en 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."

[Illustration: 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 debut 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 pr