Review: Hansal and Gretal

Exchange two loveable children, Hansel and Gretel, living with their parents in 19th century rural Germany, for two mischievous teenagers in a high-rise flat in present day England, and you have Edward Dick’s new production of Humperdinck’s opera.

Very much linking it with today’s audience, the bored children play with a camcorder when their parents are out at work, while the fridge stands empty, so that they fall easy prey to the Witch who plies them with food. It might be a reflection on today’s mixed-up standards, though the camcorder eases Dick through the difficult scene change from their home and into the forest, and then into the witch’s house. It certainly amused the audience, and vocally the casting is very good, with Katie Bray and Fflur Wyn, two singers who Opera North have nurtured, having that timbre and looks to create the individual children, and then to blend beautifully in the second act duet. A forceful outgoing character as the mother, Susan Bullock, certainly enjoys her role when she becomes the demonic witch, while Stephen Gadd makes an irascible father. The opera gives much to the orchestra who were in fine form for the young German-born conductor, Christoph Altsteadt, who has Humperdinck in his life-blood, the two having been born just a few miles apart.

More performances in Leeds on February 17, 18 and 25.