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SEEN
AND HEARD OPERA REVIEW
Humperdinck, Hänsel
und Gretel:
Soloists, Royal Academy Opera and Sinfonia, Sian
Edwards (conductor). Royal Academy of Music, London.
17.11.2008 (ED)
Humperdinck might have been the stereo-typical
one-hit wonder composer, but what a hit Hänsel und
Gretel is in purely musical
terms! And what a gift for an opera director of
imagination as well. Fortunately,
productions are coming thick and fast,
as this one comes alongside a Glyndebourne Touring
Opera production and precedes the Royal Opera’s
production next month. If enthusiasm, enjoyment and
excellent musicianship were anything to go by then
the Royal Academy Opera have little to fear from
their big name professional rivals.
Robyn Kirk (Gretel)
and Charlotte Stephenson (Hänsel)
Although a reduced orchestration was used, plenty of
colour came through in the playing and Sian Edwards
led a finely judged, sensitive yet direct
interpretation that certainly
highlighted the Wagnerian tendencies at play within
Humperdinck’s music, but also allowed enough of the
composer’s own voice to be heard.
There was refreshing originality of thought on
display in the staging too.
The opening Act, situated in a rather chaotic, over-applianced
kitchen, gave the impression of a household on the
edge, making great sense of
the childrens’ mischief and the mother’s fury at
their misbehaviour. Such domestic discord contrasted
with the forest setting of Act II in which much
atmosphere was created through clever lighting
summoning with ease an air of growing menace. Act III
inevitable brought out much of the fairy-tale aspect
of the work inherent in the gingerbread house and its
ghastly occupant, but dark humour was far from absent
in the witch’s plans to bake the children. Indeed,
one wondered just how appropriate the work really is
for small children.
The cast had few weak links in it: Robyn Kirk’s
Gretel was headstrong and keenly voiced throughout,
characterising very much an older sister; Charlotte
Stephenson’s Hansel was as interesting for her acting
skill as her singing ability, and managed to dig deep
into the gangly, teenage male persona with remarkable
effectiveness, making hers the most rounded
performance of the evening for me. Stuart Haycock’s
tenor Witch made a good attempt at stealing the show
however. Insinuating and revolting in the leopard
skin print dress, heels,
and blond wig, his was a
portrayal that worked and
was not afraid of pushing boundaries of taste to
their absolute limits. Gerard Collett’s Father was an
extravert and genial foil
to his rather domineering wife, keenly sung by Amy
Radford. Adriana Festeu’s Sandman perhaps failed to
come across as strongly as it could have
done, but here the costume of an old man
hindered more than it helped. Hopefully there will be
more opportunities to hear her in concert in the
future to make a clearer assessment of her skills.
Jessica Dean’s Dew Fairy was suitably clear voiced
from the balcony and he
children’s chorus contributed much atmosphere to
their scenes.
All in all, Royal Academy Opera is well worth a
visit.
Picture © Mark Whitehouse
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