Tuesday 27 January 2026
Review by Paul Neeson (Arts Wednesday)
Hansel and Gretel started its creative journey in 1813 when the appropriately named Brothers Grimm published this rather grisly fairy tale of a witch who grooms, cooks and eats children. It’s hard to imagine that a children’s story like this would get published in 2026, or that the author wouldn’t be run out of town and never seen again. But times have changed.
Then in 1893, Engelbert Humperdinck turned it into an opera with a libretto by his sister Adelheid Wette. For most people it is his only composition that they’d know, and that is because it is a musical masterpiece with an appeal to all ages, and a great introduction to opera. And last night there were quite a few children in the audience who were totally engaged way beyond their bed-time.
Claudia Osborne revived this fantastic production by Elijah Moshinsky which was full of moody atmospheric lighting (Nigel Levings) and massive cartoon-like sets (Mark Thompson). We were immediately transported to a mythical, magical, imaginary place inhabited by potent and fantastically believable characters.
The title roles were splendidly cast with Margaret Plummer as Hansel and Stacey Alleaume as Gretel. Their sibling relationship was pitch perfect, from bickering to playfulness, from childish naughtiness to solemn prayer, they captured it all perfectly. It always bewilders me why Hansel is cast as a mezzo-soprano – he is a boy I suppose whose voice would not have as yet broken – but Plummer’s ability to make us believe we are seeing a boy was outstanding, right down to relieving himself against a tree (which elicited a few laughs). Also outstanding was Jane Eade as the witch. Her larger than life movements (and hair) had us bewildered, bothered and bemused as the drama required. Her hair costume (Mark Thompson) is reminiscent of the Maleficent character from Disney’s Sleeping Beauty, brought to life by Angelina Jolie. Shane Lowrencev as Father (and the only male voice in the opera) leant the show some necessary gravity.
Conductor, Tahu Matheson, showed his expertise in his ability to extract all the folk-tunes embedded in Humperdinck’s score allowing us to feel we were, like the heroes, lost in a dark Bavarian forest. After some initial pitch adjustments in the upper winds, the Opera Australia Orchestra performed tirelessly and expertly. The opera has many, more than usual, sections without voice, preludes and interludes, that emphasises the Wagnerian style of leitmotif composition. Humperdinck was after all a protégé of Wagner, assisting in the first production of Parsifal.
Standout moments were the Sandman (Shakira Ringdahl) and the Dew Fairy (Kathryn Williams) who put the siblings to sleep and woke them up in the morning. The visuals (sets, costumes and lighting) just kept getting better and better. Each scene created a whole new world of wonder. The characters and extras moved fluidly and effortlessly (Chloë Dallimore AM) around the seemingly difficult set and raked stage. The Evening Prayer was a highlight moment and the Children’s Chorus were delightful as they magically came to life at the end.
I can’t recommend this production enough for children or for first time opera-goers. It has everything and being sung in English with English surtitles it is very easy to follow.