Hansel and Gretel or Hänsel und Gretel? The Melbourne Conservatorium of Music’s big end of year opera season has mounted both versions this year: a shortened 56-minute version in English for Schools and Families, and Engelbert Humperdinck’s full 100-minute-or-so version using the German libretto by his sister, Adelheid Wette. First performed in Weimar on 23 December 1893 conducted by Richard Strauss (Mahler conducted the Hamburg premiere the following year) it is, like The Nutcracker ballet, traditionally performed at Christmas time; so it was excellent timing on the part of MCM – evidenced by full houses.
The popularity of this production also stems from the consistently high quality of MCM’s opera performances, enhanced by the move last year to the new Union Theatre at the University of Melbourne with all the physical/technical assets that this state of the art 398-seat proscenium arch theatre with an orchestra pit provides. MCM productions are also extremely reasonably priced – a boon to any cash-strapped music lover.
Having seen two 11am and two 7pm performances, I can vouch for their consistently high quality. With a reduced score abridged by Jem Herbert and Julian Wade, a quintet reduction by David Seaman and a libretto by David Pountney, the children’s version worked extremely well. The shorter orchestral introduction, which featured a mellifluous solo horn, was the most obvious cut, but the music and the Brothers Grimm’s familiar story were coherent and satisfying. The opening performance, conducted by Jem Herbert, flowed pretty well seamlessly even though Jane Davidson’s direction posed many coordination challenges as it is a very physical production entailing extensive manipulation of the set and props as well as plenty of action
A key marker of a successful production is the response of the audience. Of the several differences between the two versions, the use of the curtain was the first. There was a buzz of excitement, high voices chattering, as children waited for the curtain to rise for the morning performances; it was like a Christmas present waiting to be unwrapped. I had wondered whether the restless five-year-old sitting next to me would last the distance, but she, like the other young audience members was totally engrossed once that magical curtain rose – impressive for an opera advertised as being for 8 to 14 year olds. Laughter during the performance and enthusiastic applause and cheers at the end showed how much they had enjoyed it. It has also been a golden opportunity for teachers to engage students in opera by preparing them via activities involving the story and the music.
Although the set was fairly abstract – no traditional gingerbread house – the movement of a maze of wooden planks that reconfigured spaces to reflect the experiences of the two children, plus an outstanding lighting design, held the attention. Set adaptations were handled by the chorus – largely comprising undergraduate voice students – and had been integrated into the project to expand their performance experiences. The use of red light tubes, moving to form the witch’s house and encircle Hansel and Gretel in an enticing dance, was in keeping with the mobile wooden planks. Glowing red strawberries, red floods, an array of variously coloured spotlights along with haze effects – all against a black background – imaginatively supported the storyline and intensified the drama.
With regard to casting, the greatest difference between the two versions was the role of the Witch. In the morning performances Saskia Mascitti and Harriet Du Pont wore deceptively appealing feminine costumes whereas a black-cloaked Mitchell Sanders, tall and austere in priest-like garb, but maybe a bit too ordinary looking and bland, played the role for the “scarier” evening Witch. The long Overture incorporated his sinister machinations, abducting a child and buying broomsticks from the father. Sanders sang very well, but the role called for a little more dark energy and intensity. The “Hocus, Pocus” song carries dramatic potential that Du Pont mined with great success. The audience was thrilled, applauding her wicked intentions at the end, as they did for Sanders’ interpretation. The mechanics of throwing the Witch into the oven had the mezzo-sopranos actually going through the oven whereas Sanders was stripped, in a kind of de-frocking, of his black garments and awkwardly deposited in Hansel’s old cage wearing gingerbread-coloured clothing. It worked up to a point.
Saskia Mascitti was not only a credible Witch; she also did a terrific job as the mother in one morning and both evening performances. She has a strong stage presence – a convincing actor with a fine, substantial voice and confident musicality. As the first morning mother, Erin Absalom cut a sympathetic figure, accentuating the desperate situation of hunger and poverty that is central to the story.
On opening night, Nicholas Beecher gave a robustly assertive performance as the father, his pleasant, even baritone voice meeting all musical demands comfortably. Noah Straughan was one of the few singers to singers to perform the same role in different languages. He is also one of the few young baritones whose voice is immediately recognisable, so distinctive is its smooth attractive timbre; only a few notes of his jolly offstage “Tra la la la” were needed to identify the singer. His performance the following night was solid, his interactions with Mascitti convincingly portrayed. James Billson was a little lacking in confidence as the father, something that will doubtless increase with experience, but he made a creditable attempt.
Perhaps the most important role is that of Gretel given its vocal demands and the fact that it is her positive personality that brings much of the joy to the opera. All four Gretels: Sofia Imperatore, Lisette Bolton, Asley Chua and Lucy Schneider, were delightful in their own way, bringing energy and a blithe sprit to the role. Although the morning Gretels seemed less experienced, with voices still developing, they sang well, with Chua having a particularly lovely tone. The opening night duo of Lisette Bolton and Chloe James in the title roles was simply splendid. They were evenly matched vocally and moved extraordinarily well; both looked as though they had had dance training, so secure and precise were their movements. Bolton’s lovely soprano voice made light work of the coloratura (an excellent trill there) and high notes, plus she has good projection. Their precision and sense of involvement was consistent throughout. Lucy Schneider was another outstanding Gretel, her awakening song at the beginning of Act 2, accompanied by exquisite playing on the part of solo oboe and violin, was glowingly rendered – a real highlight. Her Hansel, Quilian Axtens, did not match her strength vocally, but was a suitably animated performer. Maria Woolford was a good match for Imperatore’s Gretel.
The duel role of Sandman and Dew Fairy was sung by Sarah Amos for the morning sessions and by Sofia Imperatore for the evening ones. Amos has an unusual and intriguing mezzo-soprano voice in its dense, creamy quality in the middle register. Both singers added their own brands of radiant benevolence to the roles, aided by gorgeous costumes and a colourful cloud-like parachute that billowed around Hansel and Gretel as they sang their Evening Prayer.
With two orchestral ensembles, three conductors – the full orchestra being conducted by Richard Davis, Head of Orchestral Studies – 30 music students, and costume designs by two students in the Master of Design and Production, this was a major feat of talent, effort and ingenuity. Hearty congratulations to all concerned for bringing more joy to the world with this rich educational opportunity.
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Heather Leviston reviewed four performances of “Hansel and Gretel”, presented by the Melbourne Conservatorium of Music at the Union Theatre, University of Melbourne, on December 11 and 12, at 11am and 7pm, 2024.
