n the star role; Julia Marlowe in "The Countess
Valeska," and Ada Rehan in "The Country Girl" and as Lady Teazle in "The
School for Scandal" (how I did love her as Lady Teazle!)--all wonderful
plays for a schoolgirl still in her teens.

It was at this time also that I first met Melba, who was in New York,
and it was Miss Thursby who took me to sing for her. Much of my former
nervousness had worn away. I had worked hard and was anxious for Melba's
approval, and her impartial judgment as to the advisability of immediate
study abroad. That day, too, the sun was radiant, I was in excellent
humor, and, all in all, everything pointed toward a happy and favorable
meeting.

I remember Melba's enthusiasm and generosity with gratitude, though I
have not seen her these many years to tell her so. I sang unusually
well, to my own accompaniment, and she was so genuinely interested as to
propose that I should at once sing for her manager, C. A. Ellis, of
Boston, of whose opera company, in association with Walter Damrosch, she
was the scintillating luminary. So a few days later my mother and I
joined her there at a hotel which was the temporary home of the
songbirds.

Perhaps you can picture my delight. I floated in fairyland; to lunch and
dine in the intoxicating proximity of these wonderful people; to watch
them, like gods and goddesses, deign to descend to the earth of
ordinary mortals--it was like living in a dream.

[Illustration: MISS FARRAR AND HER MOTHER]

The eventful day came when I finally sang for Mr. Ellis. It was in the
Boston Theater, and Melba, Mr. Damrosch, and many others were present. I
was a little anxious at the idea of singing in such a large, empty
auditorium, and feared that my voice would not be heard to advantage in
such an enormous place; yet, after the ordeal was over, Madame Melba
took me in her arms and embraced me with enthusiasm and affection. She
predicted such splendid things as even I scarcely dared hope. I was
elated and grateful indeed at the general commendation, for Mr. Ellis
offered me an engagement, and that night, at the hotel, Melba wished me
to sign a contract of several years to place myself under her tutelage
and appear later in opera subject to her advice.

My dreams were fast becoming realities. But, as usual, my mother's good
sense dominated the situation. While thoroughly appreciative of the
advantages that Melba could offer me in her generous impulse, my mother
felt that I was f