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Surreal, but Enchanting Berlin
Schillertheater
01/25/2025 - & February 1, 2, 21, March 9, 18, 20, 24*, April 13, 21, 2025, February 21, 25, March 8, 20, 2026
Engelbert Humperdinck : Hänsel und Gretel
Günther Papendell*/Joachim Goltz (Peter), Mirka Wagner*/Ulrike Helzel (Gertrud), Susan Zarrabi*/Elisabeth Wrede (Hänsel), Alma Sadé/Penny Sofroniadou/Nikki Treurniet* (Gretel), Daniel Kirch/Ivan Tursic* (Witch), Julia Schaffenrath (Sandman, Dew Fairy), Paulin Raatz (Acrobat), Manni Laudenbach (Actor), Pupils of the TanzZwiEt-School-Company
Kinderchor der Komischen Oper Berlin, Dagmar Fiebach (Chorus Master), Orchester der Komischen Oper Berlin, Yi‑Chen Lin*/James Gaffigan (Conductor)
Dagmar Manzel (Director), Korbinian Schmidt (Set Designer), Victoria Behr (Costume Designer), Olaf Freese (Lighting), Sophie Jira (Dramaturgy), Christoph Jonas (Choreography)
(© Jan Windszus Photography)
I saw my first Hänsel und Gretel in my early twenties, at Christmas time in Germany. The theatre was full of children, and the atmosphere, fun and heartwarming. I was captivated by the music and enchanted by the jovial ambiance. Ever since, this opera has held a special place in my heart.
Musically, it’s one of the most Wagnerian operas not by Wagner. However, its composer, Engelbert Humperdinck (1854‑1921), was Wagner’s assistant in 1880‑81, for the Bayreuth production of Parsifal. The 1893 Weimar premiere of Hänsel und Gretel was conducted by Richard Strauss, and its 1894 Hamburg premiere by Mahler. Impressive!
Much of the music is based on folk tunes, and, despite its Wagnerian character, it’s tuneful. Some productions rely on ornate sets and costumes to dazzle the assembled. Others are more Spartan, but still manage to enchant, thanks to the delightful story. The present production by Komische Oper Berlin opted for brilliantly-conceived yet simple sets that were generally pleasing. Overall, the production had a surreal aura, without being overly stylized; children could still relate to it. The witch’s house was not of gingerbread, inviting one to nibble. Instead, it was inspired by Russian folk imagery; it was portable, hoisted up on chicken legs, reminiscent of Baba Yaga. The forest creatures were ambiguous, sometimes siding with Hansel and Gretel, and other times the Witch. Most impressive were the mobile multi‑coloured trees, which, though appealing, were also terrifying.
As is sometimes the case, the Witch was sung by a tenor in drag, which I find less effective than a mezzo. Slovenian tenor Ivan Tursic is not slim, therefore the travestimento produced a portly Mrs. Doubtfire look‑alike who evoked a beloved aunt or granny than a wicked witch. Nonetheless, he played his role well, mean and manipulative, and a bit dotty, but certainly not scary. One almost felt sorry for her.
The best aspect of the production was the cast, especially the singers of the title roles, German mezzo Susan Zarrabi and Dutch soprano Nikki Treurniet. In addition to their excellent and appropriate voices, they were credible as children thanks to their acting and child‑like mannerisms, as well as their diminutive stature. Initially, I’d mistaken them for precocious child singers!
Coloratura soprano Julia Schaffenrath sang both the Sandman and the Dew Fairy with brio, thanks to her delicate timbre and high soprano. With his imposing voice and matching stage presence, baritone Günther Papendell portrayed the father with loads of charisma. One would like to hear him in bigger roles.
Taiwanese conductor Yi‑Chen Lin brought out the score’s lush romanticism, but on occasion, the orchestra was a little too loud, obscuring the singers.
The performance was on a late Monday morning, mostly attended by schoolchildren and their teachers. The ambiance was jovial and the children, well‑behaved during the performance, were rambunctious at intermission. Clearly opera, at least Humperdinck’s version of this time‑tested fairy tale, was a welcome escape from their daily routine.
Ossama el Naggar
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