Preview: Hansel and Gretel @ The Dallas Opera
Photos by Lynn Lane
—Gregory Sullivan Isaacs
And now, for something a little different: A PRE-view (not a review) of THE DALLAS OPERA’s Hansel and Gretel. Bring the kids, of all ages, to this spectacular presentation opening Friday evening (October 28).
It will dazzle you—and it’s fun.
Introducing children to classical music is often limited to a yearly pilgrimage to see Tchaikovsky’s Christmas-based ballet The Nutcracker—and it’s a fine vehicle for that purpose. However, in my 30 years conducting and producing operas around the country, I have sometimes despaired that there didn’t seem to be an opera put to use for the same purpose.
But the opera Hansel and Gretel, by the German composer Englebert Humperdinck (not the pop singer), is a natural to fill the gap. It’s tuneful and based on a universally familiar story by the Brothers Grimm. Various productions have tried to make it more kid-friendly, and some have succeeded fairly well. But now, one production has succeeded in a spectacular manner—and The Dallas Opera is bringing it to the Winspear.
This 2006 production, created by Designer/Director Douglas Fitch for the Los Angeles Opera, transforms H&G in a most magical and fantastical manner. Word about this production has spread widely, creating lots of anticipation. And now, Dallas audiences will get to share in the astonishment. Here are some, only some, of the innovations:
Rather than traditional sets, Fitch’s setting of the opera takes place on what appears to be a gigantic stage-sized pop-up book, which has pages on which three-dimensional forms arise when opened. Likewise, we see the various sets mysteriously meld and change when the huge page is turned.
The opera is sung in an English translation that can be easily understood by most ages (and there are projected supertitles for readers of all ages).
Male soprani and mezzo-soprani are commonplace these days, so (finally) the role of Hansel is sung by a young man, rather than a young woman playing what is often called a “pants part.”
The stumblebum witch’s evilness is so comically portrayed that she becomes a buffoon as she flies around the stage (not quite able to get on her broom).
Drawing on Humperdinck’s original version of the opera as a group of songs for a puppet show, Fitch called on his own background in puppetry. He replaces the author’s protecting angels (who guard the children through the night) with a bizarrerie of life-sized puppet critters. They bring to mind the bar scene in the original Star Wars.
There are many more stage wonders to be discovered in this masterful production. Take this opportunity to see what the buzz is about—it’s a show for everyone.
WHEN: October 28 & 30, November 2 & 5
WHERE: Winspear Opera House
WEB: For tickets https://dallasopera.org/tickets/ , or by phone at (214)443-1000.
More details from The Dallas Opera Website:
Emmanuel Villaume, The Mrs. Eugene McDermott Music Director, leads The Dallas Opera Orchestra and Doug Fitch, in his Dallas Opera debut, directs a cast of celebrated singers including rising stars Kangmin Justin Kim as Hansel (TDO debut), Elena Villalón as Gretel, Mark Delavan as The Father, and Patricia Racette as both The Witch and The Mother. Director Doug Fitch designed both sets and costumes. Duane Schuler is the original lighting designer, Eric Watkins is the revival lighting designer, Austin Spangler is the choreographer, and David Zimmerman is the wig and make-up designer. The Children’s Chorus from The Greater Dallas Choral Society, led by Artistic Director Kimberly Ahrens, join the production in their Dallas Opera debut.
