Podcasts about David Belasco

One-Act Play Collections - Book 6, Part 2 Title: One-Act Play Collections - Volume 6 Overview: This collection includes ten one-act plays by David Belasco, Arnold Bennett, Hereward Carrington, Lewis Carroll, Lord Dunsany, John Galsworthy, Charlotte Perkins Gilman, Maurice Maeterlinck, Anna Bird Stewart, and Alfred, Lord Tennyson. The Book Coordinators for this collection were Charlotte Duckett, Michele Eaton, Elizabeth Klett, Loveday, Piotr Nater, Algy Pug, Eden Rea-Hedrick, Todd, and Chuck Williamson. A one-act play is a play that has only one act and is distinct from plays that occur over several acts. One-act plays may consist of one or more scenes. The 20-40 minute play has emerged as a popular subgenre of the one-act play, especially in writing competitions. One-act plays make up the overwhelming majority of Fringe Festival shows including at the Edinburgh Fringe Festival. The origin of the one-act play may be traced to the very beginning of recorded Western drama: in ancient Greece, Cyclops, a satyr play by Euripides, is an early example. The satyr play was a farcical short work that came after a trilogy of multi-act serious drama plays. A few notable examples of one-act plays emerged before the 19th century including various versions of the Everyman play and works by Moliere and Calderon. One act plays became more common in the 19th century and is now a standard part of repertory theatre and fringe festivals. Published: Various Series: One-Act Play Collections List: One-Act Play Collections, Play #13 Author: Various Genre: Plays, Theater, Drama Episode: One-Act Play Collections - Book 6, Part 2 Book: 6 Volume: 6 Part: 2 of 2 Episodes Part: 5 Length Part: 3:02:09 Episodes Volume: 10 Length Volume: 5:52:42 Episodes Book: 10 Length Book: 5:52:42 Narrator: Collaborative Language: English Rated: Guidance Suggested Edition: Unabridged Audiobook Keywords: plays, theater, drama, comedy, hit, musical, opera, performance, show, entertainment, farce, theatrical, tragedy, one-act, stage show Hashtags: #freeaudiobooks #audiobook #mustread #readingbooks #audiblebooks #favoritebooks #free #booklist #audible #freeaudiobook #plays #theater #drama #comedy #hit #musical #opera #performance #show #entertainment #farce #theatrical #tragedy #one-act #StageShow Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. Elizabeth Klett.

One-Act Play Collections - Book 6, Part 1 Title: One-Act Play Collections - Volume 6 Overview: This collection includes ten one-act plays by David Belasco, Arnold Bennett, Hereward Carrington, Lewis Carroll, Lord Dunsany, John Galsworthy, Charlotte Perkins Gilman, Maurice Maeterlinck, Anna Bird Stewart, and Alfred, Lord Tennyson. The Book Coordinators for this collection were Charlotte Duckett, Michele Eaton, Elizabeth Klett, Loveday, Piotr Nater, Algy Pug, Eden Rea-Hedrick, Todd, and Chuck Williamson. A one-act play is a play that has only one act and is distinct from plays that occur over several acts. One-act plays may consist of one or more scenes. The 20-40 minute play has emerged as a popular subgenre of the one-act play, especially in writing competitions. One-act plays make up the overwhelming majority of Fringe Festival shows including at the Edinburgh Fringe Festival. The origin of the one-act play may be traced to the very beginning of recorded Western drama: in ancient Greece, Cyclops, a satyr play by Euripides, is an early example. The satyr play was a farcical short work that came after a trilogy of multi-act serious drama plays. A few notable examples of one-act plays emerged before the 19th century including various versions of the Everyman play and works by Moliere and Calderon. One act plays became more common in the 19th century and is now a standard part of repertory theatre and fringe festivals. Published: Various Series: One-Act Play Collections List: One-Act Play Collections, Play #12 Author: Various Genre: Plays, Theater, Drama Episode: One-Act Play Collections - Book 6, Part 1 Book: 6 Volume: 6 Part: 1 of 2 Episodes Part: 5 Length Part: 2:50:33 Episodes Volume: 10 Length Volume: 5:52:42 Episodes Book: 10 Length Book: 5:52:42 Narrator: Collaborative Language: English Rated: Guidance Suggested Edition: Unabridged Audiobook Keywords: plays, theater, drama, comedy, hit, musical, opera, performance, show, entertainment, farce, theatrical, tragedy, one-act, stage show Hashtags: #freeaudiobooks #audiobook #mustread #readingbooks #audiblebooks #favoritebooks #free #booklist #audible #freeaudiobook #plays #theater #drama #comedy #hit #musical #opera #performance #show #entertainment #farce #theatrical #tragedy #one-act #StageShow Credits: All LibriVox Recordings are in the Public Domain. Wikipedia (c) Attribution-ShareAlike 3.0 Unported License. WOMBO Dream. Elizabeth Klett.

This is a special encore episode of my 2022 interview with Tony-award-winning lighting designer Ken Billington. This past week, Ken received rave reviews for his lighting design of the new Broadway musical SMASH, which amazingly is his 108th Broadway production. So, I thought it was an ideal time to revisit this fascinating conversation about the history of lighting design on Broadway and Ken's own tremendous contribution to it. This is a two-part conversation and I will be rereleasing both parts this week. Original Description: My guest on this episode is Tony Award winning lighting designer Ken Billington who created the lighting for an incredible 105 Broadway plays and musicals, including 21 productions that were directed by Harold Prince.  Ken's career spans from his very first Broadway show in 1967 when he was the assistant to legendary lighting designer Tharon Musser, to his most recent Broadway show, the hit musical, Waitress.  Along the way, he designed the original productions of Sweeney Todd, On The 20th Century, The Drowsy Chaperone, The Scottsboro Boys, The Search For Signs Of Intelligent Life In the Universe starring Lily Tomlin, three revivals of Fiddler On The Roof, two revivals of Sunday In The Park with George, and the still running 1996 revival of Chicago for which he received the Tony Award. I have had the great pleasure of knowing and working with Ken for more than 40 years, and it is always fascinating and always a delight to speak with him. Theatrical lighting design is a very young art form. Its history begins primarily in the early 20th Century -- just as the Broadway musical was being invented. Lighting design's earliest innovators include the American actress Maude Adams – most famous today for her performance as Peter Pan – and producer, director, playwright, and theater owner David Belasco.  One of the recurring themes of this podcast, and one of my obsessions, is how the art and craft of the Broadway Musical have been handed down directly – firsthand – from artists to artists, from craftsperson to craftsperson.  Ken Billington's long career and especially his early experiences as the assistant to the pioneering designers Peggy Clark, Pat Collins, Tom Skelton, William Rittman, and Tharon Musser make him the ideal guest for this episode. And of course, after Ken stopped being an assistant, he eventually became one of Broadway's most acclaimed and most prolific lighting designers. And we'll hear the story of how that came about on the next episode of Broadway Nation! You can learn more about Jean Rosenthal, Tharon Musser and other great women lighting designers on Episode 8 of Broadway Nation, which is titled, “Agnes DeMille & The Women That Invented Broadway”. It's a fascinating episode and I encourage you to check it out. Learn more about your ad choices. Visit megaphone.fm/adchoices

Transmitido el sábado 12 de abril de 2025. La fanciulla del West (título original en italiano; en español, La chica del Oeste) es una ópera en tres actos con música de Giacomo Puccini y libreto en italiano de Guelfo Civinini y Carlo Zangarini, basado en una pieza de David Belasco.

David Belasco -- playwright, producer, impresario, theatre manager, and theatrical visionary -- was one of the most important names in the world of the Gilded Age stage.Beginning his life and career in San Francisco following the Gold Rush years, Belasco moved to New York to revolutionize how theatre was seen and produced in the last years of the 19th and into the 20th century. In addition to writing such hits as plays "Madame Butterfly" and "The Girl of the Golden West" which went on to become even more popular ad Puccini operas, he was responsible for launching the careers of Maude Adams (the first Peter Pan), Mary Pickford and Barbara Stanwyck. He was known for often wearing the robes and clerical collar of a Catholic priest, despite his Jewish heritage and thus began to call himself  "The Bishop of Broadway". Belasco owned and operated today's Belasco Theatre on 44th St which continues to bear his name. The theatre, built in 1907, is home to current Broadway hits and still contains the once lavish apartment now abandoned in which he lived on the theatre's top floor.   It's said that perhaps Belasco has never quite left his eponymous theatre and reports have persisted over the years of sightings and strange occurrences that indicate his possible presence even today. 

In this episode of The Halloween Podcast, join host Lyle Perez as he uncovers the dark and haunted side of New York. While New York is known for its vibrant city life and historical landmarks, it's also home to chilling ghost stories that span centuries. Lyle takes you through ten of the state's most haunted locations, where tales of restless spirits and eerie phenomena reveal a hidden world beneath the surface of the Empire State. Featured Locations: The Morris-Jumel Mansion 65 Jumel Terrace, New York, NY 10032 Built in 1765, this mansion once served as George Washington's headquarters. It's haunted by the ghost of Eliza Jumel, who is often seen in a violet gown, along with other spirits from the Revolutionary War. The Amityville Horror House 112 Ocean Avenue, Amityville, NY 11701 Site of the infamous 1974 DeFeo murders, this house is rumored to be plagued by demonic forces that terrorized the Lutz family, who fled after 28 days. The Shanley Hotel 56 Main St, Napanoch, NY 12458 Built in 1895, this hotel has seen numerous tragedies and is haunted by the spirit of Beatrice Shanley, along with the playful ghosts of children who have been heard laughing in the hallways. Hyde Hall 267 Glimmerglass State Park Rd, Cooperstown, NY 13326 Constructed between 1817 and 1834, this grand mansion is said to be haunted by George Clarke and a mysterious woman in white, who roam its corridors late at night. The Skene Manor 8 Potter Terrace, Whitehall, NY 12887 Built in 1874, this manor is haunted by Judge Potter, whose ghost is often seen on the staircase, along with shadowy figures and phantom conversations echoing in the dining room. Rolling Hills Asylum 11001 Bethany Center Rd, East Bethany, NY 14054 Originally a poorhouse established in 1827, this asylum is home to over 1,700 restless spirits, including Roy Crouse, a seven-foot-tall shadow figure known to stalk the hallways. The New York State Capitol Washington Ave & State St, Albany, NY 12224 Completed in 1899, this grand building is haunted by Samuel Abbott, a night watchman who perished in a fire, and other spirits that linger in its ornate halls and staircases. The Sagamore Resort 110 Sagamore Rd, Bolton Landing, NY 12814 Built in 1883, this lakeside resort is haunted by a young boy who died on the golf course and a lady in white who roams the hallways. The Belasco Theatre 111 W 44th St, New York, NY 10036 Since opening in 1907, this Broadway theater has been haunted by its founder, David Belasco, who is often seen in his private box, and the mysterious Blue Lady, an actress who died under tragic circumstances. The Utica State Hospital 1213 Court St, Utica, NY 13502 Established in 1843, this psychiatric hospital is haunted by a female patient seen wandering the grounds and shadowy figures in the old morgue. Like Our Facebook page for more Halloween fun: www.Facebook.com/TheHalloweenPodcast ORDER PODCAST MERCH! Website: www.TheHalloweenPodcast.com Email: TheHalloweenPodcast@gmail.com X: @TheHalloweenPod Support the Show: www.patreon.com/TheHalloweenPod Get bonus Halloween content and more! Just for Patreon supporters! Check out my other show! Find it on iTunes - Amazing Advertising http://amazingadvertising.podomatic.com/ Keywords and Tags: Haunted New York, New York ghost stories, Morris-Jumel Mansion hauntings, Amityville Horror House, Rolling Hills Asylum ghosts, haunted hotels New York, paranormal New York, New York legends, ghostly encounters New York, Halloween Podcast Haunted America

Lux Radio Theatre | Madame Butterfly | Broadcast: March 8, 1937Starring: Cary GrantMadame Butterfly was a 1932 American pre-Code drama film directed by Marion Gering, based on David Belasco's play and the story by John Luther Long.Story: At Goro's Tea House, we are introduced to Cho-Cho San (Sylvia Sidney) who is bidding farewell to her mother and grandfather. She is about to undergo training as a geisha in exchange for money that will support her family. After the relatives leave, Goro introduces Prince Yamadori, a prospective husband, to Cho-Cho San. When Yamadori finds her withdrawn, Madame Goro explains that Cho-Cho San is high-born and is not yet used to the geisha life style.: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLESSubscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr

Vamos a viajar al pasado para subir en el Siglo XX, que es el nombre de un ferrocarril de lujo que a principios del siglo pasado recorría la distancia entre Chicago y New York y lo haremos con un musical titulado “On the 20th Century” escrito por Cy Coleman, del que ya hemos visto en otros programas “Sweet Charity” o “City of angels”. El libreto y letras son de Betty Comden y Adolph Green autores de musicales como “Cantando bajo la lluvia”, “Un día en Nueva York” o “Suena el teléfono” (Bells are ringing”). El musical se basa en la divertida obra de teatro del mismo título de Ben Hecht y Charles MacArthur en la que incluyeron parte de otra obra de teatro que no llegó a publicarse de Charles Bruce Millholland titulada “The Napoleon of Broadway”, en la que se plasmaba parte de la relación de trabajo de Millholland con David Belasco, director y productor teatral que construyó el hoy famoso Belasco Theatre de Broadway. Con semejante equipo la diversión está garantizada. La versión que vamos a escuchar en el podcast es la de la última versión estrenada en Broadway en 2015 con Kristin Chenoweth como la estrella Lily Garland, Peter Gallagher como el director Oscar Jaffe, Mary Louise Wilson como la alocada Letitia Prinrose, Mark Linn-Baker como Owen y Michael McGrath como Oliver, los asistentes del director y Andy Karl como el actor de cine Bruce Granit. 00h 00’00” Take the a train – Duke Ellington 00h 02’47” PRESENTACIÓN 00h 04’17” CABECERA 00h 05’27” INICIO 00h 06’14” Overture 00h 11’07” Stranded again 00h 13’03” Saddle up the horse – On the 20th Century 00h 17’52” Where is the highest priest of the theatre? 00h 19’58” I rise again 00h 24’18” An angel of deliverance 00h 25’38” Oscar Jaffe/Lily Garland 00h 27’00” Indian maiden’s lament 00h 29’38” What’s your name child? 00h 30’56” Veronique 00h 37’51” I have written a play (Conductor) 00h 39’03” Together 00h 42’20” Never 00h 45’48” Oscar Jaffe he meant nothing to me 00h 46’20” Our private world 00h 50’45” Repent 00h 56’24” Mine 01h 02’55” I’ve got it all 01h 08’07” Entr’acte 01h 09’05” Life is like a train 01h 14’16” I have written a play (Congressman) 01h 15’44” Five zeros 01h 20’44” I have written a play (Doctor) 01h 21’27” An anthology of womankind 01h 24’12” Sign, Lily, Sign 01h 31’01” She’s a nut 01h 36’38” Max Jacobs 01h 37’35” My play by Somerset Maugham 01h 38’24” Babette 01h 44’53” Because of her 01h 50’06” Lily / Oscar 01h 53’46” I had to do it to save you 01h 54’56” Finale 01h 56’46” CONCLUSIONES Y ANÉCDOTAS 01h 59’50” The legacy 02h 05’41” Lily / Oscar – Judy Kaye & Rock Hudson 02h 08’04” AGRADECIMIENTOS Y DESPEDIDA 02h 08’42” Runaway train

So...Adam had Covid and it prevented them and Christina to record last week. But, have no fear! As a special treat we are releasing our very very first Patron Exclusive Episode to all of you! In this episode we are covering the haunting Belasco Theater located at 111 West 44th, right in the heart of Broadway! David Belasco was one of Broadway's most famous Theatre Impresarios, but did he ever leave the theater he had built for himself? What other ghostly beings still reside at the theater? In this episode we chat all about it and hear from theater artists who have experiences the paranormal within the walls of the Belasco! Available wherever you stream podcasts! Be sure to Subscribe, Rate, & Review on iTunes! Support the show by becoming a sponsor on our Patreon: www.Patreon.com/NYMysteryMachine Don't forget to follow us on all the socials: Instagram: @NYMysteryMachine Twitter: @NYMysteries Facebook: @NYMysteryMachine THANK YOU TO OUR SPONSORS BARKBOX: Use the link www.barkbox.com/NYMysteryMachine to get a Free Extra Month of BarkBox (valued at $35) when you sign up for multi-length plans. HUNT A KILLER: Receive 20% off your first Hunt a Killer subscription box at www.HuntAKiller.com with the code NYMYSTERYMACHINE at checkout!

My guest on this episode is Tony Award winning lighting designer Ken Billington who created the lighting for an incredible 105 Broadway plays and musicals, including 21 productions that were directed by Harold Prince.  Ken's career spans from his very first Broadway show in 1967 when he was the assistant to legendary lighting designer Tharon Musser, to his most recent Broadway show, the hit musical, Waitress.  Along the way he designed the original productions of Sweeney Todd, On The 20th Century, The Drowsy Chaperone, The Scottsboro Boys, The Search For Signs Of Intelligent Life In the Universe starring Lily Tomlin, three revivals of Fiddler On The Roof, two revivals of Sunday In The Park with George, and the still running 1996 revival of Chicago for which he received the Tony Award. I have had the great pleasure of knowing and working with Ken for more than 40 years, and it is always fascinating, and always a delight to speak with him. Theatrical lighting design is a very young art form. Its history begins primarily in the early 20th Century -- just as the Broadway musical was being invented. Lighting design's earliest innovators include the American actress Maude Adams – most famous today for her performance as Peter Pan – and producer, director, playwright, and theater owner David Belasco.  One of the recurring themes of this podcast, and one of my obsessions, is how the art and craft of the Broadway Musical has been handed down directly – first hand – from artists to artists, from craftsperson to craftsperson.  Ken Billington's long career and especially his early experiences as the assistant to the pioneering designers Peggy Clark, Pat Collins, Tom Skelton, William Rittman, and Tharon Musser make him the ideal guest for this episode. And of course, after Ken stopped being an assistant, he eventually became one of Broadway's most acclaimed and most prolific lighting designers. And we'll hear the story of how that came about on the next episode of Broadway Nation! You can learn more about Jean Rosenthal, Tharon Musser and other great women lighting designers on Episode 8 of Broadway Nation, which is titled, “Agnes DeMille & The Women That Invented Broadway”. It's a fascinating episode and I encourage you to check it out. Broadway Nation is written and produced by me, David Armstrong. Special thanks to Pauls Macs for his help with editing this episode, to KVSH 101.9 The Voice of Vashon, and to the entire team at the Broadway Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

What's your favorite restaurant?  Why?  What keeps you coming back? In this episode of The Creator Community we'll hear the many key lessons debut author Jack Rasmussen learned interviewing some of the top chefs in the US like Carla Hall, Tara Brennan, Michael Mina, Dean Varun Soni, David Belasco and many more.  And, how one famous chef developed his love for food…in prison.  This is all in Jack's new book, Fine Dining: The Secrets Behind the Restaurant Industry.   We'll also hear how Jack found himself gaining access to the kitchens of these kings and queens of restaurants along with what drives each and everyone of them to deliver excellence, day after day.  And, how Jack was able to get them to join his author adventure.   Listen to this episode of the Creator Community Podcast to hear Jack's journey of unearthing greatness and getting to know dozens of incredible entrepreneurs.  

Our Story Irish mythology offers us a tale of a pagan hero named Oisín who left his companions, the warriors of the Fianna, and followed a fairy woman named Niamh to her home in Tír Na nÓg, the land of eternal youth. After three hundred years, Oisín returned to Ireland and found that a man named Saint Patrick had arrived and brought along a faith called Christianity that changed everything. The story of the relationship between Oisín and Patrick is inspired by Lady Augusta Gregory's story from her 1904 book, Gods and Fighting Men. Lady Gregory, the famous folklorist of the Celtic Revival drew her inspiration from the tales found in Acallam na Senórach/Tales of the Elders of Ireland, which is a compilation of four different medieval Irish texts. This story is written by Marisa Goudy and performed by Kevin Michael Murphy. This retelling dares to soften the ending, focusing on the friendship that might have existed despite Oisín and Patrick's religious differences and the way we still celebrate Ireland pre-Christian heritage rather than the usual bitter lament about the end of the magical Celtic world. Our Guest Kevin Michael Murphy is an actor and voice teacher based in New York City. As an actor Kevin has toured with the Broadway musical, The Book of Mormon. As a teacher, Kevin is the cofounder of the NYC Vocal Studio, and is currently on the voice faculty at NYU Steinhardt. Kevin's unique way of working with singers focuses on playfully exploring connections between the mind, the body, and the cultivation of one's artistic point of view. Kevin works with a variety of humans, some sing on Broadway in shows such as Wicked and Chicago, and others sing in karaoke bars and showers across America. And, of course, Kevin's confirmation name is Patrick. Find Kevin at www.NYCVocalStudio.com and at Instagram at https://www.instagram.com/nycvocalstudio/ (@NYCVocalStudio) and https://www.instagram.com/kevinmichaelmurphy/ (@KevinMichaelMurphy) Our Conversation Marisa and Kevin first met at Camp GLP (Yay, Good Life Project!) and instantly bonded over Irish music, theater, and the power of song. In this conversation they explore:  The phrase from the Irish language, fite fuaite, which means interwoven and connected The enduring yet ephemeral nature of theater: e cannot hold onto a performance, but we can hold onto to a story The time magic of story: what it means to tell a story about a 1500 year old friendship for future listener Reflection on how time changes the nature of friendship and the shifts in relationships through the pandemic years The concept of the “Anam Cara,” and Irish phrase meaning “soul friend” which was brought to public consciousness with philosopher poet John O'Donoghue's book of the same name Reflection on being Irish American Catholic kids and how that faith is part of our lineage rather than our lived lives Kevin's several times great aunt Eileen Huban was starred on Broadway in Irish productions, most famously in David Belasco's Dark Rosaleen in 1919  Our Music Music on the show is by the wonderful Beth Sweeney and Billy Hardy, a Celtic Fiddle and multi-instrumental Duo based on Cape Cod, Massachusetts. The traditional Irish reel we play at the start of the show is called The College Groves. Find out about their music and shows at: http://billyandbeth.com/ (billyandbeth.com) Connect With Your Own Stories and with Marisa's Work Join Marisa's online writing community, thehttps://www.marisagoudy.com/sovereign-writers ( Sovereign Writers' Knot) Explore Marisa's work and get a copy of The Sovereignty Knot : https://www.knotworkstorytelling.com/episode/www.marisagoudy.com (www.marisagoudy.com) Follow the show on https://www.instagram.com/knotworkpodcast/ (Instagram), https://www.facebook.com/knotworkstorytelling (Facebook), and join our vibranthttps://www.facebook.com/groups/knotworkpodcast ( listeners' community).

La fanciulla del West (The Girl of the West) is an opera in three acts by Giacomo Puccini to an Italian libretto by Guelfo Civinini and Carlo Zangarini, based on the 1905 play The Girl of the Golden West by the American author David Belasco. Fanciulla followed Madama Butterfly, which was also based on a Belasco play. The opera has fewer of the show-stopping highlights that characterize Puccini's other works but is admired for its impressive orchestration and for a score that is more melodically integrated than is typical of his previous work. Fanciulla displays influences from composers Claude Debussy and Richard Strauss, without being in any way imitative. Similarities between the libretto and the work of Richard Wagner have also been found, though some attribute this more to the original plot of the play, and have asserted that the opera remains quintessentially Italian.Purchase the music (without talk) at:Puccini: La Fanciulla del West (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Born in Melrose, Massachusetts in 1882, to Henrietta Barnes and the professional baseball player, Sidney Farrar (who played in the MLB out of Philadelphia from 1883-90), Geraldine Farrar would go on to become one of the great American sopranos who also appeared in over a dozen films during the period of 1915-20. These included Cecil B. De Mille's 1915 adaptation of Georges Bizet's Carmen, as well as the role of Joan of Arc in the 1917 film, Joan the Woman. Possessing a tireless work ethic which saw her give ninety-five appearances as Madama Butterfly and fifty-eight performances as Carmen, both over the span of sixteen seasons at the Metropolitan Opera Company in New York City, Farrar counted amongst her acquaintances such distinguished individuals as David Belasco, Sarah Bernhardt, Emma Calvé, Enrico Caruso, Jean de Reszke, Maurice Grau, Lilli Lehmann, Guglielmo Marconi, Jules Massenet, Nellie Melba, Lillian Nordica, King Oscar of Sweden, Camille Saint-Saëns, Emma Thursby, Arturo Toscanini, Mark Twain, Kaiser Wilhelm II and his son, the Crown Prince Wilhelm. Having sung at the Berlin State Opera, the Monte Carlo Opera and the Metropolitan Opera Company, Farrar was known for her striking physical appearance. Farrar's young, female fans were famously known in New York as “Gerry-flappers.” Early studies occurred in Boston and later in New York City with Emma Thursby. Later studies occurred in Europe with Trabadello, Francesco Graziani and Lilli Lehmann, to whom Farrar had been recommended by Lillian Nordica. Published in 1916, just prior to her marriage to the actor, Lou Tellegen, Geraldine Farrar: The Story of an American Singercovers the singer's early years up to the age of thirty-four. Years later, in 1938, she wrote another book, The Autobiography of Geraldine Farrar: Such Sweet Compulsion. Farrar recorded extensively for the Victor Talking Machine Company and made her debut radio broadcast in 1931. In Ridgefield, Connecticut in 1967, Farrar died of heart disease at the age of eighty-five.

Madama Butterfly is an opera in three acts (originally two) by Giacomo Puccini, with an Italian libretto by Luigi Illica and Giuseppe Giacosa. It is based on the short story "Madame Butterfly" (1898) by John Luther Long, which in turn was based on stories told to Long by his sister Jennie Correll and on the semi-autobiographical 1887 French novel Madame Chrysanthème by Pierre Loti. Long's version was dramatized by David Belasco as the one-act play Madame Butterfly: A Tragedy of Japan, which, after premiering in New York in 1900, moved to London, where Puccini saw it in the summer of that year. Purchase the music (without talk) for only $2.99 at: http://www.classicalsavings.com/store/p716/Puccini%3A_Madama_Butterfly_%28digital_download%29.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Support us on Patreon https://www.patreon.com/user?u=4186107 staff@classicalmusicdiscoveries.com

This week’s episode remix Thanks, I Hate it takes a break from throwing shade to engage in a once monthly true crime/supernatural episode. During this episode Brittany discusses the disappearance of Joleen Cummings and Windsor tells the tale of the haunting of The Belasco Theater and we’re pretty sure David, himself decided to make his presence known with all of the technical glitches that plagued the making of this episode originally so here is the re-recorded edition sans thunder, cars, and a poor connection. Special thanks to Stella Rosa and tequila. https://www.actionnewsjax.com/news/local/joleen-cummings-disappearance-timeline-of-events/755179817/https://truecrimesociety.com/2019/08/16/the-bizarre-case-of-kimberly-kessler/https://www.truecasefiles.com/2019/06/the-disappearance-and-presumed-murder.htmlhttps://www.news4jax.com/news/2019/04/05/blood-fake-drivers-licenses-more-evidence-in-killing-of-joleen-cummings/https://broadwayscene.com/broadway-ghosts-and-myths-the-ghost-of-david-belasco/https://www.amazon.com/Untold-Stories-Broadway-3/dp/1539088480https://www.backstage.com/magazine/article/things-know-belasco-theatre-6727/https://www.youtube.com/watch?v=xuGKPFzy5JI https://nypost.com/2010/10/17/stage-fright/

I have made what may be one of the world’s seventeen greatest discoveries. It is this: “Always keep it short and to the point.” You may disagree, citing Robert Southey who said, “It is with words as with sunbeams. The more they are condensed, the deeper they burn,” or Shakespeare who promised in Hamlet, “Therefore, since brevity is the soul of wit, and tediousness the limbs and outward flourishes, I will be brief.” Of course you are not questioning my point, just my assertion that I personally made the discovery. Naturally, I know that Baltasar Gracián said that “Good things, when short, are twice as good.,” in The Art of Worldly Wisdom; and Thomas Jefferson said, “The most valuable of all talents is that of never using two words when one will do.” These great minds along with many others counsel us to be concise and not impose on the patience of anyone when we can avoid it. They have mostly intended their advice for the written word. For example, Lord Sandwich advised, “If any man will draw up his case, and put his name at the foot of the first page, I will give him an immediate reply. Where he compels me to turn over the sheet, he must wait my leisure.” Or even more expansively and intending his point for every-day conversation, Mozart reported this, “My great-grandfather used to say to his wife, my great-grandmother, who in turn told her daughter, my grandmother, who repeated it to her daughter, my mother, who used to remind her daughter, my own sister, that to talk well and eloquently was a very great art, but that an equally great one was to know the right moment to stop.” Dennis Roth made the same point but even briefer, “If it takes a lot of words to say what you have in mind, give it more thought;” and David Belasco was even more pithy, “If you can't write your idea on the back of my calling card, you don't have a clear idea.” The point is whether writing or talking, don’t be who Rabelais was talking about when he said, “He replies nothing but monosyllables. I believe he would make three bites of a cherry.” William Strunk Jr.cut to the chace for us, “A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts.” Just omit whatever is not necessarily necessary. That brings me back to my great discovery. Yes, I am still saying that it is my discovery, even though others have argued for brevity and conciseness long before I ever had a useful thought. Here is the discovery part of my discovery. Whenever anyone starts to argue with whatever you have said or done, always keep it short and to the point. You will be tempted to reciprocate with a counter-argument, further explanation or justification, but there is seldom any point to the effort. Winning arguments is most always a futile hope. Instead, calmly wait until the other person has stopped pressing their argument – and they will stop sooner or later. At that point, simply say, “Thanks for sharing your perspective.” If the other person picks back up with arguing, wait and repeat. You may not think this is one of the seventeen greatest discoveries ever, but don’t reject it until you’ve tried it. Now you know so there you go.

I have made what may be one of the world's seventeen greatest discoveries. It is this: “Always keep it short and to the point.” You may disagree, citing Robert Southey who said, “It is with words as with sunbeams. The more they are condensed, the deeper they burn,” or Shakespeare who promised in Hamlet, “Therefore, since brevity is the soul of wit, and tediousness the limbs and outward flourishes, I will be brief.” Of course you are not questioning my point, just my assertion that I personally made the discovery. Naturally, I know that Baltasar Gracián said that “Good things, when short, are twice as good.,” in The Art of Worldly Wisdom; and Thomas Jefferson said, “The most valuable of all talents is that of never using two words when one will do.” These great minds along with many others counsel us to be concise and not impose on the patience of anyone when we can avoid it. They have mostly intended their advice for the written word. For example, Lord Sandwich advised, “If any man will draw up his case, and put his name at the foot of the first page, I will give him an immediate reply. Where he compels me to turn over the sheet, he must wait my leisure.” Or even more expansively and intending his point for every-day conversation, Mozart reported this, “My great-grandfather used to say to his wife, my great-grandmother, who in turn told her daughter, my grandmother, who repeated it to her daughter, my mother, who used to remind her daughter, my own sister, that to talk well and eloquently was a very great art, but that an equally great one was to know the right moment to stop.” Dennis Roth made the same point but even briefer, “If it takes a lot of words to say what you have in mind, give it more thought;” and David Belasco was even more pithy, “If you can't write your idea on the back of my calling card, you don't have a clear idea.” The point is whether writing or talking, don't be who Rabelais was talking about when he said, “He replies nothing but monosyllables. I believe he would make three bites of a cherry.” William Strunk Jr.cut to the chace for us, “A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts.” Just omit whatever is not necessarily necessary. That brings me back to my great discovery. Yes, I am still saying that it is my discovery, even though others have argued for brevity and conciseness long before I ever had a useful thought. Here is the discovery part of my discovery. Whenever anyone starts to argue with whatever you have said or done, always keep it short and to the point. You will be tempted to reciprocate with a counter-argument, further explanation or justification, but there is seldom any point to the effort. Winning arguments is most always a futile hope. Instead, calmly wait until the other person has stopped pressing their argument – and they will stop sooner or later. At that point, simply say, “Thanks for sharing your perspective.” If the other person picks back up with arguing, wait and repeat. You may not think this is one of the seventeen greatest discoveries ever, but don't reject it until you've tried it. Now you know so there you go.

I have made what may be one of the world's seventeen greatest discoveries. It is this: “Always keep it short and to the point.” You may disagree, citing Robert Southey who said, “It is with words as with sunbeams. The more they are condensed, the deeper they burn,” or Shakespeare who promised in Hamlet, “Therefore, since brevity is the soul of wit, and tediousness the limbs and outward flourishes, I will be brief.” Of course you are not questioning my point, just my assertion that I personally made the discovery. Naturally, I know that Baltasar Gracián said that “Good things, when short, are twice as good.,” in The Art of Worldly Wisdom; and Thomas Jefferson said, “The most valuable of all talents is that of never using two words when one will do.” These great minds along with many others counsel us to be concise and not impose on the patience of anyone when we can avoid it. They have mostly intended their advice for the written word. For example, Lord Sandwich advised, “If any man will draw up his case, and put his name at the foot of the first page, I will give him an immediate reply. Where he compels me to turn over the sheet, he must wait my leisure.” Or even more expansively and intending his point for every-day conversation, Mozart reported this, “My great-grandfather used to say to his wife, my great-grandmother, who in turn told her daughter, my grandmother, who repeated it to her daughter, my mother, who used to remind her daughter, my own sister, that to talk well and eloquently was a very great art, but that an equally great one was to know the right moment to stop.” Dennis Roth made the same point but even briefer, “If it takes a lot of words to say what you have in mind, give it more thought;” and David Belasco was even more pithy, “If you can't write your idea on the back of my calling card, you don't have a clear idea.” The point is whether writing or talking, don't be who Rabelais was talking about when he said, “He replies nothing but monosyllables. I believe he would make three bites of a cherry.” William Strunk Jr.cut to the chace for us, “A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts.” Just omit whatever is not necessarily necessary. That brings me back to my great discovery. Yes, I am still saying that it is my discovery, even though others have argued for brevity and conciseness long before I ever had a useful thought. Here is the discovery part of my discovery. Whenever anyone starts to argue with whatever you have said or done, always keep it short and to the point. You will be tempted to reciprocate with a counter-argument, further explanation or justification, but there is seldom any point to the effort. Winning arguments is most always a futile hope. Instead, calmly wait until the other person has stopped pressing their argument – and they will stop sooner or later. At that point, simply say, “Thanks for sharing your perspective.” If the other person picks back up with arguing, wait and repeat. You may not think this is one of the seventeen greatest discoveries ever, but don't reject it until you've tried it. Now you know so there you go.

LA FANCIULLA DEL WEST Video Magazine Giacomo Puccini's LA FANCIUALLA DEL WEST Conductor: James Gaffigan Production: Andreas Dresen with Anja Kampe, Brandon Jovanovich, John Lundgren --- Oper in drei Akten (1910) Komponist Giacomo Puccini · Libretto von Guelfo Civinini und Carlo Zangarini nach dem Schauspiel „The Girl of the Golden West“ von David Belasco

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Situado en Manhattan el teatro Belasco tiene muchas historias en su interior. Su creador, David Belasco, tuvo una vida muy interesante y sus correrías no acabaron en su muerte... Adéntrate en el Teatro Belasco, quizá los aplausos sean fantasmales. Presenta y dirige: Luis Martínez Vallés

Madama Butterfly is an opera in three acts by Giacomo Puccini. It premiered at Milan’s LaScala in 1903, and with a few revisions by Puccini after its opening, it has become one of the most frequently performed operas in the world. Inspired to make the story into an opera after seeing David Belasco’s play Madame Butterfly in London, Puccini created one of the most beloved characters in the world of opera. The story focuses on a young Japanese woman, Butterfly, who marries and American naval officer, Pinkerton, who is stationed in Nagasaki. The two marry, but have a very different understanding of the meaning of this cross-cultural marriage. These different understandings have tragic results for Butterfly. Puccini’s music is lush and powerful, at times including influences from America and Japan. In this episode of Opera for Everyone we discuss both the opera, and the popular stories which led to its creation.

This week’s episode is special. It’s from our first Finding Mastery “Live” recorded at the USC Performance Science Institute.Seattle Seahawks head coach, Pete Carroll, USC Executive Director for Entrepreneurial Studies, David Belasco, and I created the institute to teach, train, and research the science, best practices, and applied processes for a high performing mindset in any domain.That’s our mission.I can't tell you how excited I am for what we're building - it's got all the makings for something very special for the next generation of doers and thinkers.The guest for this first Finding Mastery Live is Alex Honnold, someone I’ve wanted to talk to for a very long time.Alex, in my mind, is one of the most compelling athletes in sport right now.Alex is a professional adventure rock climber whose audacious free-solo ascents of America’s biggest cliffs have made him one of the most recognized and followed climbers in the world.If you're not familiar with free solo climbing, it's literally climbing without using any ropes and harnesses or any protective equipment, relying entirely on the climbers ability, which is just his or her mind, their hands, their feet, and their connection with the mountain.That's it.Alex’s mind is extraordinary. His depth of presence, his curiosity, his confidence, his ability to be calm and to think clearly - they all just jumped out in this conversation.All of those are likely hallmarks of why he's so different than so many other physically talented climbers.Alex recently became the first person to free solo climb El Capitan in Yosemite, the most iconic wall in the world.To Alex, this project was just a little bit bigger, a little bit harder, than he's attempted in the past and in his words, it was attainable.That’s something to consider for when people are pushing the boundaries of human performance and human limits.Although it looks crazy or reckless to many of us, it is just an incremental step in the direction of growth for them.You've likely heard me talking about ways to dissolve pressure and not just perform with it.One way Alex has done that is by having this incredible balance between being mission minded (meaning why and what he's doing in his life) without compromising his ability to lock in and be present with whatever he’s doing.Alex is a world-class talent and I hope this conversation gives you some perspective on why he’s able to do what he does.This episode is brought to you by Athletic Greens.Receive a free 20-count travel pack of Athletic Greens (valued at $99) with any purchase!Claim here: athleticgreens.com/findingmastery

"I had such a great time with those two sessions, I'm wondering if you'd like to do a third. With Miss Saigon opening in March, I wouldn't mind doing a detailed description about how that show was written. There's a real story there and it's never been told. " And with that email Rob and Kevin quickly secured a location to sit down and hear Tony Award winner Richard Maltby Jr look back on the creation of Miss Saigon. Richard pulls back the curtain on the creation of Miss Saigon, including how a stage manager got him onto Miss Saigon, what was the controversy behind Jonathan Pryce's casting, and why Miss Saigon needed a revival in 2017! Also, Richard shines the spotlight on Cameron Mackintosh, Lea Salonga, and Nick Hytner! Note: Due to supernatural forces beyond our control, Rob's mic cuts out towards the end. It was either a glitch or the ghost of David Belasco being mischevious. Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to patreon.com and search Behind The Curtain: http://bit.ly/2i7nWC4

The Lux Radio Theatre. February 13, 1939. CBS net. "The Return Of Peter Grimm". Sponsored by: Lux. An old-fashioned melodrama about "Old Peter" who returns from the grave to clear up the family conflicts he left behind. The program includes a preview of the new Lux show, "The Life and Loves Of Dr. Susan." Cecil B. DeMille is his own intermission guest and recalls how he wrote the screen play for this evening's story. Lionel Barrymore, Maureen O'Sullivan, Edward Arnold, Alan Ladd, Cecil B. DeMille (host, author), David Belasco (author), Gavin Muir, Louis Silvers (music director), Melville Ruick (announcer), Peter Holden, Greta Meyer, Lou Merrill, Martha Wentworth (doubles), Lee Millar (doubles, one part of which is a dog), Frank Nelson (performer, program opening announcer), Ross Forrester, Ethel Sykes, Maryon Aye, Frank Woodruff (director), George Wells (adaptor), Charlie Forsyth (sound effects).