Humperdinck: Hänsel und Gretel

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Music reviews of Humperdinck: Hänsel und Gretel

Music Review: SImply Delightful!
Rating: 5 Stars

In my view, these singers do a simply wonderful job of trying to portray those two children. Helen Donath has enough sparkle in her voice to give it that "impish child-like sense of fun." I also must say her diction is excellent, as is the diction of all the singers. I find that refreshing: good diction that doesn't ruin a vocal line, but a vocal line not so beautiful the diction is lost.

I must admit, I wasn't certain about Anna Moffo as Hansel. She is definitely NOT a mezzo soprano, the voice range used for this role most often (though it is sometimes sung by a soprano with a darker quality to her voice). Her voice sounds "old" compared to her other recordings (where she is singing soprano roles, and many of them dramatic coloratura roles), but she doesn't necessarily sound "OLD" for the character. There are little mannerisms which have crept in. Since I am not sure how old she was when she recorded this I am not sure of my assessment, but she does sound more like she is at the end of her career. Now don't think that makes the role poorly sung; that is simply not the case at all. She does a wonderful job trying to be a young boy.

The only singer who didn't greatly impress, though she was perfect in many ways for the mother, is Charlotte Berthold. Her mezzo was very "Pushed" in the upper register (which her role doesn't go very high in, so that makes you wonder what she would have done if she were singing Hansel, which her voice would not be suited to at all). Still, there was a "tired and fed-up" quality in her sound that just was perfect for her character of a worn out mother struggling to care for her children whose nerves were shot from the struggle of life.

Peter, the father, was simply sung the best I have in any recording; it was sung with special affect, care, a laugh in the voice, excitement, and making the most of a happy loving father. The baritone was Dietrich Fischer-Dieskau. As with everything he sings, the beauty of his voice is the first thing you recognize, and then his musicianship comes shining through. His diction is incredible, and the nuances he adds to his words is so illuminating. He simply is incredible. One treat was his story about the gobbling witch in the forest. He had such a special way of adding life and real FEAR to his voice. There is a mystery wrapped up in his sound, and you feel the hairs stand on the back of your neck as he begins the recitation. Soon we are swept away into the world of the dark forest and the evil witch who eats children. Sadly, most singers make this almost a joke, they sing well, but they don't capture the real fear of the moment. Yes, this is a fairy tale, yes, we don't have evil witches out there in the forests who eat children and ride on brooms. Yet, it is the singer's job to make us believe such things are there. I have heard very few baritones accomplish that (even in all the preformances of this opera I have sung). It is accomplished here, and what a treat to hear it. And this is where Charlotte Berthold's singing comes to great advantage: one actually feels a mother's fear enter her heart as her husband tells her about the evils in the forest.

Now for the most wonderful character of the entire opera: the Witch. I was not sure that Christa Ludwig would be good in this more unusual role. She is super in all the Wagner she sings and in much else. However, the witch must be at once scary as can be, and funny. She has to weave a spell of intrigue that captures children (however, Hansel and Gretel are too street-wise to fall for her completely). I wasn't sure Ludwig's extremely serious sound could accomplish that. She doesn't fool with the score and make silly sounds as to some witches, yet, the character is there. We are taken into her world of deception, which starts with her candy house.

The minor roles are well sung, but I have to admit, I have a recording with Te Kanawa singing the Sandman, and she is by far a more "dreamy" voice that really fits the father of sleep. Arleen Auger does a fine job, but just misses that special something that adds magic to the part. Lucia Popp's dew fairy is fine, but the part is very forgettable, for no sooner has she sang than Gretel has a wonderful "wake up" duet with Hansel ascending to a high D.

All the forest scenes are filled with the emotions we should expect. Anna Moffo and Helen Donath capture the innocence of the children as they look for berries, and eat them up; their fascination with the coo-coo, and the horror of discovering they are alone and it is getting dark. The great repose of the children's prayer is melting.

I recommend this recording highly; you won't be disappointed. In fact, it is hard to find a bad recording, though one practice (which Humperdinck himself approved) is having the witch sung by a tenor. There are recordings out there with this happening. It is an interesting alternative, but gives a very "different" affect, and to me takes the witch out of the realms of a "fairly tale character" into the realms of something more real reflecting things in our society we all wish were not there. Though some tenors can be quite funny, and play around with their falsetto in the role, even then, there is something missing and the opera doesn't work as well. Stick with versions where the witch is sung by a contralto or a mezzo soprano, the affect is much better.

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