Commented Discography of Hänsel und Gretel
by RML

re:opera


 

~Hänsl und Gretel (Humperdinck)

 

1 - Anneliese Rothenberger (Gretel), Irmgard Seefried (Hänsel), Grace Hoffmann (The Mother), Elisabeth Höngen (The Witch), Walter Berry (The Father), Wiener Sängerknaben, Wiener Philharmoniker, André Cluytens

2 - Edita Gruberová (Gretel), Ann Murray (Hänsel), Gwyneth Jones (The Mother), Christa Ludwig (The Witch), Franz Grundheber (The Father), Kinder- und Damenchor der Dresdner Staatsoper, Staatskapelle Dresden, Colin Davis

3 - Helen Donath (Gretel), Anna Moffo (Hänsel), Charlotte Berthold (The Mother), Christa Ludwig (The Witch), Dietrich Fischer-Dieskau (The Father), Tölzer Knabenchor, Bayerischer Rundfunk Symphonie Orchester, Kurt Eichhorn

4 - Elisabeth Schwarzkopf (Gretel), Elisabeth Grümmer (Hänsel), Maria von Ilosvay (The Mother), Else Schürhof (The Witch), Josef Metternich (The Father), Choirs of Leighton High School for Girls and Bancroft's School, Philharmonia Orchestra, Herbert von Karajan

5 - Ruth Ziesak (Gretel), Jennifer Larmore (Hänsel), Hildegard Behrens (The Mother), Hanna Schwarz (The Witch), Bernd Weikl (The Father), Tölzer Knabenchor, Bayerischer Rundfunk Symphonie Orchester, Donald Runnicles

6 - Lucia Popp (Gretel), Brigitte Fassbaender (Hänsel), Júlia Hamari (The Mother), Anny Schlemm (The Witch), Walter Berry (The Father), Wiener Sängerknaben, Wiener Philharmoniker, Georg Solti

7 - Edita Gruberová (Gretel), Brigitte Fassbaender (Hänsel), Helga Dernesch (The Mother), Sena Jurinac (The Witch), Hermann Prey (The Father), Wiener Sängerknaber, Wiener Philharmoniker, Georg Solti

8 - Renate Hoff (Gretel), Ingeborg Springer (Hänsel), Gisela Schröter (The Mother), Peter Schreier (The Witch), Theo Adam (The Father), Dresdner Kreuzchor, Staatskapelle Dresden, Otmar Suitner

9 - Barbara Bonney (Gretel), Anne Sofie von Otter (Hänsel), Hanna Schwarz (The Mother), Marjana Lipovsek (The Witch), Andreas Schmidt (The Father), Tölzer Knabenchor, Bayerischer Rundfunk Symphonie Orchester, Jeffrey Tate

10 - Malin Hartelius (Gretel), Liliana Nikiteanu (Hänsel), Gabriele Lechner (The Mother), Volker Vogel (The Witch), Alfred Muff (The Father), Opernhaus Zürichs Orchester und Kinderchor, Franz Welser-Möst

 

Humperdinck’s masterpiece, Hänsel und Gretel, has both the reputation of being an opera for children and a Wagnerian sound-alike. Both are exaggerated opinion. It is true that Humperdinck composed this as an operatic fairy tale and that it has charmed children all over the world, but the score is serious enough, one of the richest in every musical sense in the repertoire. It is known that Humperdinck once composed some bars to make for a longer change of scene in Bayreuth and this has been used as an evidence of the composer’s quality as an imitator of Wagner. Yes, he was under the influence of Wagner, in the same way Bruckner and Richard Strauss were - but Humperdinck has his own voice with its intense melodism, dance rhythms and colourful use of the orchestra (which is more "Straussian" than Wagnerian, in my opinion). As a matter of fact, Richard Strauss conducted the first performance and said this was an "original and new work". Wagner’s son, Siegfried, said this was the "most significant German opera since Parsifal".

Anyway, the piece couldn’t be more charming than it is - and the success with great singers and conductors is only an evidence of it. Also, the plot, with its fairy-tale surroundings involving some quite "psychological" background, has awakened some interest - sometimes, it is only the relative "crudeness" of German fairy tale tradition that calls attention (although, the mother of the original story was, as a matter of fact, an evil stepmother that gets rid of the kids on purpose). The cast involves six roles for soprano and one for baritone, although mezzos appear now and then as Hänsel, the Mother and the Witch, generally to add character. The main challenge is to balance the characterization with musical values. Some sopranos end on sounding silly trying to be childlike and some Witches are unsufferable with exaggerated grotesque performances.

Cluytens’ recording on EMI, the first in stereo, is quite a disappointing entry in this discography, especially because it looked so promising. The recorded sound is edgy and doesn’t allow complete clarity - also because the distinguished conductor was in bureaucratic mood. The Vienna Philharmonic is not of great help in this context. Anneliese Rothenberger is a most congenial soprano, but the wrong kind of voice for Gretel - it is basically too womanly. On the other hand, Irmgard Seefried seems like the obvious choice for a soprano Hänsel. Her clear and firm tone and fortright manners serve the role really well - and she and Rothenberger interact with amazing spontaneity. Grace Hoffman is impressive as the Mother, and Walter Berry is a strong Father too. Liselotte Maikl sing both tiny roles in a charming way, but Elisabeth Höngen’s Witch lacks charisma and the voice was a bit greyish by then.

Although completely clear articulation is not Colin Davis’ forte, this Hänsel und Gretel is probably his best operatic recording and one of the really best in the discography. He is particularly able to catch the right mood of each scene - the beginning and the end are light and animated, the forest scenes are aptly slower and darker - only the Witch "aria" could be less well-behaved. Moreover, Davis counts with this most fabulous of orchestras, the Staatskapelle Dresden, in glowing shape, with exquisite woodwind playing throughout - all of this spaciously and warmly recorded by Philips. It counts with a strongest cast too. Even if the voice was purer for Solti, Edita Gruberová has no rivals as Gretel: her voice is light and delicate when necessary and she floats high pianissimi to make most sopranos envious. Also, her usual intelligence and sensitivity are conveyed to produce a child-like interpretation without caricature. Although Ann Murray’s voice tends to get unfocused in the top notes, she shares with Gruberová the ability to produce pianissimo singing (loveliest Evening Prayer) and to find the optimal level of characterization. They interact strongly and the voices are contrasted and match beautifully too. Gwyneth Jones is in powerful voice and, although the tone is sometimes lacking firmness, it is within the levels of acceptability and makes the Mother a more dominating character and we understand why the children are scared when she looses her temper. Christa Ludwig’s second recorded Witch is a complete contrast to the first performance - which was subtler and more sophisticated. Here she is more extrovert and a little bit more bizarre - and the extra weight of the voice and its maturer shape are all in accordance with it. Franz Grundheber is also a most spontaneous Father. The casting of the small roles is glamourous: with a loveliest Sandmann from Barbara Bonney and a charming Taumännchen from Christiane Oelze.

Eichhorn’s recording had everything to be the top recommendation in the discography. Everything is perfect with the exception of one member of the cast - but it is defeated by the recorded sound. When the orchestra is alone it joins the apparently opposite qualities of being analytic and spacious at the same time. But voices are so closely recorded and in such a different acoustics (in Helen Donath’s case it sounds as if she was recorded in an empty hall) that there is little possibility of naturality. It has been a turn-off for me. Otherwise, the rest is admirable. Kurt Eichhorn’s conducting is simply the clearest and more theatrical in the discography, showing every litle detail in this richest score in its perfect dramatic sense. And the Munich Radio Orchestra is in strong shape, with lush string sound. Helen Donath sounds born to sing the role of Gretel, with a voice that sounds girly by nature - she does not have to make it, it is already there. Post-wreck Anna Moffo is the weak link of the cast - she is not bad, but her then vibrant "mezzo" lacked the richness of resources of her colleagues. Charlotte Berthold is a bit indifferent as the Mother, but Christa Ludwig offers here the best Witch in the discography. Her voice was at its most impressive and she doe not miss a bar to create a character that is, at the same time, utterly funny and utterly scary. A classical performance. Then there is Dietrich Fischer-Dieskau’s wonderful Father - he was in great voice and offers a performance that is intelligent without being exaggerated. Lucia Popp is a Taumännchen full of energy and Arleen Augér is a light and relaxed Sandmann.

Karajan offers a theatrical and personal account of Humperdinck's masterpiece. No other conductor rivals his thorough and imaginative use of orchestral colouring and sense of atmosphere. More than that, one can feel that the conductor has in mind that this is an opera for children only through his expert use of the effects in the score. Also, the Philharmonia Orchestra is up to the task and EMI's mono sound is clear enough. Naturally, voices are favoured, but not so much as to spoil structural clarity. Nevertheless, Karajan's whimsical playing with tempo and dynamics does make some scenes - especially those in which some lyricism is involved - pointless due to dragging tempi and unarticulated phrasing. This is also quite harmful in scenes where things should be animated, such as in the Witch's "aria", which is made to sound dull here. Those who insist on spontaneous interpretation should avoid this recording as well, since naturalness is not this cast's main quality. The most serious "offender" is, of course, Elisabeth Schwarzkopf as Gretel. Probably because her voice has nothing girly about it, she compensates that with massive use of cute effects. I have to confess that this has disturbed me less than what I would have imagined, since she is in good voice and, even if most of what she does is amazingly artifficial, it is still funny sometimes. With her warm and creamy soprano, Elisabeth Grümmer is an endearing Hänsel - and she is far more economic about her child-like effects than Schwarzkopf. Maria von Ilosvay's rich mezzo is an asset as the Mother and Josef Metternich's Wotan-like Father is still impressive. Else Schürhof's Witch is creative enough. Before the hocus pocus, she sings in a worn tone. When she reveals herself as the witch, she sings out in a richer mezzo soprano voice and the effect is quite telling. That said, it is still a less than impressive performance, because she has poor discipline. On the interpretative side, she goes for the usual clichés and even adds some extra "evil" laughs. Anny Felbermayer is below standard as the two fairies.

Donald Runnicles' recording is a strong entry in the discography. To start with, Teldec's wonderfully spacious recorded sound is an asset, especially when the Bavarian Radio is in such great shape, providing heavenly crystalline sounds throughout. Runnicles concentrates on providing exquisite sonorities and clear textures. This is probably the most recommended performance for those who are interested in structure - motivic connection is more easily noticed here than in any other recording. However, this symphonic approach is not necessarily the most theatrical one. Now and then one feels that forward movement is lacking - even when tempi are actually fast. As a result, there is a sameness in atmosphere, which makes the children's playing not really playfull or the forest scene less mysterious than it should be. Maybe more incisive phrasing would be useful to give some character to Runnicles' soft-edged view of this score. The children's roles are sung without any affectation. Ruth Ziesak is a fresh sounding Gretel, while Jennifer Larmore is a discrete and dark-toned Hänsel. On the other hand, Hildegard Behrens and Bernd Weikl are everything but fresh-toned. That said, they are characterful and forceful as the parents. Hanna Schwarz is an efficient Witch, relying on the usual clichés to build her character. Both Rosemary Joshua and Christine Schäfer are delightful as the fairies.

August Everding’s film is my favourite opera film - it is so beautiful and so funny and so well cast. It brings laughter and tears all the way. More than that: Solti is in light mood and brings a good-humoured and energetic performance from the Vienna Philharmonic in its most blessed shape. The cast could not be nicer. Edita Gruberová is the reference for her role and looks really cute as Gretel. The whole cast’s level of acting is so high that singling out Gruberová seems mean - but I have to confess she (and maybe Prey) are the responsible for the funniest scenes. Brigitte Fassbaender is one of the darkest voiced Hänsels in the discography, but sings in a light, spontaneous mood and blends well with Gruberová. She looks aptly boyish too. Helga Dernesch is the best Mother in the discography - she is in splendid voice. Sena Jurinac’s Witch cannot be described as a veteran’s performance - her voice is in such good shape and she herself brings so much energy and wit to the Witch that she ends on being irresistible. Hermann Prey’s Father is also a marvellous impersonation. He is in great voice and is congeniality itself.

Solti’s previous recording lacks the charm of the video performance. It is rather heavy and lacking atmosphere. Decca’s recorded sound does not help a lot - with its overbig acoustics. The cast is also quite disappointing. Lucia Popp sings with her customary good taste, musicianship and engagement, but her voice sounds a bit "adult" for Gretel. Fassbaender is as good as she would be in the video and partners Popp beautifully too. Júlia Hamari's voice is a bit on the light side for her role, but the edge helps her to portray a stressed mother. Anny Schlemm’s cast is a bit more serious - her voice is totally worn and she seems to find this positive for her role. It is a bit of a freakshow. For one listening, it can have its effect, but it becomes more and more annoying with repetition. Walter Berry is again an excellent Father, though. As in the video, Norma Burrowes is a pleasant Sandmann. On the other hand, Gruberová sings her Taumännchen too grandly.

Otmar Suitner and the Dresdeners offer a truly exciting orchestral tour de force in the Telefunken recording, which is naturalness itself. One could point out that the voices are somewhat too closely recorded, but the engineering has succeeded in wrapping them in rich and transparent orchestral sound. Although clarity is outstanding, Suitner's flowing and amazingly accurate phrasing and energetic tempi stand out: this is definitely the most animated recording in the discography. Unfortunately, casting is not up to the stratospherically high level of orchestra and conductor. Renate Hoff's soprano sounds proper to the role at first sight, but a fluttery vocal production becomes closer and closer to instability and, in the end, this is the only aspect of her performance one can think of. On the other hand, Ingerborg Springer is a clear-toned and down-to-earth Hänsel, undisputedly the best soloist in this performance. Gisela Schröter is an uncreative but reliable Mother, while the only thing between Theo Adam and success is a manner too grand for the role. The idea of casting the role of the Witch with a tenor verges on being self-defeated. The tessitura is actually low for a tenor and, although Peter Schreier sings very well in fact, he simply cannot compete with a Christa Ludwig or a Marjana Lipovsek, because the results are simply unexciting.

Jeffrey Tate’s performance is a good example of overrating. It appeared as a definitive recording, but repeated listening has showed that media had lot to do with it. To start with, EMI recorded sound lacks definition and Tate doesn’t ensure that articulation is a strongest point. As a result of it, much of the Bavarian Radio orchestra’s lovely playing ends on sounding blurred. On the positive side, it has plenty of atmosphere, particularly in the rightly celebrated forest scene, which sounds quite mysterious here. Barbara Bonney’s cool vocalism and pure tone suit Gretel - I would write "to perfection", but I feel she is not having so much fun as Gruberová, for example, did. On the other hand, I have never warmed to Anne Sofie von Otter’s Hänsel. I think that the voice, although light, is a bit ripe for the role, and her characterization tends to be exaggerated. She is best when singing lyrical passages, where her floating mezza voce makes wonders. I have not also found anything much in Hanna Schwarz’s Mother - it is a bit edgy and unlovely. Nevertheless, Marjana Lipovsek’s Witch is a complete success. She has a most attractive voice and tons of insight. Her Witch is not trying to be funny for one moment - and is particularly effective because of that. She savours every word of her text and is the main feature of this recording. Andreas Schmidt is a light artless Father, but the small roles are poorly cast. Barbara Hendricks has nothing special to offer as Sandmann since her low register is unfocused and Eva Lind is at her shrillest as the Taumännchen.

Welser-Möst's performance is not as energetic and brilliant as Suitner's or Eichhorn's, but rather concentrates on clear and beautiful orchestral sounds. He gives the score time to breathe and his soloists plenty of operating space. With the help of images, the result is certainly theatrical, since the cast is generally competent in their acting skills and the production is ingenuous and charming in an artless way. Malin Hartelius' golden-toned Gretel and Liliana Nikiteanu's velvety-voiced Hänsel are refreshingly unaffected and pleasing all the way. Gabriele Lechner's Gertrud is too much the Fricka wannabe, while Alfred Muff is too throaty and scoop-y for comfort. Volker Vogel is funny and unexaggerated (considering what kind of role this is), but he still has the problems with lower tessitura every tenor is bound to endure in this part. Martina Jankova is a complete charmer as the Sandmann and, although a different singer is said to take the part of the Dew Fairy, it seems that Jankova is also singing that part (I sincerely hope so - otherwise, Jankova would have to live with the fact that someone looks and sings just like her).

 

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