etimes, after a big performance, it is very
hard to have to be told about all the things that one did not do well,
but that is the only way to improve. There are always many people to
tell one the good things, but I feel that the biggest help that I have
had through my career has been the help of my husband, because he has
always told me the places where I could improve, so that every
performance I had something new to think about. An artist never stands
still. He either goes forward or backward and, of course, the only way
to get to the top is by going forward.

The difficulty in America is in giving the young singers a chance after
their voices are placed. If only we could have a number of excellent
stock opera companies, even though there had to be a few traveling stars
after the manner of the old dramatic companies, where everybody had to
start at the bottom and work his way up, because with a lovely voice,
talent and perseverance anyone can get to the top if one has a chance to
work. By "work" I mean singing as many new roles as possible and as
often as possible and not starting at a big opera house singing perhaps
two or three times during a season. Just think of it,--the singer at a
small opera house has more chance to learn in two months than the
beginner at a big opera house might have in five years. After all, the
thing that is most valuable to a singer is time, as with time the voice
will diminish in beauty. Getting to the top via the big opera house is
the work of a lifetime, and the golden tones are gone before one really
has an opportunity to do one's best work.

[Illustration: GERALDINE FARRAR.]

GERALDINE FARRAR

BIOGRAPHICAL

Although one of the youngest of the noted American singers, none has
achieved such an extensive international reputation as Miss Farrar. Born
February 28, 1882, in Melrose, Mass., she was educated at the public
schools in that city. At the school age she became the pupil of Mrs. J.
H. Long, in Boston. After studying with several teachers, including Emma
Thursby, in New York, and Trabadello, in Paris, she went to Lilli
Lehmann in Berlin, and under this, the greatest of dramatic singers of
her time, Miss Farrar received a most thorough and careful training in
all the elements of her art. She made her debut as Marguerite in _Faust_
at the Royal Opera in Berlin, October 15th, 1901. Later, after touring
European cities with ever increasing successes, she was engaged at the