Regina Resnik (August 30, 1922 – August 8, 2013) was an American opera singer, known for a distinguished international career spanning over five decades. Initially a dramatic soprano, she successfully transitioned to a mezzo-soprano repertoire in the late 1950s, establishing herself as one of the most versatile and celebrated artists of her generation. She was also a respected stage director.
Early Life and Education Born Regina Resnick in New York City to Ukrainian Jewish immigrant parents, she later changed the spelling of her surname. Resnik showed early musical talent and pursued her studies at Hunter College, where she earned a Bachelor of Arts degree in music. She also received vocal training from Rosalie Miller. Her early career was marked by success in vocal competitions, leading to her debut at the Metropolitan Opera.
Soprano Career (1944–1955) Resnik made her professional operatic debut as Frasquita in Bizet's Carmen with the New Opera Company in New York in 1942. Her Metropolitan Opera debut followed in December 1944 as Leonora in Verdi's Il Trovatore, a role she undertook at short notice. During her time as a soprano, she sang a wide range of dramatic roles, showcasing her powerful voice and acting prowess. Her repertoire included:
- Donna Anna in Mozart's Don Giovanni
- Tosca in Puccini's Tosca
- Aida in Verdi's Aida
- Sieglinde in Wagner's Die Walküre
- Lady Macbeth in Verdi's Macbeth
- Ellen Orford in Britten's Peter Grimes (Metropolitan Opera premiere, 1948)
She performed these roles at the Metropolitan Opera and other major opera houses globally, including the Bayreuth Festival, where she sang Sieglinde in 1953.
Transition to Mezzo-Soprano (1955–Late Career) Recognizing a shift in her vocal range and timbre, Resnik made the bold decision to retrain her voice as a mezzo-soprano in the mid-1950s. This transition was highly successful and led to a second, equally illustrious career. Her mezzo-soprano debut at the Metropolitan Opera was as Marina in Mussorgsky's Boris Godunov in 1959. She became particularly renowned for her portrayals of formidable and complex characters, celebrated for her vocal command and compelling stage presence. Key mezzo-soprano roles included:
- Carmen in Bizet's Carmen
- Klytämnestra in Richard Strauss's Elektra
- The Witch in Humperdinck's Hänsel und Gretel
- Marquise de Birkenfeld in Donizetti's La Fille du Régiment
- Geneviève in Debussy's Pelléas et Mélisande
- Amneris in Verdi's Aida
- Mistress Quickly in Verdi's Falstaff
- The Countess in Tchaikovsky's The Queen of Spades
- Baba the Turk in Stravinsky's The Rake's Progress
Resnik maintained a strong international presence, performing regularly at the Vienna State Opera, Royal Opera House Covent Garden in London, Paris Opéra, and other leading theaters. She became an acclaimed interpreter of contemporary opera as well.
Stage Directing From the 1970s onwards, Resnik increasingly turned to stage directing. Her directorial debut was with Carmen at the Hamburg State Opera in 1971, followed by productions at the New York City Opera, Opéra de Montréal, and other venues. Her work as a director was praised for its dramatic insight and vivid characterizations, often drawing on her vast experience as a performer.
Later Life and Legacy Regina Resnik continued to perform and teach well into her later years. She was highly respected for her artistry, intelligence, and her ability to adapt and redefine her career. Her recordings, both as soprano and mezzo-soprano, document her remarkable versatility and vocal artistry. She passed away in New York City in 2013, leaving behind a profound legacy as one of the most influential and enduring opera singers of the 20th century.