Last night Opera Australia launched their revived version of the opera Hansel and Gretel. This version is a revival of the 1990s version staged and directed by Elijah Moshinsky. The opera is based on an original fairy tale that was passed down through many generations of folk telling. Components of the story date back as far as the Middle Ages. The Brothers Grimm recorded it in their famous “Grimms’ Fairy Tales” published in 1812. Eighty years later, composer Engelbert Humperdinck wrote the opera to lyrics written by his sister, Adelheid Wette.
In his mid-twenties, Humperdinck went to Italy and met Wagner who saw his potential and took him under his wing. Humperdinck was able to assist in the premier production of Wagner’s Parsifal in Bayreuth and started to mix with the biggest names in music.
By the time he wrote Hansel and Gretel, about 10 years later, Humperdinck was extremely well connected. The world premiere was staged in 1893 in Weimar conducted by Richard Strauss. The following year it premiered in Hamburg conducted by Mahler. What a great way to launch! Here we are, more than 130 years later and the music still feels fresh, relatable and modern. Arguably more beautiful than many 20th and 21st century operas, it holds a strong Wagnerian influence, as would be expected.
Humperdinck wrote quite a lot of music, including several operas, but Hansel and Gretel is pretty much all he is known for these days.
In the starring roles of this 2026 production are Australian artists, mezzo soprano Margaret Plummer (Hansel) and soprano Stacey Alleaume (Gretel). Plummer has been connected to the Vienna State Opera for the past 8 years performing in many principal roles. It was a delight to see her return to the Sydney Opera House in this role which she already knows well. The character of her boyish Hansel is so very well developed right down to the tiniest detail. Here is an artist fully committed to the role. It was slightly odd that the muddy knees disappeared while Hansel was sleeping but every other facet was perfectly and consistently executed. Plummer’s voice is clear, full and accurate. It was, however, the dramatic skills that surpassed all others. The audience gave her stomps and cheers at the curtain.
Alleaume has grown so much from the young singer suddenly thrown in the deep end of principal roles 10 odd years ago. OA has given her so many great opportunities in principal roles building her voice, stagecraft and a wonderful biography. She has branched out during more recent years, working with Deutsche Oper am Rhein, Scottish Opera, Teatro Petruzzelli and Opera Hong Kong, adding to her repertoire. Gretel’s dramatic character was also very well developed by Alleaume though a touch overdone at times. She fully embraced the physical movement and stood out with some very powerful top notes.
Plummer and Alleaume were perfect for the roles – flighty, playful and absolutely outstanding. They worked incredibly well together as brother and sister. It’s got to be some of the best team work we’ve seen in a long time.
In the opening and closing acts are Hansel and Gretel’s father and step-mother. In the original Grimm story, the step-mother demands the father lead them into the forest and leave them there. (This sort of thing happens in quite a few folk tales from the middle ages onwards whenever there are too many mouths to feed or, like Snow White, when any step daughter gets too pretty.) Humperdinck decided to create a step mother with a conscience who encompasses God in her vernacular.
Moshinsky’s original direction, expertly revived by Claudia Osborne, presents the step mother as worn out, solely bearing the burden of the family’s financial distress. Mezzo Helen Sherman presented the role well as a woman in hair curlers at the end of her tether throwing in comic touches along the way. Baritone Shane Lowrencev, presented the father boldly with a little improv thrown in as he entered via the auditorium, gathering a few laughs along the way. The changes in mood were clear cut, easy to follow and the voice was impressive.
Jane Ede gleefully grabbed the role of the Witch with both hands. From the outset, she clearly revelled in each moment, making the most of the excellent makeup (Rebecca Ritchie and Simon Thomas) and costume (Mark Thompson) to present a degenerate, cartoon cannibal. Her naturally tall frame, topped with hairy horns, made her tower over the lost siblings. The audience loved her.
Secondary roles were well performed by Shikara Ringdahl as the Sandman in a Dr Seuss inspired costume and Kathryn Williams as the Dew Fairy surrounded by some very kooky amateurish dancers. Whilst brief in appearance, both these roles are in alignment with folk tales from Germany of the era and make for great stagecraft experience for singers making their way towards larger roles. Well done, ladies.
The opera is sung in English. There were quite a few times when the articulation was not enough to understand the lyrics. OA has provided surtitles for the audience in case you are missing the details.
The production itself is interesting. Act One shows the interior of a pauper’s house really well. However, once outside the house, there is no sign of the dreaded forest. Instead we view a highly skewed version of components from inside the house, like an Alice in Wonderland version, a nightmare or something you might see under psychedelics. Moshinsky is no longer around to ask why this was used instead of the forest – I’m sure he had his reasons.
The movement/choreography seems to be out of alignment with the period in which the production is set. Costumes in the dream appear to be more rural 1920s or 1930s yet, the kids do modern dancing, Hansel plays air guitar and everyone gives lots of high fives. Perhaps this is from the Moshinsky direction as well?
Summing up, is is worth seeing? Absolutely, yes. The repertoire from OA often contains storylines and music that hold very dark energy. Humperdinck’s music is gorgeous from front to end with plenty of tunes for you to whistle on the way home. Should kids see it? If they are old enough to handle visual jokes about cannibalism. I wouldn’t take a young one to see it. Keep in mind the run time is just over 2 hours.
The cast are all beautifully suited to their roles and give it 110%. With no adult chorus, the action is focussed with not too many distractions. The story is easy to follow including some comedy to ease any stresses PLUS there’s a happy ending!
Highly recommended.
Season runs till 28 February 2026.
Related links
BUY YOUR TICKETS: https://opera.org.au/productions/hansel-gretel-sydney
About Stacey Alleaume: https://staceyalleaume.com/biography
About Margaret Plummer: https://www.margaretplummer.com/about
