REVIEW – HANSEL and GRETEL
by Engelbert Humperdinck [sic]
Produced by Opera North

Lancaster International Concert Series
The Great Hall, University of Lancaster
Thursday 16 February 2006

A vivid, wicked and utterly beautiful evening

I must confess to a long-standing relationship with Opera North, having seen a great number of their productions over the last three decades at their home venue of Leeds Grand Theatre.  They have rarely failed to turn in shows of exceptional quality, and have been much praised in the national press as a Yorkshire centre of operatic excellence. 

It is however over ten years since I last saw them, so I was eager to catch up with them again and see how they were faring ‘on the road’, since their home base at the Leeds Grand is currently being refurbished.   And I was in no way disappointed by Hansel and Gretel – far from it. 

The typically moral Brothers Grimm fairy story tells the tale of two children who get lost in the woods and fall into the hands of the wicked witch. Deliverance comes, however, and good comes out on top as the witch meets her fate …

Engelbert Humperdinck (1854 – 1921) was a talented German late nineteenth century Romantic composer who was both friend and personal assistant to Wagner.  Humperdinck produced a considerable output but is only really known today for Hansel and Gretel.

This may all sound rather flat and stodgy, but nothing could be further from the truth.  The ‘semi-staged’ performance was a roller-coaster of exuberant visual and verbal fun, some glorious playing from the orchestra, and cracking singing from the six principals. 

Taking the number of performers to over 100 was the Children’s choir (drawn from local Leeds schools), whose wicked costumes (think yellow and red high-street burger chain) and strong singing put the icing on the already rich gingerbread cake.

As for the storyline, think dysfunctional family: latchkey parents, hoodie children and inner-city social deprivation.  The Witch, here portrayed as a clown (think aforementioned burger chain), was camper than most pantomime dames.  But underneath the visual humour and the racy translation there was clear political satire on consumerism. 

Put all this onto a surreal setting of ten five metre tall trees, two seemingly empty double bass cases, a kettle drum doubling as a stew pot, a Sandman who bewitches the children from the top of an aluminium ladder and a Dew Fairy who can pass through the strings of a harp, and you have a rich mix of entertainment on many levels.

Oh, I nearly forgot – the orchestra delivered some of the best ensemble playing I have heard in a long time.  Shimmering and beautifully controlled strings, richly shaded wood and brass work (the textures of Hansel and Gretel owe more, thankfully, to Mendelssohn than to Wagner) and some good work from the percussion all served to enchant and bewitch the audience’s ear just as the action and the story entranced our eyes and hearts.

The acoustics of the Great Hall, as I have remarked before in these columns, do not suit all musical ensembles.  But for tonight’s full house, just as for the recent Full Monteverdi, the 100 plus performers, whether in the loud tutti sections or in the quietest, reflective moments, sounded breathtakingly wonderful.

Another roaring success for the Lancaster International Concert Series. 

Copyright © 20 February 2006 Michael Nunn