Читать книгу Vocal Mastery - Harriette Brower - Страница 19

"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."

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."