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Regina (Arkiv version)

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Release Date: April 20, 1959
About Regina (Arkiv version):
To this day the jury is still out about the real position of Regina in the Broadway canon. Is it a musical play or an opera, or does it, like Porgy and Bess, straddle two musical genres that have a lot and little in common? When it first opened, on October 31, 1949, at the 46th Street Theatre, for a run of 56 performances, with Jane Pickens, William Warfield and Brenda Lewis in the cast, it was judged too highbrow by the prevailing Broadway standards set by Rodgers and Hammerstein less than 6 years before. And when the New York City Opera added it to its repertoire on April 2, 1953, many deplored what they considered a lessening of the conventions dear to opera addicts. Whatever the case, this musical work by Marc Blitzstein, based on Lillian Helman’s play, The Little Foxes, is a splendid evocation of a Southern family destroyed by its own vices, with the score running the gamut from operatic arias and choruses to the most infectious ragtimes and spirituals. Ten years after its creation. Blitzstein’s masterpiece received the recording treatment it deserved when Samuel Krachmalnick led Brenda Lewis, Elisabeth Carron, Carol Bruce, Joshua Hecht and the New York City Opera Chorus and Orchestra in a scintillating performance.

Track Listing Regina (Arkiv version)

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Synopsis Regina (Arkiv version)

Prologue
Late morning, the veranda of the Giddens house in Bowden, Alabama; spring, 1900. The scene is filled with easy spiritual and early ragtime singing. The music is interrupted by the appearance of Regina Giddens, who rudely breaks the spell of friendly pleasure.

Act I
Regina gives a dinner party for the guest from “up North” – Marshall, a financier. Present at the party arc Regina’s two brothers, Ben and Oscar Hubbard, Oscar’s wife Birdie, his son Leo, and Alexandra, Regina’s daughter. They are completing a business deal with the usual social amenities. As soon as Marshall takes his leave, Regina and her two brothers fall to counting the spoils greedily. It appears Regina’s share depends on her husband, the banker Horace Giddens, now ill with heart trouble at Johns Hopkins Hospital in Baltimore. Regina concocts a plan to send her daughter Alexandra to fetch him. Birdie, Oscar’s wife, hears the Hubbards plotting to marry Alexandra off to Leo in order to keep the money in the family. When she reveals the plot to Alexandra, Oscar overhears her and slaps her across the face.

Act II, Scene 1
Some days later. Regina plans a ball for the returning Marshall. She is furious because Alexandra and Horace have not yet arrived from Baltimore and is in a state of feverish excitement preparing for the ball. Leo and Oscar discuss the possibility of Leo’s stealing some bonds from his uncle Horace, at whose bank he works. Horace and Alexandra arrive; he is tired and ill. After much welcoming, Regina gets Horace alone. After a scene of embarrassed reconciliation, she makes it clear why she has wanted him home: for his approval and signature in the matter of the Marshall deal. He refuses. Now the scene changes in full view.

Act II, Scene 2
It is the ball. The townspeople demonstrate their hatred of the Hubbards whose victims and guests (tonight) they are. Horace, from his wheel chair, instructs his bank manager to bring his safe-deposit box around next morning; he plans to change his will. Negro workers peep through the windows. Birdie is once again insulted by Oscar; Addie the housekeeper comforts her. Regina, angered by Horace’s refusal to consent to the business deal, flirts with an old suitor in his presence. Leo returns, having stolen the bonds; Ben takes them, and informs Marshall the deal is settled. Marshall takes his leave, calling Regina his “dear business partner,” leaving her speechless and at a loss. A wild Gallop of the guests commences; during it, Regina turns in rage on Horace and tells him she hopes he dies.

Act III
The “good” people (Horace, Alexandra, Addie and Birdie) enjoy a quiet afternoon with wine and cookies; it is raining outside. Birdie drinks too much wine, and in an access of revelation and self-hatred, confesses she has taken to solitary drinking because of her fate at the hands of the rapacious Hubbards. Regina appears. Horace shows her the safe-deposit box with the bonds missing; he knows Leo has stolen them for Ben and Oscar. Regina is savagely vindictive; but Horace insists that “as long as he lives” he will say he lent the brothers the bonds. Now Regina sees he must die. She taunts him into a heart attack – and stands motionless, doing nothing, as he tries to save himself. He collapses, and she calls for Addie and Cal, the butler, to carry him upstairs. Ben, Oscar and Leo enter and discover the box; they realize Horace knows of the theft. Regina descends the stairs and tells them she too knows. She calmly announces that if Horace dies she will demand the largest share. Alexandra and Addie come slowly down the stairs; it is clear Horace has died. Now Regina pushes her point relentlessly. She says that either her brothers will give her what she wants or she will put them all in jail. Ben gives in, and Oscar and Leo have no choice but to do the same. Regina and Alexandra are left alone. The daughter has seen through the whole shabby affair. She confronts Regina at last, accuses her, and announces her independence. She will go away. The Negro workers are heard outside, singing “Certainly, Lord.”

Credits Regina (Arkiv version)

Regina Giddens: Brenda Lewis, soprano
Alexandra Giddens (Zan): Helen Strine, soprano
Birdie Hubbard: Elisabeth Carron, soprano
Addie: Carol Brice, contralto
Horace Giddens: Joshua Hecht, bass
Benjamin Hubbard: George Irving, baritone
Oscar Hubbard: Emile Renan, baritone
Leo Hubbard: Loren Driscoll, tenor
Cal: Andrew Frierson, baritone
William Marshall: Ernest McChesney, tenor
Chorus of townspeople, field workers, etc.

Photos Regina (Arkiv version)

Reviews for this Album

A much anticipated re-release. The digital download sounds great with that wonderful early stereo Columbia Masterworks sound. A great performance.

I like this opera. Ok I'm a sucker for modern American Opera, I like many of them. The cast is better and the performances more vivid on this recording, but important chunks are missing, including the first and second act opening. I knew Leonard Bernstein well and he knew Blitzstein very well. From what he told me about Mark Blitzstein, he would not have sanctioned wholesale cuts in a work of his, so I don't think the "edition" that was used at City Center Opera and for this recording is definitive. The recording on Decca/London, conducted by John Maucieri has the score complete, as written. Yes it is less vividly theatrical, but it puts the Giddens clan in the context of what was going on around them, in 3 dimensions. Which recording is better, I really don't know. Both have different strengths.