Hansel and Gretel @ The Dallas Opera
Photos by Lynn Lane
—Review by Gregory Sullivan Isaacs
The Dallas Opera’s presentation of Engelbert Humperdinck’s 1892 opera Hansel and Gretel delivers a stunning evening of theatrical magic that will surely delight anyone. Consider this review to be a recommendation to catch one of the remaining performances (and find a child or three to bring along).
Because the main characters are children and the story comes from a collection of German folktales adapted by the Grimm brothers, the opera is always presented as a show for children. This production also presents it in such a manner, but with a twist.
In this striking interpretation, originally designed for the Los Angeles Opera, director/designer Doug Fitch creates something remarkable. Combining his inner child with considerable powers of stage prestidigitation, and aided by lighting designed by Duane Schuler and Eric Watkins, he sets the action in what appears to be a gigantic pop-up book. When the settings change, it is as if one of the huge pages of the storybook is turned. The current set deconstructs while, to our amazement, the next one assembles itself. Furniture dances and trees waltz. And, rather than Humperdinck’s protective angels, a quirky, jolly collection of forest critters guard the children through the night. They are portrayed by outsized puppets, also the creation of Doug Fitch—their amusing oddities worthy of inclusion in the bar scene from the movie Star Wars.
The role of Hansel is one of the opera’s “pants parts”—young male characters sung by a female. These days, since we are used to hearing soprano and mezzo-soprano-voiced males, it is about time that the role of Hansel is so cast. Here, the role is created anew by the Korean-American counter-tenor Kangmin Justin Kim. He has a strikingly sonorous and strong mezzo-timbered voice, excellent acting chops, boundless energy, and a touch of modern-day punk delivered by pink-tinged white hair. He is marvelous and completely believable as this mischievous tween (even though he is 34).
While the Hansel is nearing the summit of international fame, Gretel, sung by Cuban-American soprano Elena Villalón, is a rising star just starting her inevitable ascent. She is a third-year studio artist with Houston Grand Opera and took home the Grand Finals prize from the 2019 Metropolitan Opera National Council Auditions.
In an opera so dependent on the leading pair, Kim and Villalón carry the opera forward without dominating the action. This allows smaller roles, usually minimized, to shine. They are the sleep-inducing Sandman, sung by a glittery Lindsay Metzger, and the sparkly Dew Fairy, sung by Gabrielle Gilliam, who delivers a wake-up call to the sleeping children in the forest. The pair perfectly bookend the shivery story.
It might be named Hansel and Gretel, but the central character of the story is always the Witch. The iconic image we have today comes from Margaret Hamilton’s hooked nose, green face, and evil cackle in The Wizard of Oz. It was quite surprising to discover that, in this production, the role of the Witch (as well as the Mother), would be sung by Patricia Racette. The American soprano is a regular on every major opera stage in the world, specializing in the Verdi and Puccini roles, but singing a much wider repertoire from Richard Strauss’ Salome to Emmeline (1996) in the opera by Tobias Picker.
How would this celebrated singer play the Witch?
Well, the always-surprising soprano gave us a wacky, goofy, absent-minded, and golden-bewigged character worthy of an I Love Lucy episode. Even as she awkwardly flew above the stage, she couldn’t quite mount her broom. In her wry role as the Mother, Racette was matched with another opera legend, baritone Mark Delavan, as the children’s Father. Much to her character’s exasperation, he delivered a terrific comic performance as a boozy wreck of a man only redeemed by his heart of gold.
All this fantastical operatic conjuring is supported by a superb orchestra under the flawless direction of music director Emmanuel Villaume. Rather than an accompaniment, his clearly expressed musical concept melded with the characterizations on the stage in such a manner as to be inseparable.
[A note: Unforgivably, my initial review failed to mention one very important element. When all is finally resolved for the witch, and the gingerbread cookies change back into children, a vibrant and energetic children's chorus sang. Drawn from the newly formed Greater Dallas Choral Society, there were many young people on the stage, and others packed into the box seat immediately adjacent to the stage. Children's choirs in opera are occasionally difficult to keep in tempo and together, but not here. While the auxiliary placement may have helped, their collective performance was polished and spirited. GSI]
WHEN: Repeats at 2:00 October 30, and November 2 and 5
WHERE: Winspear Opera House
WEB: dallasopera.org , 214-443-1000
