Title: Geraldine's Husband. A novel.]Publisher: British Library, Historical Print EditionsThe British Library is the national library of the United Kingdom. It is one of the world's largest research libraries holding over 150 million items in all known languages and formats: books, journals, newspapers, sound recordings, patents, maps, stamps, prints and much more. Its collections include around 14 million books, along with substantial additional collections of manuscripts and historical items dating back as far as 300 BC.The FICTION & PROSE LITERATURE collection includes books from the British Library digitised by Microsoft. The collection provides readers with a perspective of the world from some of the 18th and 19th century's most talented writers. Written for a range of audiences, these works are a treasure for any curious reader looking to see the world through the eyes of ages past. Beyond the main body of works the collection also includes song-books, comedy, and works of satire. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ British Library Macleod, Mary; null 8 . 012633.l.38.
Such Sweet Compulsion: The Autobiography Of Geraldine Farrar is a memoir written by the renowned American opera singer and actress, Geraldine Farrar. In this book, Farrar shares her life story, from her childhood in Massachusetts to her rise to fame as one of the most celebrated opera singers of her time.Farrar's autobiography is a fascinating account of her personal and professional life, filled with anecdotes about her experiences on stage and off. She writes about her early years studying music and acting, her debut performance at the Metropolitan Opera in New York, and her travels around the world to perform in some of the most prestigious opera houses.The book also delves into Farrar's personal life, including her marriages and relationships with notable figures such as the composer Giacomo Puccini and the conductor Arturo Toscanini. She reflects on the challenges she faced as a woman in a male-dominated industry and the sacrifices she made to pursue her passion for music.Overall, Such Sweet Compulsion is a captivating and insightful memoir that offers a unique perspective on the life of a pioneering female artist in the early 20th century. It is a must-read for anyone interested in opera, music, and the history of women in the arts.This is a new release of the original 1938 edition.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.
Geraldine is a Yorkshire poet who has lived in Lancashire since 1982. She is a mother and grandmother who had a varied career as librarian, secretary and Head Chef. She has written ten books so far, including two cookbooks. Writing and poetry come naturally to her, but she is also interested in gardening, cooking, astrology, dreams, tarot, shamanic spirituality, African drumming and her current dog, Lola. She was a performance poet around Manchester in the '80s; famous for fifteen minutes in 1985 for reading naked poetry in a jacuzzi. She also appeared as a standup comic and karaoke singer. Her poetry has a raw, earthy quality. She does not mince her words. She has moved audiences to tears and laughter in equal measure. She is not for the faint-hearted, the squeamish or those of a ladylike disposition.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Bertrand Lemarais ist ein begnadeter Arzt. Die Erfolgsbilanz des Gyn kologen mit den Wunderh nden weist indessen einen Sch nheitsfleck auf. Es misslingt ihm, f nf unglaublich sch nen Frauen den ersehnten Kinderwunsch zu erf llen. Dumm nur, dass es sich allesamt um Frauen handelt, die in eine Familie hineingeheiratet haben, die dringend Stammhalter braucht, damit der Name der Familie nicht ausstirbt. Sein rztliches Versagen hindert ihn nicht, sich den Damen anderweitig zuzuwenden. Immer dann, wenn deren Ehem nner das Zeitliche segnen, tr stet er die Hinterbliebene, eine nach der anderen, um zu guter Letzt mit allen gleichzeitig verbandelt zu sein. Als Bertrand im hohen Alter entschl ft, hinterl sst er ein Testament, in dem er seinen Geliebten ein Buch vermacht, das Hinweise auf weitere, wohl versteckte B cher enth lt. Er spielt mit seinen Damen ein allerletztes Spiel, das den Schlussakkord bizarrer Verh ltnisse bildet. Buch um Buch tauchen die Frauen in das wahre Leben des Bertrand Lemarais ein, lernen schmerzhaft den heimlichen Hass des Verstorbenen kennen und begreifen, was es hei t, Spielball eines zutiefst gekr nkten Menschen zu sein. Doch da ist noch jemand, der ein eigenes Spiel spielt, geduldig wartend, um im geeigneten Moment zuzuschlagen.
Geraldine Chaplin is the most distinguished actor among Charlie Chaplin's children. Through her collaborations with major international film directors, she has created a striking performative presence across international cinema. Her acting also evokes, with varying levels of self-consciousness and in shifting cinematic contexts, the memory of her father's screen performances. This book analyses the distinctive screen art of Geraldine Chaplin and uncover parallels between her performances and her father's work on film. Through this method, this star study explores the rich and surprising relationships between art cinema and silent film comedy, and between modernist and classical cinematic performance. It offers a long overdue appreciation of Geraldine Chaplin's own remarkable screen achievements, all the while shedding new insight into the art of Charlie Chaplin through the singular prism of his daughter's bold work.
The most distinguished actor among Charlie Chaplin's children, Geraldine Chaplin has created a striking performative presence across international cinema. In shifting cinematic contexts and through collaborations with major film directors, she playfully evokes the memory of her iconic father, while establishing her own distinctive screen art. Geraldine Chaplin: The Gift of Film Performance is a long-overdue appreciation of Chaplin's remarkable screen achievements, and includes close readings of her performances in films such as Doctor Zhivago, Peppermint Frappe, Cria cuervos, Nashville, Welcome to L.A., Remember My Name, Noroit, Chaplin, Talk to Her, and more.
Geraldine Farrar: The Story of an American Singer is a classic American music autobiography by Geraldine Farrar. In offering these little sketches of some of the interesting events that have helped shape a career now fairly familiar to the general public, it has not been my intention to weary the indulgent reader with a lengthy dissertation of literary pretension, or tiresome data resulting from the obvious and oft-recurring "I." Alice Geraldine Farrar (February 28, 1882 - March 11, 1967) was an American soprano opera singer and film actress, noted for her beauty, acting ability, and "the intimate timbre of her voice." She had a large following among young women, who were nicknamed "Gerry-flappers". Geraldine Farrar was born in Melrose, Massachusetts, the daughter of baseball player Sidney Farrar, and his wife, Henrietta Barnes. At 5 she began studying music in Boston and by 14 was giving recitals. Later she studied voice with the American soprano Emma Thursby in New York City, in Paris, and finally with the Italian baritone Francesco Graziani in Berlin. Farrar created a sensation at the Berlin Hofoper with her debut as Marguerite in Charles Gounod's Faust in 1901 and remained with the company for three years, during which time she continued her studies with famed German soprano Lilli Lehmann. (She had been recommended to Lehmann by another famous soprano of the previous generation, Lillian Nordica.). She appeared in the title roles of Ambroise Thomas' Mignon and Jules Massenet's Manon, as well as Juliette in Gounod's Rom o et Juliette. Her admirers in Berlin included Crown Prince Wilhelm of Germany, with whom she is believed to have had a relationship beginning in 1903. After three years with the Monte Carlo Opera, she made her debut at the New York Metropolitan Opera in Romeo et Juliette on November 26, 1906. She appeared in the first Met performance of Giacomo Puccini's Madama Butterfly in 1907 and remained a member of the company until her retirement in 1922, singing 29 roles there in 672 performances. 6] She developed a great popular following, especially among New York's young female opera-goers, who were known as "Gerry-flappers". Farrar created the title roles in Pietro Mascagni's Amica (Monte Carlo, 1905), Puccini's Suor Angelica (New York City, 1918), Umberto Giordano's Madame Sans-G ne (New York, 1915), as well as the Goosegirl in Engelbert Humperdinck's K nigskinder (New York, 1910), for which Farrar trained her own flock of geese. According to a New York Tribune review of the first performance, "at the close of the opera Miss Farrar caused 'much amusement' by appearing before the curtain with a live goose under her arm." Geraldine Farrar recorded extensively for the Victor Talking Machine Company and was often featured prominently in that firm's advertisements. She was one of the first performers to make a radio broadcast, in a 1907 publicity event singing over Lee De Forest's experimental AM radio transmitter in New York City. She also appeared in silent movies, which were filmed between opera seasons. Farrar starred in more than a dozen films from 1915 to 1920, including Cecil B. De Mille's 1915 adaptation of Georges Bizet's opera Carmen, for which she was extensively praised. "The resolution of Geraldine Farrar, the beautiful and gifted star, to employ her talents in the attaining of success in the films is one of the greatest steps in advancing the dignity of the motion pictures. Miss Farrar's 'Carmen' in the films is the greatest triumph the motion picture has yet achieved over the speaking stage," claimed the San Francisco Call & Post. For her performance, she came in fourth place in the 1916 "Screen Masterpiece" contest held by Motion Picture Magazine, ahead of any other actress. Theda Bara's performance of the same role received 9,150 votes. One of her other notable screen roles was as Joan of Arc in the 1917 film Joan the Woman.
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