The Singer's Greatest Need
The singer's greatest need, or his greatest asset if he has one, is an honest critic. My husband and I have made it a point never to miss hearing one another sing, no matter how many times we have heard each other sing in a rôle. Sometimes, after a big performance, it is very hard to have to be told about all the things that one did not do well, but that is the only way to improve. There are always many people to tell one the good things, but I feel that the biggest help that I have had through my career has been the help of my husband, because he has always told me the places where I could improve, so that every performance I had something new to think about. An artist never stands still. He either goes forward or backward and, of course, the only way to get to the top is by going forward.
The difficulty in America is in giving the young singers a chance after their voices are placed. If only we could have a number of excellent stock opera companies, even though there had to be a few traveling stars after the manner of the old dramatic companies, where everybody had to start at the bottom and work his way up, because with a lovely voice, talent and perseverance anyone can get to the top if one has a chance to work. By "work" I mean singing as many new rôles as possible and as often as possible and not starting at a big opera house singing perhaps two or three times during a season. Just think of it,—the singer at a small opera house has more chance to learn in two months than the beginner at a big opera house might have in five years. After all, the thing that is most valuable to a singer is time, as with time the voice will diminish in beauty. Getting to the top via the big opera house is the work of a lifetime, and the golden tones are gone before one really has an opportunity to do one's best work.
GERALDINE FARRAR
Biographical
Although one of the youngest of the noted American singers, none has achieved such an extensive international reputation as Miss Farrar. Born February 28, 1882, in Melrose, Mass., she was educated at the public schools in that city. At the school age she became the pupil of Mrs. J. H. Long, in Boston. After studying with several teachers, including Emma Thursby, in New York, and Trabadello, in Paris, she went to Lilli Lehmann in Berlin, and under this, the greatest of dramatic singers of her time, Miss Farrar received a most thorough and careful training in all the elements of her art. She made her début as Marguerite in Faust at the Royal Opera in Berlin, October 15th, 1901. Later, after touring European cities with ever increasing successes, she was engaged at the Opera Comique and Grand Opera, Paris, and then at the Metropolitan Opera House in New York, where she has been the leading soprano for many seasons. The many enticing offers made for appearances in moving pictures led to a new phase of her career. In many pictures she has appeared with her husband, M. Lou Tellegen, one of the most distinguished actors of the French school, who at one time was the leading man for Sarah Bernhardt.
The following conference is rich in advice to any young woman who desires to know what she must do in order to become a prima donna.