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2 ‘Hail Farrar Queen as She Sings Adieu’, New York Times, 23 April 1922; Ruth Crosby Dimmick, ‘Farrar Receives Record Ovation’, unidentified newspaper cutting, Washington DC, Library of Congress, Geraldine Farrar Collection, Box 28. Farrar maintained detailed scrapbooks of her media coverage, but unfortunately they are inconsistently referenced, with dates, authors and/or sites of publication sometimes missing. Box numbers are listed here when appropriate. Dimmick was the author of Our Theatres Today and Yesterday (New York: H. K. Fly, 1913), a study of New York's theatrical life.Google Scholar

3 ‘Miss Farrar's Operatic Farewell’, Literary Digest, 13 May 1922.Google Scholar

4 ‘Farrar Quits amid Tears and Cheers’, New York Tribune, 23 April 1922.Google Scholar

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7 See for example Abbate, Carolyn and Parker, Roger, A History of Opera: The Last Four Hundred Years (London: Allen Lane, 2012), 488–548.Google Scholar

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17 Vernon, Grenville, ‘Operas of the Coming Season’, New York Tribune, 29 June 1919.Google Scholar

18 Ceriani, Davide, ‘Italianizing the Metropolitan Opera House: Giulio Gatti-Casazza's Era and the Politics of Opera in New York City, 1908–1935’ (Ph.D. dissertation, Harvard University, 2011), examines Gatti-Casazza's efforts covertly to promote Italian works during his tenure at the Met, and the critical anxieties such moves provoked among pro-Germanic critics. On Franchetti, see pp. 116–46. The première of Puccini's La fanciulla del West at the Met in 1910, while highly publicized, received a mixed reception on both sides of the Atlantic: see Wilson, Alexandra, The Puccini Problem: Opera, Nationalism and Modernity (Cambridge: Cambridge University Press, 2007).Google Scholar

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20 Katherine Preston has cautioned that English-language performances of foreign works remained popular in the post-bellum era, in ‘Between the Cracks: The Performance of English-Language Opera in Nineteenth-Century America’, American Music, 21 (2003), 349–74.Google Scholar

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24 Huneker, James Gibbons, ‘A Triple Bill at Metropolitan’, New York Times, 13 March 1919.Google Scholar

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29 ‘New Strand Opens: Biggest of Movies’, New York Times, 12 April 1914. The Strand Theatre offered nearly 3,500 seats and its opening attracted a celebrity audience.Google Scholar

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34 The tour included extracts from I Medici, Chatterton and Roland de Berlin, alongside Zazà.Google Scholar

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41 ‘Hammerstein's Death Leaves Unfilled Void in America's Music World’, Washington Times, 4 September 1919.Google Scholar

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43 ‘One Opera Season Begun’, New York Sun, 27 November 1906.Google Scholar

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46 Stephenson, Walter T., ‘A Talk with Miss Farrar’, Vogue, undated magazine cutting, Library of Congress, Geraldine Farrar Collection, Box 27.Google Scholar

47 Ibid.Google Scholar

48 Cosmopolitan, 29 August 1924, Library of Congress, Geraldine Farrar Collection, Box 30.Google Scholar

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52 See Gienow-Hecht, Jessica E., Sound Diplomacy: Music, Emotions and Politics in Transatlantic Relations since 1850 (Chicago, IL: University of Chicago Press, 2009). Tunbridge, ‘Frieda Hempel’, draws attention to related difficulties for Hempel in her Anglo-American appearances.Google Scholar

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57 Farrar, Geraldine, ‘What's the Matter with our Music?’, Library of Congress, Geraldine Farrar Collection, Box 4. A version of this talk was also published in The Etude, August 1930.Google Scholar

58 Ibid. On anxieties about American art music composition, see Horowitz, Joseph, Classical Music in America: A History of its Rise and Fall (New York: Norton, 2005).Google Scholar

59 Of Farrar's 14 films, only Carmen used explicitly operatic source material. Her collaborations with Cecil B. DeMille were particularly lucrative: Joan the Woman (1917) ran for 16 weeks at New York's 44th Street Theatre. See Robert S. Birchard, Cecil B. DeMille's Hollywood (Lexington, KY: University Press of Kentucky, 2009), 24.Google Scholar

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61 See for example Carmen, at 22′ 34″. Produced and directed by Cecil B. DeMille; Jesse L. Lasky Feature Play Company; filmed in summer 1915; premièred at Symphony Hall, Boston, MA, on 1 October 1915, with music from Bizet's Carmen arranged by Hugo Riesenfeld. Gillian Anderson's 1996 restoration of the film has been commercially released by Video Artists International.Google Scholar

62 Frohman, Ray W., ‘Here's Where Voice Won Place on Screen’, Evening Herald, 1919, Library of Congress, Geraldine Farrar Collection, Box 42.Google Scholar

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75 ‘Geraldine Farrar a Lively Carmen’, New York Times, 18 February 1918.Google Scholar

76 ‘Our Geraldine Is Home Again from Movie Land’.Google Scholar

77 Lerner, Michael A., Dry Manhattan: Prohibition in New York City (Cambridge, MA, and London: Harvard University Press, 2007).Google Scholar

78 While prohibition is not discussed in surviving reviews, comments on the opera's plot are certainly characterized by a similar moralizing impulse.Google Scholar

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80 ‘Genius the Word for Mrs Carter’, New York Press, 10 January 1899.Google Scholar

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99 ‘Mystery of What Happened to Mme Walska's “Career”’, Washington Times, 9 January 1921.Google Scholar

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106 Ladd, Marco, ‘Defining the Interior: Bourgeois Reality in Leoncavallo's Zazà’ (unpublished essay).Google Scholar

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111 Amplification has become the standard solution for projecting the child's voice in the theatre; Leoncavallo himself also allowed the piano to be performed from the pit to reduce the difficulties of finding a suitable child actor that could perform in time with the orchestra.Google Scholar

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119 Farrar, Geraldine, ‘Whither Grand Opera?’, 12 February 1935, script in Library of Congress, Geraldine Farrar Collection, Box 4.Google Scholar

120 Quoted in Fleeger, Sounding American, 5.Google Scholar

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122 Simonson, Body Knowledge, describes Pavlova's live and cinematic performances of La muette de Portici as ‘creatively and economically symbiotic, each (re)creat[ing] the other, marking its existence within an intermedial relationship’; and yet, tellingly, her analysis focuses upon the film (p. 188).Google Scholar

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124 Deirdre Loughridge similarly urges a longer history of opera's relationship with other media, although her focus is on eighteenth-century visual technologies. Loughridge, ‘When Media Meet’, Cambridge Opera Journal, 26 (2014), 203–13 (p. 213).Google Scholar

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