December has arrived, and with it, a season of twinkling lights, festive cheer, and… witches who want to eat children? Welcome to Germany’s christmas tradition, where Engelbert Humperdinck’s Hänsel und Gretel reigns supreme across the nation’s stages. Naturally, Bayerische Staatsoper couldn’t miss out, and neither could I. 

The audience this evening looked a little different from the usual opera crowd. Gone were the seasoned opera-goers with their knowing nods and polished shoes. Instead, the hall was buzzing with the chatter of excited children and their even more enthusiastic parents. With its roots in the Grimm brothers’ famous fairy tale, Hänsel und Gretel has been lovingly labeled a “family opera.”

But let’s pause for a second – have you read the story? A forest filled with danger, two hungry kids abandoned by their parents, and a witch whose hobbies include child-snacking? Sure, the music is nice, but it’s not exactly what you’d call child-oriented. So, family-friendly might not be the first thing that springs to mind. But hey, if the next generation of opera fans is born over a gingerbread house and an enjoyable score, I’m all for it.

The curtain rises to reveal a large, empty plate. Hänsel and Gretel’s stomachs rumble loudly – they’ve been surviving on little more than dry bread for weeks. Played by Angela Brower and Mirjam Mesak, the two children brought an endearing energy to the stage, capturing the hungry playful kids with a touch of desperation.

When their mother storms in and Hänsel accidentally spills the precious milk, the tension in the air could’ve been sliced with a butter knife. With little patience and even less food to spare, she sends the siblings off into the forest to forage for berries. After all, something has to keep them alive – even if it’s just a handful of wild fruit.

Humperdinck was deeply inspired by Wagner – as so many composers were. In fact, he even worked as an assistant during the premiere of Parsifal in Bayreuth. This influence is unmistakable in his compositions, and Hänsel und Gretel is no exception. With Wagnerian grandeur comes a large orchestra, which tonight unfortunately at times overpowered the singers.

Even Richard Jones‘ decision to stage the first two acts inside a large onstage box – typically a useful design for amplifying voices – couldn’t completely solve the balance issues. (Personally, I think this kind of staging can easily become uninteresting if it’s not executed convincingly(but then again, that’s just my opinion)). That said, there were moments when everything clicked, particularly in the beautiful duet at the end of the second act, starting with “Abends, will ich schlafen gehn.” Here, conductor Robert Jindra guided the orchestra, enveloping the children in a sound as soft and comforting as a warm blanket as they drifted off to sleep.

We also meet the Sandman – looking like a fascinating mix of Gollum and Dobby. The costume was undeniably cool and added a speciel touch to the character.

But hunger still gnawed at Hänsel and Gretel, and as we all know, nothing tempts children more than sweets. Die Knusperhexe knows this all too well, and her irresistible treats lead the children straight into her trap. Hänsel is captured to be fattened up, and the scene shifts to the witch’s eerie kitchen, complete with a giant oven and creepy, petrified children propped against the walls and lying under the massive dining table.

Die Knusperhexe is a cool role because it can be interpreted by singers of various voice types. Tonight, Wolfgang Ablinger-Sperrhacke (tenor) brought the character to life with flair. As the witch, he fully embodied the quirky old lady with saggy arms, socks that were a bit too tight, and shoes that pinched just enough to create delightful little bulges on her feet. His (or her?) eccentricity shone through, especially when he started hopping onto the table and performing antics that no ordinary old lady could dream of doing. It was bizarre, but also a bit humorous.

In the end, (spoiler alert) Hänsel and Gretel manage to shove the witch into the enormous oven, and the petrified children come back to life, singing their beautiful song. Shortly after, the parents arrive, and to their delight find Hänsel and Gretel safe and sound. Milan Siljanov, who plays their father, Peter, and is a part of the opera house’s ensemble, took his opportunity to show off his voice, filling the entire room with timbre and power.

While many might call this a “Christmas opera,” I have to admit I was a bit let down on that front. There wasn’t even a whiff of Christmas spirit. Some characters were even wearing shorts, which made me wonder if we’d been transported to a festive season in Thailand. Of course not. It’s not a requirement for the opera, but I suppose I was just hoping for a sprinkle of that warm, cozy magic you find in Tchaikovsky’s Nutcracker.

All in all, it was an evening full of music, even if the Christmas spirit didn’t quite make an appearance. But if the opera can get bring both kids and adults to this wonderful house, I shouldn’t complain!

Trailer:

Fun Fact: 

Adelheid Wette, Humperdinck’s sister, wrote the libretto, originally seeking melodies for texts inspired by the Brothers Grimm. However, Humperdinck got carried away, and three years later, his opera premiered under the baton of Richard Strauss.

Cast: 

• Conductor: Robert Jindra
• Production: Richard Jones
• Stage and Costume designer: John Macfarlane
• Light concept: Jennifer Tipton
• Light Designer: Michael Bauer
• Choreography: Linda Dobell
• Children’s Chorus Preparation: Kamila Akhmedjanova

• Peter: Milan Siljanov
• Gertrud: Rosie Aldridge
• Hänsel: Angela Brower
• Gretel: Mirjam Mesak
• Die Knusperhexe: Wolfgang Ablinger-Sperrhacke
• Sandmännchen: Ekaterine Buachidze
• Taumännchen: Eirin Rognerud
• Echos: Seonwoo Lee, Eirin Rognerud, Ekaterine Buachidze, Natalie Lewis, Elene Gvritishvili

Bayerisches Staatsorchester

Kinderchor der Bayerischen Staatsoper