Review: HANSEL AND GRETEL at Her Majesty’s Theatre, Adelaide Festival Centre

Reviewed by Barry Lenny, Friday 21st August 2026.

A brand new production of Englebert Humperdink’s 1893 three-act operatic interpretation of The Brothers Grimm fairytale, Hansel and Gretel, with a libretto by his sister, Adelheid Wette, comes to Adelaide, thanks to State Opera South Australia. Humperdink had been an assistant to Richard Wagner and his influence is seen in the harmonic structure, with melodies drawing on children’s songs and folksongs. There is a good chance that audience members will recognise some of those themes, and I couldn’t help thinking that one recurring motif hinted at a theme from Weinberger’s Polka and Fugue, from Schwanda the Bagpiper. From the opening notes of the overture, with that fine work from the four horns, that Wagnerian influence is quickly felt. Although often sung now in an English translation, this performance is sung in the original German, with English surtitles.

The opera, which Humperdink referred to as a “fairytale play”, is conducted by the company’s Artistic Director, Dane Lam, and directed, with a light touch and awareness of the vast comedic possibilities, by Constantine Costi, with the highly stylised set and costume design by Jonathon Oxlade and a carefully crafted lighting design by Bernie Tan-Hayes. It all takes place on a double revolve, the inner disc carrying representations of pine trees, and the outer ring initially carrying the family’s house. It all resembles simple illustrations from a child’s book.

As the outer ring turns we catch glimpses of the family in tableaux, showing the early stages of their day. It eventually stops and the two children avoid their work, complain of hunger, and dance and play, interrupted by their mother, who breaks the jug containing milk, their only sustenance for the day. She sends them out to find wild strawberries, but is cheered up by the arrival of the father, slightly tipsy and laden down with food. He warns of the witch in the woods, and they go to seek the children.

The original story should need no elaborate explanation beyond the two children being abandoned in the forest by their parents and escaping the evil clutches of a witch who is bent on popping them into her oven. In this opera, however, the children, having been simply sent out to pick strawberries, wander too close to the gingerbread house. The witch, though, gets the same comeuppance.

This is a far cry from that very old style of opera, where singers came front and centre and stood motionless while singing. This is a very active performance, with only the Abendsegen (Evening Prayer) scene delivered with minimal motion, and gigantic red hands warning of the imminent threat to the safety of the children, providing a meaningful contrast with the rest of the opera.

The children, of course, are played by adults. The role of Hansel is usually sung by a mezzo-soprano but, on this occasion, the role is sung by the wonderful countertenor, Kangmin Justin Kim, whilst Gretel is sung by the equally wonderful soprano, Sofia Troncoso. They give outstanding individual performances, but also show a marvellous rapport as playful young siblings, completely convincing in the roles children.

Their mother, Gertrud, is sung by mezzo-soprano, Catherine Carby, who also plays the witch, Rosine Leckermaul (Rosina Sweetmouth).  She creates two very different characters, first as the rather grumpy, overwhelmed mother, desperately trying to hold a poverty-stricken family together, then as the outrageously devious, seductive witch, luring the children with sweet delicacies. As Gertrud, she plays a serious role, then finds all of the comedy, not missing a trick in the character of the witch.

The father, Peter, a broom maker, who is sung by baritone, Morgan Pearse, arrives home in a very good mood, carrying a sack full of food and a half-empty bottle, having sold all of his brooms at a festive occasion in town. Pearse brings a commanding presence to the role.

Soprano, Lucy Stoddart, plays two brief roles, as the Sandman, a spirit who helps the children to fall asleep, and the elaborately costumed Dew Fairy, a spirit who awakens them the next morning. An emerging artist, she is certainly one to watch. The Sandman is assisted by fourteen angels (there were actually seventeen of them), played by the delightful State Opera Children’s Chorus, well-rehearsed by Anthony Hunt.

The Adelaide Symphony Orchestra, under Dane Lam’s unerring guidance, offers an impeccable rendition of Humperdink’s rich score, thoroughly deserving the loud applause when acknowledged during the bows.

The performance is recommended for children from ten years of age and is a perfect introduction to opera for younger folk, as well as a fulfilling evening for us (considerably) more mature people. Hurry to book tickets.

 

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