
In Mismatched Women, author Jennifer Fleeger introduces readers to a lineage of women whose voices do not "match" their bodies by conventional expectations, from George du Maurier's literary Trilby to Metropolitan Opera singer Marion Talley, from Snow White and Sleeping Beauty to Kate Smith and Deanna Durbin. The book tells a new story about female representation by theorizing a figure regularly dismissed as an aberration. The mismatched woman is a stumbling block for both sound and feminist theory, argues Fleeger, because she has been synchronized yet seems to have been put together incorrectly, as if her body could not possibly house the voice that the camera insists belongs to her. Fleeger broadens the traditionally cinematic context of feminist film theory to account for literary, animated, televisual, and virtual influences. This approach bridges gaps between disciplinary frameworks, showing that studies of literature, film, media, opera, and popular music pose common questions about authenticity, vocal and visual realism, circulation, and reproduction. The book analyzes the importance of the mismatched female voice in historical debates over the emergence of new media and unravels the complexity of female representation in moments of technological change.
Geraldine Farrar, Such Sweet Compulsion: The Autobiography of Geraldine Farrar (New York: Da Capo Press, 1970), 143. For more on Destinn's film, see “$17,000 to Sing for Lions,” New York Times , November 15, 1913 . 9.
Author: Rachel Cowgill
Publisher: Oxford University Press
Female characters assumed increasing prominence in the narratives of nineteenth- and early twentieth-century opera. And for contemporary audiences, many of these characters--and the celebrated women who played them--still define opera at its finest and most searingly affective, even if storylines leave them swooning and faded by the end of the drama. The presence and representation of women in opera has been addressed in a range of recent studies that offer valuable insights into the operatic stage as cultural space, focusing a critical lens at the text and the position and signification of female characters. Moving that lens onto the historical, The Arts of the Prima Donna in the Long Nineteenth Century sheds light on the singers who created and inhabited these roles, the flesh-and-blood women who embodied these fabled "doomed women" onstage before an audience. Editors Rachel Cowgill and Hilary Poriss lead a cast of renowned contributors in an impressive display of current approaches to the lives, careers, and performances of female opera singers. Essential theoretical perspectives reflect several broad themes woven through the volume-cultures of celebrity surrounding the female singer; the emergence of the quasi-mythical figure of the diva; explorations of the intricate and sundry arts associated with the prima donna, and with her representation in other media; and the diversity and complexity of contemporary responses to her. The prima donna influenced compositional practices, determined musical and dramatic interpretation, and affected management decisions about the running of the opera house, content of the season, and employment of other artists--a clear demonstration that her position as "first woman" extended well beyond the boards of the operatic stage itself. The Arts of the Prima Donna in the Long Nineteenth Century is an important addition to the collections of students and researchers in opera studies, nineteenth-century music, performance and gender/sexuality studies, and cultural studies, as well as to the shelves of opera singers and enthusiasts.
Geraldine Farrar, Such Sweet Compulsion, 169. 17. Farrar would return in future summers to film Joan the Woman and some fourteen other films. 18. Musical America, October 6, 1918. 19. In 1915 a full-length film directed by Raoul Walsh ...
Author: Victoria Etnier Villamil
"What a wonderful book. [Villamil] is passionate about her subject and this quality pervades every word she has written. I have loved the journey … and closed the book wishing that I could see her Carmen!"--Frederica von Stade, world-renowned and six-time Grammy nominated American mezzo-soprano. "Qu'est-ce que c'est?" (What is it?) mezzo-soprano Celestine Galli-Marie asked when offered the title role in the 1875 premier of Bizet's new opera, Carmen. She was only the first in a long line of performers to ask. In the 140+ years since, each singer has crafted her own portrayal of the inscrutable Gypsy. The famous soprano Geraldine Farrar wrote: "Each one of us probably sees something that the others have not seen--or thinks she does--and that 'something' is her individual Carmen." This book explores the history of operatic portrayals of Bizet's elusive enchantress, tracing the development of vocal and dramatic interpretations from generation to generation around the globe.
Geraldine Farrar : The Story of an American Singer , Boston : Houghton Mifflin Company , 1916 . 12 Edward Wagenknecht . Geraldine Farrar : An Authorized Record of Her Career , Seattle : University Book Store , 1929 . 13 Geraldine Farrar ...
Author: Ann Davies
Publisher: Tamesis Books
A filmographic and bibliographic guide to the screen adaptations of the story of Carmen.
Geraldine Farrar, “Why I Went into Motion Pictures,” Moving Picture World, October 9, 1915. Ibid. One exception was the often quoted review of Carmen at New York's Strand Theater, which began by observing that “Geraldine Farrar, ...
Author: Karen Henson
Publisher: Cambridge University Press
Focuses on the operatic soprano as the diva and her relationships with technology from the 1820s to the digital age.
So when Geraldine Farrar went off to Hollywood in 1915 to make a movie of Carmen directed by Cecil B. De- Mille, Photoplay made merry: "The Mona Lisa without her smile," the fan mag wrote, "a Stradi- varius without its strings.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
FARRAR , Geraldine , Feb. 28 , 1882 - March 11 , She delighted audiences from the outset . Critics , 1967. Opera singer . too , welcomed her , although they found a certain hardness in her top register . Soon after the Geraldine Farrar ...
Author: Barbara Sicherman
Publisher: Harvard University Press
Over 400 entries review the lives and careers of outstanding women who died between 1951 and 1975, presenting basic data on ancestry, education, and marital status
R. Grau, “A New Invasion of Filmdom,” Motion Pictures, September 1915, in Geraldine Farrar scrapbook, RLC, LMPA; Lasky to DeMille, 9 June 1916, in Jesse Lasky 1916 folder, Lasky Co./Famous Players-Lasky, DMA, BYU.
Author: Sumiko Higashi
Publisher: Univ of California Press
"A very important contribution both to cinema history and to early twentieth-century American history. . . . Higashi rewrites the history of early American cinema as a social history, situating it clearly in the development of American middle-class culture."—Richard Abel, author of The Ciné Goes to Town "Cecil B. DeMille and the American Culture contributes significantly to scholarly understanding of the construction of the classic Hollywood cinema and, more generally, of consumer culture in the modern West."—Francis G. Couvares, Amherst College
Soprano Geraldine Farrar offers a particularly moving example of the way in which a few wonderfully gifted singers transformed operatic careers into independent public statements of female autonomy. Born in 1882 in Melrose, ...
Author: William Howland Kenney
Publisher: Oxford University Press
Have records, compact discs, and other sound reproduction equipment merely provided American listeners with pleasant diversions, or have more important historical and cultural influences flowed through them? Do recording machines simply capture what's already out there, or is the music somehow transformed in the dual process of documentation and dissemination? How would our lives be different without these machines? Such are the questions that arise when we stop taking for granted the phenomenon of recorded music and the phonograph itself. Now comes an in-depth cultural history of the phonograph in the United States from 1890 to 1945. William Howland Kenney offers a full account of what he calls "the 78 r.p.m. era"--from the formative early decades in which the giants of the record industry reigned supreme in the absence of radio, to the postwar proliferation of independent labels, disk jockeys, and changes in popular taste and opinion. By examining the interplay between recorded music and the key social, political, and economic forces in America during the phonograph's rise and fall as the dominant medium of popular recorded sound, he addresses such vital issues as the place of multiculturalism in the phonograph's history, the roles of women as record-player listeners and performers, the belated commercial legitimacy of rhythm-and-blues recordings, the "hit record" phenomenon in the wake of the Great Depression, the origins of the rock-and-roll revolution, and the shifting place of popular recorded music in America's personal and cultural memories. Throughout the book, Kenney argues that the phonograph and the recording industry served neither to impose a preference for high culture nor a degraded popular taste, but rather expressed a diverse set of sensibilities in which various sorts of people found a new kind of pleasure. To this end, Recorded Music in American Life effectively illustrates how recorded music provided the focus for active recorded sound cultures, in which listeners shared what they heard, and expressed crucial dimensions of their private lives, by way of their involvement with records and record-players. Students and scholars of American music, culture, commerce, and history--as well as fans and collectors interested in this phase of our rich artistic past--will find a great deal of thorough research and fresh scholarship to enjoy in these pages.
“Geraldine Farrar—Her Interesting Experience,” ParamountProgress, July1915. 2. Morris Gest, “WinningFarrar,” Photoplay 8, no. 2 (July 1915): 115–17. 3. EmmaCalve was Carmenin theminds of most opera fans until Geraldine Farrar's triumph ...
Author: Robert S. Birchard
Publisher: University Press of Kentucky
" ""Far and away the best film book published so far this year.""--National Board of Review Cecil B. DeMille was the most successful filmmaker in early Hollywood history. Cecil B. DeMille's Hollywood is a detailed and definitive chronicle of the screen work that changed the course of film history and a fascinating look at how movies were actually made in Hollywood's Golden Age. Drawing extensively on DeMille's personal archives and other primary sources, Robert S. Birchard offers a revealing portrait of DeMille the filmmaker that goes behind studio gates and beyond DeMille's legendary persona. In his forty-five-year career DeMille's box-office record was unsurpassed, and his swaggering style established the public image for movie directors. DeMille had a profound impact on the way movies tell stories and brought greater attention to the elements of decor, lighting, and cinematography. Best remembered today for screen spectacles such as The Ten Commandments and Samson and Delilah, DeMille also created Westerns, realistic "chamber dramas," and a series of daring and highly influential social comedies. He set the standard for Hollywood filmmakers and demanded absolute devotion to his creative vision from his writers, artists, actors, and technicians.
Table of Contents THE WILL TO SUCCEED A COMPELLING FORCE "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, ...
Author: Harriette Brower
Publisher: Good Press
"Vocal Mastery" by Harriette Brower. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.