Willa Cather's Opera Prototypes who were Recording Artists

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FARRAR FREMSTAD NORDICA GARDEN SCHUMANN-HEINK BORI

 

By Doug Boilesen, 2020

Willa Cather loved opera and was a devoted patron of opera wherever she lived or travelled. She had friendships with opera stars, understood the world of opera, knew the challenges of being an artist in a consumer world and of being a woman artist in male dominated domains, and wrote multiple stories where a prima donna or an aspirational artist was the central character.

Six of the prima donnas identified by scholars as likely prototypes (1) for Cather opera related characters made phonograph records and appeared in phonograph ads.

By appearing in popular culture magazine ads these prototypes added their celebrity status, artistic reputations, and the prestige of opera to promote key phonograph industry themes; namely, that the world of entertainment, highlighted by opera, was available to anyone, anytime and anyplace. The stage of the world, it was advertised, could now be in your own home where you would be more comfortable than in a theatre; it was more convenient than going to a theatre, no expensive tickets to buy, unlimited reperotoires, and always the best seat in the house. In short, recorded sound should be considered an equivalent of live music and not a sound-reproducing novelty. You just needed to purchase a phonograph and its records.

The Cather prototype artists and their respective ads featured in this gallery are the following:

Geraldine Farrar (one of the prototypes for Kitty Ayshire in Scandal and A Gold Slipper and interviewed by Cather for her article Three American Singers).

Lillian Nordica (prototype for Cressida Garnet in The Diamond Mine)

Mary Garden (prototype for Eden Bower in Coming, Aphrodite! and one of the prototypes for Kitty Ayshire in Scandal)

Olive Fremstad (prototype for Thea Kronborg in The Song of the Lark and interviewed by Cather for her article Three American Singers).

Ernestine Schumann-Heink (prototype for "soprano soloist" in Paulís Case).

Lucrezia Bori (prototype for "Spanish woman" in Scandal).

 

Cather's first collection of short stories (The Troll Garden, 1905) were written in the early years of the phonograph entering the home. In the following decade, when Cather was writing many of her opera and aspirational artist stories e.g., The Song of the Lark (1915) and the publication of her collection of short stories Youth and Bright Medusa (1920), the phonograph became the definitive home entertainer. Electrical recordings were introduced in 1925 and the prevalence of radio in the 1930's further altered how sound was experienced.

The evolution of the phonograph during Willa Cather's lifetime and her prototype opera stars, who in the real world were actively promoting the phonograph, reveal historic perspectives on live versus recorded music, on the "Stage of the World' entering homes, and on the rise of consumerism.

The phonograph advertising themes at the dawn of the twentieth century were fundamental to the phonograph's acceptance and continue to resonate in the twenty-first century.

 

E.T. Paull - Sheet music published by E.T. Paull Music Co., New York, 1900. - Sheet Music from University of Indiana

 

And what about the future? Will technologies soon create environments where the question "Which is which" is more than an advertisement, and unanswerable?



Geraldine Farrar

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October 1908

 

 

In promoting opera The Victor Talking Machine Company led the way with its advertising campaigns featuring opera, Caruso and "the greatest artists of the world." Columbia was a strong competitor and promoted the exclusivity of their 'greatest artists of the world" whenever they could. Edison didn't have as many of the first-tier opera stars and seems to have been more interested in advertising the technical accuracy of his phonograph than promoting world-renowned artists. However, Edison did recruit some 'famous artists', especially for promoting his Edison Diamond Disc Phonograph and records, and Edison phonograph ads were seen in popular culture media for almost four decades.

The Victrola's "Both are" advertising campaign of 1914-15, in which Farrar was one of the featured artists, was a promotion that the phonograph industry hoped all consumers would come to believe; namely, that there was no difference between a recorded voice and the voice of an artist on stage. With a record and an artist positioned side by side in the Victor ad, the artist and the record were said to be equals -- a record had "the same singularly beautiful voice, with all the personal charm and individuality of the artist." "The proof," said the Victor ad, "is in the hearing."

 

 

 

 

Farrar as Madame Butterfly, 1921

 



 

The Outlook Magazine, 1909

 

For additional examples of Geraldine Farrar, visit Geraldine Farrar - Recording Artist and Willa Cather Opera Prototype

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Mme. Schumann-Heink

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Schumann-Heink Postcard, 1907

 

 

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Everybody's Magazine, 1910

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Life, September 9, 1915

 

For additional examples of Mme. Schumann-Heink, visit Schumann-Heink - Recording Artist and Willa Cather Opera Prototype




 

 

Mary Garden

Mary Garden as Thais, photograph by Reutingler, Paris, postcard c. 1901

 

 

 

Mary Gardenís Scottish Records, Pathe Record Catalog, 1904 (Courtesy British Library)

 

 

 

 

The Talking Machine World, April 1911

 

 

 

 

1911

 

For additional examples of Mary Garden, visit Mary Garden - Recording Artist and Willa Cather Opera Prototype

 

 

 


 

Lillian Nordica

Lillian Nordica as Brunnhilde, 1898 (Courtesy of Nordica Memorial Association)

 

 

 

 

Columbia advertisement courtesy of The Nordica Memorial Association

 

 

 

The Talking Machine World, February 15, 1907

 

 

Nordica was featured on Coca-Cola calendars, trays and advertising posters in 1904 and 1905

 

For additional examples of Lillian Nordica, visit Lillian Nordica - Recording Artist and Willa Cather Opera Prototype

 

 

 

 

 

 

Olive Fremstad

First records of Fremstad's voice ever made exclusively for Columbia, 1911

 

 

 

Nordica, Fremstad and Mary Garden, 1911

 



Nordica, Fremstad and Mary Garden, 1912






Nordica, Fremstad and Mary Garden, 1911

For additional examples of Olive Fremstad, visit Olive Fremstad - Recording Artist and Willa Cather Opera Prototype

 

 

 

 

 

 

.Lucrezia Bori

Lucrezia Bori, The Ladies' Home Journal, April 1925

 

 

 

Farrar, Schumann-Heink and Bori, The Ladies' Home Journal, September 1919

 

For additional examples of Lucrezia Bori, visit Lucrezia Bori - Recording Artist and Willa Cather Opera Prototype

 

 

 

 

 

 

Phonographia