Age, Biography and Wiki

Regina Resnik (Regina Resnick) was born on 30 August, 1922 in The Bronx, New York City, US, is an American opera singer. Discover Regina Resnik's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is she in this year and how she spends money? Also learn how she earned most of networth at the age of 91 years old?

Popular As Regina Resnick
Occupation Opera singer
Age 91 years old
Zodiac Sign Virgo
Born 30 August 1922
Birthday 30 August
Birthplace The Bronx, New York City, US
Date of death 8 August, 2013
Died Place Manhattan, New York City, US
Nationality United States

We recommend you to check the complete list of Famous People born on 30 August. She is a member of famous Actress with the age 91 years old group.

Regina Resnik Height, Weight & Measurements

At 91 years old, Regina Resnik height not available right now. We will update Regina Resnik's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
Height Not Available
Weight Not Available
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Who Is Regina Resnik's Husband?

Her husband is Arbit Blatas (m. ?–1999)

Family
Parents Not Available
Husband Arbit Blatas (m. ?–1999)
Sibling Not Available
Children Michael Davis

Regina Resnik Net Worth

Her net worth has been growing significantly in 2023-2024. So, how much is Regina Resnik worth at the age of 91 years old? Regina Resnik’s income source is mostly from being a successful Actress. She is from United States. We have estimated Regina Resnik's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
House Not Available
Cars Not Available
Source of Income Actress

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Timeline

1922

Regina Resnik (born Regina Resnick, August 30, 1922 – August 8, 2013) was an American opera singer who had an active international career that spanned five decades.

Regina Resnick was born in The Bronx, New York City, on August 30, 1922, to impoverished Ukrainian Jewish immigrants who had just arrived in New York.

Resnik dropped the "c" out of "Resnick" at an early age.

At the age of 10 she volunteered to sing a solo in a concert at her local school.

At the age of 13 she took her first lessons from Rosalie Miller, and soon afterwards won $10 appearing on Major Bowes Amateur Hour on public radio.

A gifted student academically, Resnick skipped several school grades.

She attended Herman Ridder Junior High School and then James Monroe High School in the Bronx where she had her first experience performing on the stage, singing leading roles in school productions of operettas and performing in her school's glee club.

Resnik stated that "I owe my awareness of having a voice to the New York School system".

1938

After graduating from high school in 1938, she studied singing with Giuseppe Danise at Hunter College, where she earned a B.A. in music in 1942.

1942

She began her career as a soprano in 1942 and soon after began a lengthy and fruitful relationship with the Metropolitan Opera that spanned from 1944 until 1983.

Resnik made her professional singing debut at the age of 22 on October 27, 1942, giving a recital of art songs at the Brooklyn Academy of Music.

Just two months later she made her professional opera debut with Fritz Busch's New Opera Company at the Broadway Theatre in Manhattan as Lady Macbeth in Giuseppe Verdi's Macbeth with Jess Walters in the title role.

1943

In February and March 1943 she sang Leonore in Fidelio and Micaela in Carmen at the Palacio de Bellas Artes in Mexico City under Erich Kleiber.

1944

In the spring of 1944, she portrayed both Frasquita and Micaela in Georges Bizet's Carmen in the New York City Opera's (NYCO) first season with Dusolina Giannini in the title role.

She was also seen at the NYCO that season as Santuzza in Mascagni's Cavalleria rusticana.

In April 1944 Resnik won the Metropolitan Opera Auditions of the Air, performing "Ernani, involami", and was offered a contract with that company for the 1944/45 season.

Her debut at the Met was doubly dramatic – on one day's notice she substituted on December 6, 1944, for Zinka Milanov as Leonora in Il trovatore eliciting acclaim from the public, the critics noting that all the vocal "virtuosity" and her stage presence as an actress were very impressive.

During the next decade, she offered twenty heroines: Donna Elvira and Donna Anna (Don Giovanni), Fidelio, Sieglinde (Die Walküre), Gutrune (Götterdämmerung), Chrysothemis (Elektra), Rosalinda and Eboli (Don Carlos), Aida, Alice Ford (Falstaff), Tosca, Madama Butterfly and Musetta (La bohème).

She was the Met's first Ellen Orford in Peter Grimes and created Delilah in the world premiere of Bernard Rogers' The Warrior.

She then also began a long association with the San Francisco Opera.

As for the voice, it was a dramatic soprano which invited comparison with Rosa Ponselle.

During these years, her teacher was Rosalie Miller and her life began with the legendary conductors Otto Klemperer, Bruno Walter, George Szell, Fritz Reiner, William Steinberg and Erich Leinsdorf.

1953

Under the advice of conductor Clemens Krauss, she began retraining her voice in the mezzo-soprano repertoire in 1953 and by 1956 had completely removed soprano literature from her performance repertoire.

While the Met was Resnik's artistic home, she worked regularly as a guest artist with other major American opera companies and with the top European opera houses, including La Scala, the Paris Opera, the Royal Opera, London, the San Francisco Opera, and the Vienna State Opera.

In 1953, while singing Sieglinde at the Bayreuth Festspielhaus, the conductor Clemens Krauss was to forecast her future, suggesting her voice was actually a mezzo-soprano.

Despite her great success as a soprano, she realized that her entire voice was constantly darkening in color.

1955

In 1955 she began a year of restudy with Danise.

Her first two roles were Amneris in Aida and Laura in La Gioconda.

1956

On February 15, 1956, she debuted as a mezzo-soprano at the Metropolitan in a brilliant portrayal of Marina in Boris Godunov under Dimitri Mitropoulos.

1957

October 1957, was the beginning of a long career in London at the Royal Opera House.

Her debut as Carmen was a success and, in time, she was heard as Amneris (Aida), Marina (Boris Godunov), Ulrica (Un ballo in maschera), the Nurse in Die Frau ohne Schatten and the Old Prioress in Dialogues of the Carmelites.

In the Zeffirelli–Giulini production of Falstaff, her Mistress Quickly became the model for this role.

Carmen, Klytemnestra (Elektra), Mistress Quickly and the Pique Dame (The Queen of Spades) became her signature parts.

1959

In 1959 she is Didon in Les Troyens, conducted by Robert Lawrence.

From the French Press – "Hers was the most skillfully inflected Carmen with every nuance of the role and every syllable of her French set forth in a masterly manner. It was also the most beautifully sung performance of the role. From the dramatic standpoint, this was the ideal Carmen – ferocious, sultry, unpredictable; never banal, never vulgar."

But with Klytemnestra, Resnik met her greatest challenge – "a dramatic conception that is unforgettable and a vocal prowess without limit."

1964

Surely among the happiest memories are three comic masterpieces – her Orlovsky in Die Fledermaus, the Marquise in La fille du régiment (with Joan Sutherland and Luciano Pavarotti) and her Mistress Quickly in the Bernstein–Zeffirelli Falstaff of 1964.

1970

In addition to performing, Resnik worked as a stage director at several European opera houses during the 1970s and 1980s, usually in collaboration with her husband, scenic and costume designer Arbit Blatas.

She was also highly active as a voice teacher, teaching on the voice faculties of several music conservatories, including the Juilliard School.

1980

After the mid-1980s, her performance career transitioned away from opera towards musical theater.