Regina Resnik

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Regina Resnik (August 30, 1922 – August 8, 2013) was an American opera singer with a lengthy international career.

She began her career as a soprano in 1942 and then began a long and fruitful relationship with the Metropolitan Opera, which ran from 1944 to 1983.

She began retraining her voice in the mezzo-soprano repertoire in 1953 and had largely dropped soprano literature from her performance repertoire by 1956. Though the Met was Resnik's artistic home, she performed regularly as a guest artist with many top American opera companies and houses, including La Scala, the London Opera, London, the San Francisco Opera, and the Vienna State Opera.

Her performance career moved from opera to musical theater in the mid 1980s. Resnik served as a stage director at several European opera houses during the 1970s and 1980s, often in collaboration with her husband, scenic and costume designer Arbit Blatas.

She was also an active voice coach, instructing on the voice faculties of several music conservatories, including the Juilliard School.

Early life and education

Regina Resnick was born in The Bronx, New York City, on August 30, 1922, to a group of impoverished Ukrainian Jewish immigrants who had just arrived in New York. At an early age, Resnick dropped the "c" out of "Resnick" and became "Resnick." She decided to perform solo in a recital at her local school at the age of ten. She learned her first lessons from Rosalie Miller at the age of 13 and shortly after received $10 on public radio for the first time.

Resnick skipped several school years as a gifted student academically. She attended Herman Ridder Junior High School and then James Monroe High School in the Bronx, where she had her first encounter with stage, singing leading roles in school operettas, and participating in her school's glee club. "I owe my involvement in the New York School system," Resnick said. She earned a Bachelor of Arts after graduating from high school in 1938. In 1942, I was in music for the first time.

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Performance career

Resnik made her professional debut on October 27, 1942, giving a recital of art songs at the Brooklyn Academy of Music. Lady Macbeth appeared in Giuseppe Verdi's Macbeth with Jess Walters in the title role just two months after making her debut with Fritz Busch's New Opera Company in Manhattan as Lady Macbeth. She sang Leonore in Fidelio and Micaela in Carmen under Erich Kleiber's leadership in February and March 1943. In Georges Bizet's Carmen's (NYCO) first season with Dusolina Giannini in the title role, she played both Frasquita and Micaela. In Mascagni's Cavalleria rusticana, she appeared at the NYCO during the season as Santuzza.

Resnik was named in April 1944, winning the Metropolitan Opera Auditions of the Air, performing "Ernani, involami," and was given a contract with the company for the 1944/45 season. On a day's notice, she was recalled in Il trovatore as Leonora in Il trovatore, sparking applause from the public, with the critics noting that all the vocal "virtuosity" and her stage appearance as an actress were both spectacular. Donna Elvira and Donna Anna (Don Giovanni), Fidelio, Sieglinde (Götterdämmerung), Gutrune (Götterdämmerung), Rosalinda and Eboli (Don Carlos), Aida, Alice Ford (Falstaff), Tosca, Madama Butterfly, and Musetta (La bohème) figured among her twenty heroines over the next decade. Ellen Orford of Peter Grimes was the first Ellen Orford of the Mets and she created Delilah in Bernard Rogers' The Warrior's world premiere. She began a long association with the San Francisco Opera. It was a dramatic soprano that prompted comparison with Rosa Ponselle as for the voice. Rosalie Miller, her mother, began working with the legendary conductors Otto Klemperer, George Szell, Fritz Reiner, William Steinberg, and Erich Leinsdorf during those years.

When singing Sieglinde at the Bayreuth Festspielhaus in 1953, Clemens Krauss was to forecast her future, implying that her voice was really a mezzo-soprano. Despite her acclaim as a soprano, she discovered that her entire voice was always dulling in tone. Giuseppe Danise, the renowned baritone, began a year of restudy in 1955. Amneris in Aida and Laura in La Gioconda were her first two roles. In a brilliant portrayal of Marina in Boris Godunov under Dimitri Mitropoulos, she debuted as a mezzo-soprano at the Metropolitan on February 15, 1956. The Royal Opera House, October 1957, marked the start of a long career in London. Carmen's debut was a success, and she was named Amneris (Aida), Marina (Boris Godunov), Ulrica (Un ballo in maschera), the Nurse in Die Frau ohne Schatten and the Old Priorities in the Carmelites' Dialogues. She Mistress Quickly became the model for this role in Falstaff's Zeffirelli-Giulini series. Carmen, Klytemnestra (Elektra), Mistress Quickly and the Pique Dame (The Queen of Spades) were among her signature roles.

"Hers was the most gracefully inflected Carmen with every nuance of the job and every syllable of her French set forth in a graceful manner," the French Press said. It was also the most beautifully sung role of the role. This was the desired Carmen, from a dramatic perspective – ferocious, sultry, and unpredictable; never banal, never vulgar. Resnik's greatest challenge, however, was in Klytemnestra – "a dramatic vision that is unforgettable and a vocal prowess without bounds." Surely three of her best memories are three comedies – her Orlovsky in Die Fledermaus, the Marquise in La fille du régiment (with Joan Sutherland and Luciano Pavarotti) and her Mistress Quickly in the 1964 Bernstein-Zeffirelli Falstaff.

Resnik crossed stylistic boundaries from the classical to the modern, from the classical to the romantic, Wagnerian to the modern. Resnik continued to develop a strong international network: La Scala, La Fenice, Salzburg, Naples, Vienna, Madrid, Madrid, Madrid, Munich, Munich, Berlin, Munich, Edinburgh, and a return to Bayreuth have all been recognized as Carmen, Salzburg, Naples, Salzburg, Naples, Naples, Vienna, Madrid, Madrid, Buenos Aires, Salzburg, Naples, Salzburg, Vienna, Madrid, Madrid, Munich, Barcelona, Barcelona, Salzburg, Munich, Freiburg, Munich, Frankfurt,

The Met, on the other hand, remained her base, and among her triumphs were the new Elektra (with Birgit Nilsson and Leonie Rysanek) and The Queen of Spades. She appeared in Poulenc's (the Unknown Portrait of the Old Lady), Walton (The Bear), Walton (The Visit of the Old Lady), and Barber (her Baroness in Vanessa).

Carmen (Thomas Schippers), Klytemnestra (Georg Solti), Mistress Quickly (Leonard Bernstein), Orlovsky (Mestislav Rostropovich), and countless others. (Mexi) and Sieglinde (Clemens Krauss) were among her many roles. In a large portion of her repertory, she became the only operatic singer to have sung both the soprano and mezzo roles. She has also worked in countless regional companies in the United States and Canada. Arbit Blatas, the Lithuanian-born painter and sculptor, distinguished herself as a stage designer from 1971 to 1981. Carmen (Mamburg; which later became the film The Dream and the Destiny) Falstaff (Venice, Warsaw, Madrid, Lisbon); Falstaff (Lisbon), The Queen of Spades (Lisbon), Elektra (Venice, Strasbourg, Lisbon); and Salome (Lisbon, Graz).

Resnik made a name for herself in 1987 as a singer in the American musical theatre. Her Mrs. Schneider in Cabaret on Broadway earned her a Tony nomination and Mme. Armfeldt (A Little Night Music) at Lincoln Center received her first Drama Desk nomination in 1991.

Resnik died in Manhattan at the age of 90 from a stroke.

Teaching career

Resnik worked as a master class teacher at the Metropolitan Opera (Salzburg), the Canadian Opera Company (Toronto), the San Francisco Opera Company (Toronto), the San Francisco Opera Company (Toronto), the Opera House of Opéra Bastille in Paris, the Curtis Institute of Music, and the Juilliard School. She was the Master Teacher-in-Residence of the Mannes College of Music and was in charge of La bohème, Don Giovanni, Il tabarro, Gianni Schicchi, The Marriage of Figaro and The Dialogue of the Carmelites. She served as Master Teacher of Vocal Studies at the Ca' Zenobio Master Campus in Treviso, Italy, and as the artistic director of Eurobottega, a unique European Union youth programme with headquarters in Venice and Treviso. The now well-known concert series "Regina Resnik Presents" has become a fixture of the American musical scene. Its most recent film, "Colors of the Diaspora," is a three-part series of the Jewish musical journey. Resnik was also featured on television and shown on CUNY TV in September 2011 by vainmusic.com, who was born by Michael Philip Davis and directed by Resnik.

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