Review: Hansel and Gretel

Let’s face it – intuitively you would think that an opera in the Sheldonian would be something that would appeal only to the more senior figures of our grandiose University, with rather few of us students overwhelmed with excitement by an invitation. But that simply doesn’t hold true for this adaptation of Engelbert Humperdinck’s Hansel and Gretel by the Opera Studio Oxford. It defeats almost all the clichés of opera with a pretty simple but very appealing decor, a storyline that most of us know from childhood, a very laid-back atmosphere that is far from requiring prior consultation of Debrett’s, highly reasonable pricing, and (perhaps most importantly) a gingerbread house.

The Sheldonian provides a compelling backdrop for a mise-en-scène that features a fantastic cast of international names and an orchestra, led by Tim Anderson, that really manages Humperdinck’s melodious balance between enchantment and dread.

As mentioned, the cast is outstanding with the most fascinating character in the intriguing villain-witch. Pretty sexy in her madness, Katja Zhylevich takes the stage as the best mixture of Cruella De Vil and Bellatrix Lestrange in both appearance and character that I’ve ever seen. And both, Hansel and Gretel and the public are bewitched in a combination of alarm, incredulity and amazement within a split-second. Cruel intentions become apparent at first when the seductiveness of Zhylevich’s perfect mezzo-soprano gives away to a raucous laughter and we know that the twins’ intuitive presentiment of danger about that lady with the highly practical wand/cigarette holder, was true…

There are, of course, small amendments that would make it an even better production: the stage is pretty small and low as compared to the orchestra, so that sitting slightly higher up works out better than getting those front row seats.  And only Yale graduate Joshua Copeland’s voice manages to always carry over the accompaniment. But that’s easily forgivable with such a high-quality orchestra. After all, very few things compare to a theatre filled with powerful classical music.

Nevertheless, slight technical shortcomings like these will not stop you from leaving, humming, with a big smile on your face and the feeling that even with an all-nighter ahead of you, the world really isn’t too bad.

For more information on this term’s classical and contemporary music see here.