Uhland, Ludwig. "Hans and Grete."The Songs and Ballads of Uhland. Walter William Skeat, translator. New York: Williams and Norgate, 1864.
Macías, Elva. "Hansel and Gretel." Mouth to Mouth; Poems by Twelve Contemporary Mexican Women. Forrest Gander, ed. Minneapolis, Minnesota: Milkweed Editions, 1993.
NOVEL: As a child, Gretchen's twin sister was taken by a witch in the woods. Ever since, Gretchen and her brother, Ansel, have felt the long branches of the witch's forest threatening to make them disappear, too.
Years later, when their stepmother casts Gretchen and Ansel out, they find themselves in sleepy Live Oak, South Carolina. They're invited to stay with Sophia Kelly, a beautiful candy maker who molds sugary magic: coveted treats that create confidence, bravery, and passion.
Life seems idyllic and Gretchen and Ansel gradually forget their haunted past-- until Gretchen meets handsome local outcast Samuel. He tells her the witch isn't gone-- it's lurking in the forest, preying on girls every year after Live Oak's infamous chocolate festival, and looking to make Gretchen it's next victim. Gretchen is determined to stop running and start fighting back. Yet the further she investigates the mystery of what the witch is and how it chooses its victims, the more she wonders who the real monster is.
Gretchen is certain of only one thing: a monster is coming, and it will never go away hungry.
NOVEL: Set in contemporary Britain, this story has the Hansel and Gretel tale beautifully woven into it. Terri Windling and Ellen Datlow highly recommend this book.
All in all, though, this thought-provoking staging of Humperdinck’s Hänsel und Gretel brings into the work associations which attempt to intensify the dramatic situations. The anachronisms from the Third Reich make this staging perhaps less accessible to younger audiences, who might be need some explanation of the newsreel footage that underscores some scenes. A regular part of the opera repertoire at many houses, since its premiere on 23 December 1893, Hänsel und Gretel retains its association with Yuletide celebrations, particularly in the final scenes, but this production contains allusions to other elements in German culture to set it apart from other, more conventional presentations. Yet enough traditional elements remain in the production to remind viewers of the associations of this work with Christmas, and some of the picturesque tableaux are visually effective, not only at the conclusion of the work, but also in the tender scene as the children fall asleep at the end of the second act, with the angels around them and the parents tucking the children into their beds. As strong as the visual dimension is in this production, the musical elements are well executed throughout, an aspect of opera that must be solidly in place to anchor any production.
The conclusion, when the other children the witch enchanted are returned to life is effective stagecraft for the opera house. Presented on video, though, it loses something in the visual translation, since the camera must move into the audience and blur the scenic world confined to this point on the stage, and shift to focus in the theater. The blue-toned images of the children approaching the proscenium from the theater call attention to the spatial differences, which are further accentuated by the shot of the conducting leading the children’s chorus. Yet the ending of the scene works well, with the children depicted as working their own magic on Hänsel and Gretel, which leads well into the final chorus and the conclusion of the opera.
Drawing on the tradition of his father for innovative productions, Johannes Felsenstein has created a memorable staging of Hänsel und Gretel, which uses historic footage from the 1930s containing images of hungry children in breadlines and other, similar impoverished situations, to set the tone. The footage fades into the opening scene, which takes its graphic cues from that period for the costumes and decor. Not set in some undefined, romanticized period of German peasant life, this modern setting of Hänsel und Gretel provides tangible visual cues to establish the sense of poverty which is essential to understanding some aspects of the plot. The comments of Suzanne Schultz, the principal dramatic adviser of the Anhaltisches Theater Dessay found in her essay about the opera in the booklet that accompanies the DVD are particularly relevant in this regard:
GRAPHIC NOVEL: From book cover: Everyone knows Hansel and Gretel - Hansel's the squatty kid with a tuna can strapped over his mouth to prevent it from shattering everything around him; Gretel's the tall, pink-haired schoolgirl in the sailor suit, attacking bullies with her bamboo sword. At least that's Junko Mizuno's version! In this twisted take on the classic fairy tale, the kids' parents run the mountain grocery store, fielding visits from the green girls who grow spinach from their scalps and the 40-foot-tall piglet who slices cuts to order off his big belly. More madness comes with the arrival of Queen Marilyn and her insidious black magic! Can the kids save the day?
This production of Hänsel und Gretel is also of interest because it is based on the new critical edition of the score by Hans-Josef Irmen and published by Schott. As familiar as this score is to many audiences, it is useful to have a performance based on the recently vetted edition, which lends authority to this already fine reading of the score. That stated, it is difficult to account for the decision of having the singer who portrays the father to take on the role of the witch. While this makes sense in the context of the production, which has the parents looking on as the children awaken, and then tease the children by singing the witch’s famous line about who is nibbling at her gingerbread house. From that point the father dons the kerchief (presumably of the mother) to carry out the scene with the witch. In this sense, the fantasy is part of make-believe in the home, and not part of the fairytale world found in the story as rendered by Bechstein or the Grimm Brothers. As stagecraft, this works, but in terms of the musical score Ludmil Kuntschew has used a head voice in various passages. Traditionally the role is sung by a tenor or, in some houses, the soprano who plays the mother, so the choice of the baritone here departs from practice.
NOVEL: From book cover: "In the last months of the Nazi occupation of Poland, two children are left by their father and stepmother to find safety in a dense forest. Because their real names will reveal their Jewishness, they are renamed "Hansel" and "Gretel." They wander in the woods until they are taken in by Magda, an eccentric and stubborn old woman called "witch" by the nearby villagers. Magda is determined to save them, even as a German officer arrives in the village with his own plans for the children."
Peter - Ludmil Kuntschew; Gertrud - Alexandra Petersamer; Hansel - Sabine Noack; Gretel - Cornelia Marschall; Die Knusperhexe - Ludmil Kuntschew; Sandmännchen / Taumännchen - Viktorija Kaminskaite. Dessau Anhalt Theater Childrens Choir. Dessau Anhalt Philharmonic Orchestra. Markus L. Frank, conductor.