Famed singer and author Geraldine Farrar was educated in public schools and then became a music student of Mrs. J.H. Long, Trabadello, Emma Thursby, Lilli Lehman and Graziani. Her 1901 debut was at the Royal Opera House in Berlin, in the role of Marguerite in "Faust". From 1906-22 she was a member of the Metropolitan Opera in New York. During World War II she was active in the Red Cross and the AWVS, and also made many lecture tours. She wrote two autobiographies. Joining ASCAP in 1936, her songwriting credits include "Ecstasy of Spring", "Here Beauty Dwells", "The Tryst", "The Alder Tree", "The Mirage", "Oh, Thou Field of Waving Corn", "Morning", "The Fountain", "The Dream", and "Love Comes and Goes" .
Buried in Kensico Cemetery, Valhalla, New York - Section 167, Lot 1B1 (behind the big Cobb Mausoleum)
American opera star from the Metropolitan Opera (1906-22) who was summoned to films briefly by Cecil B. DeMille and starred in a few of his early pictures, among others. Once wed to silent screen actor Lou Tellegen , who later committed suicide.
One of the most famous opera singers of the early 20th century.
She made a recording of a famous opera duet with her friend and frequent stage co-star, legendary tenor Enrico Caruso. Caruso had had a drink before the recording session, and at one point on the record, according to nearly all sources, Farrar can be clearly heard singing (in place of the original words) the line "He had a highball".
Regarded as one of the great beauties of her day, as well as one of the great voices of all time, she had a long, passionate affair with Arturo Toscanini during his years as chief conductor at the Metropolitan Opera (1908-15). It was supposedly her ultimatum that she would make the affair public if Toscanini did not leave his wife for her that led to his abrupt resignation from the company. Many years later, when Farrar served caviar at a reception for Toscanini, the latter was heard to remark, "Amazing. I slept with the woman for seven years and she still cant remember that I hate fish".
When acting in silent films, demanded a pianist and a violinist on the set to provide mood music, a string trio for especially dramatic scenes.
She was awarded 2 Stars on the Hollywood Walk of Fame for Motion Pictures at 1620 Vine Street and for Recording at 1709 Vine Street in Hollywood, California.
During the 1920s the "New York Times" included her in its list of the ten greatest women in America.
All of her 14 films were made between 1915-20 while she was moonlighting during the then traditional eight-week summer hiatus from the opera house and concert hall.
[on Joan the Woman (1916) ] We have all watched the story develop,from an idea into a massive production. I think Mr. DeMille has done,wonderful things and I believe the scenario by Miss MacPherson to be a,revelation to those who doubt that a long picture must rely on its,spectacular features to the exclusion of its heart interest. It is true,that throughout this picture there are various extraordinary,spectacles, such as the battle scenes in the siege of Orleans, but one,never loses sight of the central figure, her hopes, her ambitions, her,disappointments and her failures.
Joan of Arc - my favorite movie characterization - I gave to the full of,my heart and soul. I spent as much thought and energy in making live,again - if only on the shadow stage - the blessed Maid of Orleans, as,upon any of my creations. The enthusiastic appreciation with which this,photodrama has been received in almost every country in the world,compensates me for all the physical risks I have taken in filming the,play. For, at the very start it was understood that there was to be no,"doubling" for risky passages. I would no more think of having some one,substitute for my "physically violent" scenes in the movies than I,would think of letting another sing my top notes at the opera. If I,cannot do a thing absolutely and completely, I do not want to do it at,all.
My screen offspring have been as much children of my heart and soul and,mind as my opera creations. The filming of Carmen (1915/I) , my,first portrayal on the screen, was one long period of undiluted joy -,the glorious California weather, the beautifully appointed house there,the special studio built for my privacy and convenience!,You will like The Woman God Forgot (1917) , I believe. Her unusual,appeal lies in the romantic mysteries of the Aztec race. We all know,they represented the highest form of civilization among the natives of,the American continent. Careful research into the many and sometimes,mythical, chronicles of this ancient people revealed in Tezca, the,daughter of Moctezuma, a personality peculiarly adaptable to a unique,characterization. Such a close study of this character was required for,a historically correct portrayal that I was put on my mettle to,actually live the life of this woman of a dead race in her conflicting,loves for Alvarado, the Spanish captain, and her own people. .
