Farrar, Geraldine. (1882–1967). Early Signed Photograph at Sixteen Years Old.
"I soon afterward met Mrs. Grau, wife of the famous director, and she insisted that I should sing for her husband. It was proposed to stage a big special performance of Mignon at the Metropolitan...and Mrs. Grau thought that should I please her husband he might consider the occasion a propitious one to introduce me in grand opera, as the role of Mignon was admirably suited to my youth and vocal abilities...When I appeared on the stage of the Metropolitan, I found him surrounded by a great many people, members of the Metropolitan Company, business associates and advisers, and others. What my emotions were when I passed in through the stage door I cannot describe...at any rate, I sang as I believe I had never sung before. To every one's amazement I dismissed the accompanist whose laborious efforts were more of a hindrance than an aid to my 'audition,' and, seating myself at the piano, I continued singing to my own accompaniment, as was invariably my habit.
"Mr. Grau was exceedingly pleased with the promise I showed and especially predicted a brilliant future in operatic singing; but he seconded my mother's sensibly planned course for me to study more quietly, less in public view, and wait till a few years of hard work and experience had passed over my ambitious little head. As a kind afterthought he added, no doubt to soften the sting of my disappointment: 'Would you like to sing in one of our Sunday night concerts?'" (The Story of an American Singer, pp. 36–37)
Rare early gelatin silver print of the important American soprano and actress, who has inscribed on the lower mount "To Miss Mosher / In memory of the "'Tchaikovsky' / From hers sincerely / Geraldine Farrar / October 22, 1898." Mounted and framed to an overall size of 10.75 x 13.75 inches (27.3 x 34.9 cm.).
Earlier in the spring of 1898, the young Farrar had auditioned for Maurice Grau, director of the Metropolitan Opera. In her biography, Farrar chronicles the events following a "society puppet show" during which she appeared in costume as Emma Calvé from Carmen:
"I soon afterward met Mrs. Grau, wife of the famous director, and she insisted that I should sing for her husband. It was proposed to stage a big special performance of Mignon at the Metropolitan...and Mrs. Grau thought that should I please her husband he might consider the occasion a propitious one to introduce me in grand opera, as the role of Mignon was admirably suited to my youth and vocal abilities...When I appeared on the stage of the Metropolitan, I found him surrounded by a great many people, members of the Metropolitan Company, business associates and advisers, and others. What my emotions were when I passed in through the stage door I cannot describe...at any rate, I sang as I believe I had never sung before. To every one's amazement I dismissed the accompanist whose laborious efforts were more of a hindrance than an aid to my 'audition,' and, seating myself at the piano, I continued singing to my own accompaniment, as was invariably my habit.
"Mr. Grau was exceedingly pleased with the promise I showed and especially predicted a brilliant future in operatic singing; but he seconded my mother's sensibly planned course for me to study more quietly, less in public view, and wait till a few years of hard work and experience had passed over my ambitious little head. As a kind afterthought he added, no doubt to soften the sting of my disappointment: 'Would you like to sing in one of our Sunday night concerts?'" (The Story of an American Singer, pp. 36–37)
When Farrar declined the offer, Grau responded with great persistence, even mentioning that such a performance would go a long way towards realizing her dream of appearing on Metropolitan Opera House billboards. The young soprano, who would eventually become one of the greatest operatic performers of her age, replied in confidence, "you will see it there someday."
Farrar, Geraldine. (1882–1967). Early Signed Photograph at Sixteen Years Old.
"I soon afterward met Mrs. Grau, wife of the famous director, and she insisted that I should sing for her husband. It was proposed to stage a big special performance of Mignon at the Metropolitan...and Mrs. Grau thought that should I please her husband he might consider the occasion a propitious one to introduce me in grand opera, as the role of Mignon was admirably suited to my youth and vocal abilities...When I appeared on the stage of the Metropolitan, I found him surrounded by a great many people, members of the Metropolitan Company, business associates and advisers, and others. What my emotions were when I passed in through the stage door I cannot describe...at any rate, I sang as I believe I had never sung before. To every one's amazement I dismissed the accompanist whose laborious efforts were more of a hindrance than an aid to my 'audition,' and, seating myself at the piano, I continued singing to my own accompaniment, as was invariably my habit.
"Mr. Grau was exceedingly pleased with the promise I showed and especially predicted a brilliant future in operatic singing; but he seconded my mother's sensibly planned course for me to study more quietly, less in public view, and wait till a few years of hard work and experience had passed over my ambitious little head. As a kind afterthought he added, no doubt to soften the sting of my disappointment: 'Would you like to sing in one of our Sunday night concerts?'" (The Story of an American Singer, pp. 36–37)
Rare early gelatin silver print of the important American soprano and actress, who has inscribed on the lower mount "To Miss Mosher / In memory of the "'Tchaikovsky' / From hers sincerely / Geraldine Farrar / October 22, 1898." Mounted and framed to an overall size of 10.75 x 13.75 inches (27.3 x 34.9 cm.).
Earlier in the spring of 1898, the young Farrar had auditioned for Maurice Grau, director of the Metropolitan Opera. In her biography, Farrar chronicles the events following a "society puppet show" during which she appeared in costume as Emma Calvé from Carmen:
"I soon afterward met Mrs. Grau, wife of the famous director, and she insisted that I should sing for her husband. It was proposed to stage a big special performance of Mignon at the Metropolitan...and Mrs. Grau thought that should I please her husband he might consider the occasion a propitious one to introduce me in grand opera, as the role of Mignon was admirably suited to my youth and vocal abilities...When I appeared on the stage of the Metropolitan, I found him surrounded by a great many people, members of the Metropolitan Company, business associates and advisers, and others. What my emotions were when I passed in through the stage door I cannot describe...at any rate, I sang as I believe I had never sung before. To every one's amazement I dismissed the accompanist whose laborious efforts were more of a hindrance than an aid to my 'audition,' and, seating myself at the piano, I continued singing to my own accompaniment, as was invariably my habit.
"Mr. Grau was exceedingly pleased with the promise I showed and especially predicted a brilliant future in operatic singing; but he seconded my mother's sensibly planned course for me to study more quietly, less in public view, and wait till a few years of hard work and experience had passed over my ambitious little head. As a kind afterthought he added, no doubt to soften the sting of my disappointment: 'Would you like to sing in one of our Sunday night concerts?'" (The Story of an American Singer, pp. 36–37)
When Farrar declined the offer, Grau responded with great persistence, even mentioning that such a performance would go a long way towards realizing her dream of appearing on Metropolitan Opera House billboards. The young soprano, who would eventually become one of the greatest operatic performers of her age, replied in confidence, "you will see it there someday."