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1000 tulosta hakusanalla Geraldine Farrar
From 1906 until 1922, Geraldine Farrar was the Metropolitan Opera's most popular and glamorous prima donna. Convinced that music must always serve the drama, she often sacrificed tonal beauty to dramatic effect, and her acting was noted for its intensity and realism. Nevertheless, Farrar was a superb singer, possessing a beautiful lyric soprano voice. Farrar was also a star of the silent screen, appearing in 14 films from 1915 to 1920. In retirement, she was mentor and friend to the African American soprano Camilla Williams, enabling Williams to become the first African American to have a regular contract with a major American opera company. This biography and critical analysis of Farrar's career provides a detailed account of her major contributions to the history of opera.
Such Sweet Compulsion: The Autobiography of Geraldine Farrar
Geraldine Farrar
Literary Licensing, LLC
2013
sidottu
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.
Such Sweet Compulsion: The Autobiography of Geraldine Farrar
Geraldine Farrar
Literary Licensing, LLC
2013
nidottu
Geraldine Farrar: The Story of an American Singer
Geraldine Farrar
Createspace Independent Publishing Platform
2015
nidottu
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.
Geraldine Farrar: The Story of an American Singer
Geraldine Farrar
Createspace Independent Publishing Platform
2016
nidottu
Geraldine Farrar The Story of an American Singer
Herself
Createspace Independent Publishing Platform
2014
nidottu
The Autobiography of Geraldine Farrar: Such Sweet Compulsion
Geraldine 1882-1967 Farrar
Hassell Street Press
2021
sidottu
The Autobiography of Geraldine Farrar: Such Sweet Compulsion
Geraldine 1882-1967 Farrar
Hassell Street Press
2021
nidottu
Paving the Way for Madam President
Nichola D. Gutgold; Geraldine Ferraro
Lexington Books
2006
sidottu
When the first woman president moves into the White House, she will not only be indebted to the tireless campaign workers, staff, press, family, friends, and, of course, the voters who got her there, but Madam President will also have her sisters to thank for paving the way. Among these women are Margaret Chase Smith, the stalwart Republican senator from Maine who made a bid for the presidency in 1964; Shirley Chisholm, the fiery New York congresswoman who described herself as 'unbought and unbossed' in 1972; Patricia Schroeder, the silvery-tongued and brilliant former Colorado congresswoman who briefly ran in 1988; Elizabeth Dole, a North Carolina senator who made an impressive showing as a presidential candidate in 2000; and the articulate one-term Illinois senator, Carol Moseley Braun, who ran in 2004. This book chronicles the lives, communication styles, and presidential bids of these five remarkable women while also addressing the obstacles and opportunities for women as presidential contenders.
Paving the Way for Madam President
Nichola D. Gutgold; Geraldine Ferraro
Lexington Books
2006
nidottu
When the first woman president moves into the White House, she will not only be indebted to the tireless campaign workers, staff, press, family, friends, and, of course, the voters who got her there, but Madam President will also have her sisters to thank for paving the way. Among these women are Margaret Chase Smith, the stalwart Republican senator from Maine who made a bid for the presidency in 1964; Shirley Chisholm, the fiery New York congresswoman who described herself as 'unbought and unbossed' in 1972; Patricia Schroeder, the silvery-tongued and brilliant former Colorado congresswoman who briefly ran in 1988; Elizabeth Dole, a North Carolina senator who made an impressive showing as a presidential candidate in 2000; and the articulate one-term Illinois senator, Carol Moseley Braun, who ran in 2004. This book chronicles the lives, communication styles, and presidential bids of these five remarkable women while also addressing the obstacles and opportunities for women as presidential contenders.
An inside look at a prominent woman's campaign for the vice-presidency; In this memoir, Geraldine A. Ferraro reflects on her experience as the first and only woman nominated by a major party to run on the presidential ticket. This book reveals the process that led to her nomination as the 1984 Democratic Vice-Presidential candidate and gives a revealing behind-the-scenes look at campaign politics, especially the ruthless criticism directed at her and her family. Ferraro brings to life the dynamics of the women in Congress and how the different life experiences that they bring to the table affect the policy making process. She also gives a real understanding of the pioneering women, including Bella Abzug, Gloria Steinem, Millie Jeffrey and many others who worked together to make sure that a women was on the Democratic ticket in 1984. Ferraro's run for vice-president was an important moment in American history. The time is right for telling a new generation this story of women's collective political power and the difference women office holders can and do make to public policy.
EU Competition Law and Economics
Damien Geradin; Anne Layne-Farrar; Nicolas Petit
Oxford University Press
2012
sidottu
This is the first EU competition law treatise that fully integrates economic reasoning in its treatment of the decisional practice of the European Commission and the case-law of the European Court of Justice. Since the European Commission's move to a "more economic approach" to competition law reasoning and decisional practice, the use of economic argument in competition law cases has become a stricter requirement. Many national competition authorities are also increasingly moving away from a legalistic analysis of a firm's conduct to an effect-based analysis of such conduct, indeed most competition cases today involve teams composed of lawyers and industrial organisation economists. Competition law books tend to have either only cursory coverage of economics, have separate sections on economics, or indeed are far too technical in the level of economic understanding they assume. Ensuring a genuinely integrated approach to legal and economic analysis, this major new work is written by a team combining the widely recognised expertise of two competition law practitioners and a prominent economic consultant. The book contains economic reasoning throughout in accessible form, and, more pertinently for practitioners, examines economics in the light of how it is used and put to effect in the courts and decision-making institutions of the EU. A general introductory section sets EU competition law in its historical context. The second chapter goes on to explore the economics foundations of EU competition law. What follows then is an integrated treatment of each of the core substantive areas of EU competition law, including Article 101 TFEU, Article 102 TFEU, mergers, cartels and other horizontal agreements and vertical restraints.
