OP2654. LES TROYENS À CARTAGE (Berlioz), Live Performance, 29 Dec., 1959 & 12 Jan., 1960, Carnegie Hall, w.Robert Lawrence Cond. American Opera Society Ensemble; Eleanor Steber, Regina Resnik, Richard Cassilly, Regina Sarfaty, Martial Singher, William Lewis, etc. 3-VAI 1006. Glorious sound in the legendary Carnegie Hall acoustic! - 089948100621
"Rumors long have circulated about the superb quality of [the above] LES TROYENS by the Friends of French Opera, under the late Robert Lawrence....What Lawrence achieved was a pacing that lent more excitement to the sprawling score than more celebrated conductors have done on commercial recordings. Steber's Cassandra simply has to be heard. So intense and dramatic is the singer...singing with an abandon that is electrifying. Regina Resnik's Dido is on no less exalted a level...."
- Byron Belt, SUNDAY REPUBLICAN, 10 May, 1992
"...the [above] result being a remarkable and affectionate reading by one of the most ardent Berlioz crusaders of our time, [Robert Lawrence]."
- Louis Biancolli, THE NEW YORK TELEGRAM AND SUN
"Steber's Cassandra simply has to be heard."
- Newhouse News Service
“Regina Resnik won the Metropolitan Opera auditions and débuted with great success at the Met on 6 December, 1944, as a last-minute replacement for Zinka Milanov. The rôle was Leonora in Verdi’s IL TROVATORE and over the years she performed many of opera’s most important roles on its most prominent stages, including those of the New York City Opera, the San Francisco Opera, Covent Garden and other European houses. Her best-known roles include Ellen Orford in Britten’s PETER GRIMES, Donna Anna and Donna Elvira in Mozart’s DON GIOVANNI and the title role in Bizet’s CARMEN. Later in her career she performed in musical theater and became a sought-after instructor and opera director. She was known for her strong dramatic skills and impeccable musicianship onstage and for her bold personality offstage. She displayed fearlessness from the beginning. Following the triumph of her first season, Resnik became a leading soprano at the Met, during which time she sang Rosalinde in this English-language production of DIE FLEDERMAUS, a delightful tour-de-force!
In 1942, she made her début at the New Opera Company of New York after being given 24 hours’ notice that she was needed to substitute. Two years later, she made a similar last-minute substitution in her début at the Metropolitan Opera as Leonora, in IL TROVATORE. Each time she impressed. ‘All things considered, Miss Resnik’s début was an auspicious one’, a review of her Metropolitan début in THE NEW YORK TIMES said. ‘She has a strong, clear soprano, which, though occasionally marred by a tremolo, is both agile enough for the florid passages allotted to Leonora and forceful enough for the dramatic ones’.
Ms. Resnik became a much-admired soprano and toured widely through the mid-1950s, when she and others began to notice that her voice was darkening. A friend, the baritone Giuseppe Danise, helped persuade her to change, telling her he believed she had always been a mezzo. ‘It was the biggest gamble of my life, when I decided over two tumultuous years that perhaps I was not a soprano after all’, she told The Times in 1967. ‘There were many opinions: I was a soprano with low notes, or mezzo with high notes’. The gamble paid off, she said, and it ultimately provided her with better roles, including some of her most notable, as Carmen, Klytämnestra in ELEKTRA, Mistress Quickly in FALSTAFF and the Countess in PIQUE DAME. ‘I have really run the gamut’, she added, emphatic that she had not lost her upper register. ‘And my range is exactly the same today. Not one note higher or lower. But I was happier in the depth of my voice than in its height’.
Ms. Resnik graduated from James Monroe High School in the Bronx and studied music education at Hunter College, graduating in 1942.
‘She was a totally American original’, said F. Paul Driscoll, the editor in chief of OPERA NEWS. ‘She was always very proud of being educated in the United States and beginning her career in the United States’. Mr. Driscoll emphasized Ms. Resnik’s resilience, particularly under Rudolf Bing, the sometimes autocratic general manager of the Met, for much of her career. ‘She embraced the opportunities she was given, and whether or not Mr. Bing thought they were star parts, she made them star parts’, Mr. Driscoll said. ‘Directors loved her, conductors loved her, and the audience loved her’.”
- William Yardley, THE NEW YORK TIMES, 9 Aug., 2013
“Martial Singher, a French baritone, made his Metropolitan Opera début in 1943. He made his début at the Paris Opéra in 1930 and soon became a principal baritone with the company. After 11 seasons with the Paris Opéra he enjoyed many guest appearances in Europe and South America. In more than 100 opera roles and in recitals with leading orchestras, he eschewed showmanship and histrionics and stressed smoothness, subtlety and clarity. He was particularly celebrated for the lean, elegant phrasing of his native French repertory.
Of his Met début as Dapertutto in LES CONTES D'HOFFMANN, Virgil Thomson in THE NEW YORK HERALD TRIBUNE reported Mr. Singher ‘gave a stage performance of incomparable elegance and did a piece of singing that for perfection of vocal style had not been equaled since Kirsten Flagstad went away’.
Several weeks later at the Met Singher sang his first Pelléas. Mr. Thomson found him ’the glory of the evening, vocally impeccable and dramatically superb’. Olin Downes of THE NEW YORK TIMES hailed the baritone as ‘a fine and experienced artist, an authoritative actor, one firmly grounded in the traditions of his language and stage action and a potent element of the occasion’.
The baritone remained with the Met until 1959, when a severe heart disorder forced him to shift to teaching. He taught at the Mannes College of Music in Manhattan, the Curtis Institute in Philadelphia and, as director of the voice and opera department, the Music Academy of the West in Santa Barbara (1962 to 1981), where he also produced operas. He was also an artist in residence at University of California at Santa Barbara.”
- Peter B. Flint, THE NEW YORK TIMES, 12 March, 1990