Review: San Francisco Opera’s “Hansel and Gretel”—happily ever after, with adult moments
San Francisco Opera’s new co-production with London’s Royal Opera of Humperdinck’s “Hansel and Gretel” features Heidi Stober (L) as Gretel and Sasha Cooke (R) as Hansel. Photo: Cory Weaver/ SFO
San Francisco Opera (SFO) has officially kicked off the holiday season with it’s wonderfully staged new co-production of German composer Engelbert Humperdinck’s “Hansel and Gretel.” This family-friendly English-language adaptation of the Grimm Brothers’ classic tale follows an impoverished brother and sister who get lost in dense woods and come upon an enticing edible house owned by a witch who lures children in and then roasts and eats them.
Beautiful singing from beloved mezzo Heidi Stober (Gretel), soprano Sasha Cooke (Hansel) and talented supporting singers, along with plush romantic-era music from the San Francisco Opera Orchestra under conductor Christopher Franklin are all pure delight. With Ian Robertson directing the members of the SF Opera Chorus and a special children’s chorus comprised of members of the San Francisco Girls Chorus and San Francisco Boys Chorus, the experience is both sophisticated and magical. Running just two hours and 12 minutes, the shortish opera is perfect for families.
Act I of Humperdinck’s “Hansel and Gretel” features mezzo soprano Michaela Martens as Gertrude, the mother (L), and bass-baritone Alfred Walker as Peter, the father (R). Photo: Cory Weaver/ SFO
What’s unique about this co-production with London’s Royal Opera House by British director and production designer Antony McDonald, is that the original Brothers Grimm story, published in 1812 in Children’s and Household Tales, has been changed significantly. Librettist Adelheid Wette, Humperidinck’s sister, wrote her version of Hansel and Gretel in 1983 to appeal to German opera audiences while addressing pressing issues of the day—child labor, callus treatment of children, education and gender roles in the household. In Act I, Hansel and Gretel work right beside their parents, with little time for childhood frivolity. In the original Grimms’ tale, the father and stepmother are painted as awful characters who deliberately abandon their children. Wette turned the stepmother into the actual mother, and she doesn’t die in the end. Instead of being a woodcutter, the father is a broom-maker, a critique of patriarchal authority.
Antony McDonald has further softened many of harsh aspects of the original tale and added new characters. The father is not portrayed as a drunk; when the mother sends the children into the forest to forage for strawberries and they do not return home; both parents go to look for them. Even when they are lost and frightened, the children distract themselves with play.
Act II’s “Dream-Pantomime” scene in SFO’s new co-production of “Hansel and Gretel” includes characters from other Brothers Grimm fairy tales. Photo: Cory Weaver
The addition of new characters may come as a surprise. In Act II, a delightful Sandman (mezzo Ashley Dixon, Adler Fellow) appears to lull the lost children to sleep. As the children say their evening prayers and begin to fall asleep, instead of being attended to by angels, several characters from the other Grimm Brothers’ fairy tales make cameo appearances, including Little Red Riding Hood (Sarah Nadreau), the Wolf (Sarah Yune), Prince Charming (Michael Bragg), Snow White (Stacey Chien), Rapunzel (Nina Rocco), Rumpelstiltskin (Kay Thornton), Will-o’-the-wisp (Chiharu Shibata). As the opera’s final act begins, Hansel and Gretel are awoken at dawn by a Dew Fairy (soprano, Natalie Image, Adler Fellow) who sprinkles them with glistening drops from her water can.
Depending on your preference for adhering to the authentic story, these additions will either delight or annoy you. Compared to the computer-generated creatures that dominate the screens and kids’ attention nowadays, these furry animals and real human characters add quaint charm. Antony McDonald is a Royal Designer for Industry, a title he was awarded in the UK honoring his decades of experience designing and directing imaginative productions for opera, theater, and ballet. Recognizing that “Hansel and Gretel” may be a young child’s first experience of opera, he stated he wanted it to be “visually arresting and engaging, creating a balance of fear and delight.” He has succeeded.
Robert Brubaker as the witch and Heidi Stober as Gretel in Humperdinck’s “Hansel and Gretel” at SFO. Photo: Cory Weaver/SFO
Still, the opera goes to some very dark places. With all we know about child molesters who pretend to be something they are not to prey upon innocent children, the gender-changing witch (tenor Robert Brubaker) takes on terrifying connotations. On the other hand, the addition is relevant and timely.
Sasha Cooke as Hansel in Humperdinck’s “Hansel and Gretel.” Photo: Cory Weaver/ SFO
This performance reunites powerhouses Cooke and Stober who wowed SFO audiences in June when they co-stared in Handel’s baroque masterpiece, Orlando. (https://genevaanderson.wordpress.com/2019/06/21/meet-richard-savino-whose-baroque-instruments-add-period-splendor-to-handels-orlando-at-sf-opera-through-june-27/ )
Mezzo Sasha Cooke was fabulous and abuzz with youthful energy in the pants role of Hansel. She had a huge stage presence and sang a number of duets where her warm voice sparkled. She harmonized wonderfully with soprano Heidi Stober who delivered an energetic and delightful Gretel and dazzled in her demanding soli and duets.
Heidi Stober as Gretel in Humperdinck’s “Hansel and Gretel.” Photo: Cory Weaver/SFO
Just before last Sunday’s opera began, SFO General director Matthew Shivlock took the stage to announce that mezzo Michaela Martens, cast as Gertrude, the mother, was ill and that first year Adler Fellow, mezzo Mary Evelyn Hangley, would replace her. Hangley took the ball and ran with it, singing the role with confidence in her surprise SFO debut. These unexpected moments make live opera so exciting.
Bass baritone Alfred Walker as Peter, the father, delivered powerful singing and brought requisite intensity to the role, especially when celebrating the boom in broom sales that put food on his impoverished family’s table. Tenor Robert Brubaker was wonderful as the frightening witch who ultimately is pushed into the oven and roasted. More sensitive young viewers may react to seeing the witch corpse in Act III.
The opera’s sets masterfully recreate beloved landscapes from storybooks, from the initial show scrim—a blown-up photo of a romantic valley scene, to the quaint cabin kitchen scene, to the ominous wood forest—to the witch’s creepy chocolate house with a huge knife across the roof and a cherry on top.
In Act I and throughout the opera, a large cuckoo clock atop the proscenium has motorized hands which spin round to mark the passage of time. The actual sound of the cuckoo comes from behind the orchestra pit and is preformed by percussionist Victor Avdienko, playing his custom-made flute-like instrument,“L”Cuckoo,” made out two PVC pipes. In Act II, a large automated moth and beetle move slowly around the proscenium seemingly encircling the exquisitely shadowed forest, lit by Lucy Carter.
Act III of Humperdinck’s “Hansel and Gretel” with Heidi Stober as Gretel and Sasha Cooke as Hansel features a witch’s house inspired by Alfred Hitchcock’s thriller Psycho. Photo: Cory Weaver/ SFO
In Act III, the banister of the witch’s house that Gretel breaks off is made on the morning of each performance from dark chocolate that is cast in a mold and baked. The finished piece is dry brushed with white chocolate to resemble wood. The house itself was inspired by Hitchcock’s Psycho.
In all, “Hansel and Gretel” is very satisfying due to its high entertainment factor and family friendly vibe. If you do attend, come early to watch the mayhem. There is something wonderfully energizing about seeing the opera house full of happy children scurrying around in a scavenger hunt.
Family Activities:
Gingerbread Hunts: Children with performance tickets are invited to participate in a gingerbread scavenger hunt that starts in the Opera House lobby before every performance.
Character Meet and Greets: Following the performances on Saturday, Nov. 30 and Sunday, Dec. 1, audience members can meet fairy tale characters in the Opera House lobby.
Exploration workshops for families: “All About Hansel and Gretel” workshops, perfect for children ages 6 and above, explore the opera’s story, music, production design and characters. Saturday, Nov. 30 at 11 am and 12:30 pm at the Wilsey Center for Opera, Veterans Building, 4th floor, 401 Van Ness Avenue, San Francisco. Tickets: $10 per person. Purchase online here.
Details:
There are five remaining performances of Hansel and Gretel—Sat, Nov. 23, 7:30 pm; Sat, Nov 30, 2 pm; Sunday, Dec 1, 2 pm; Tues, Dec 3, 7:30 pm; and Sat, Dec 7, 7:30 pm. War Memorial Opera House is located at 301 Van Ness Ave, San Francisco. Tickets: $26 to $398. Admission for children under 18 is available at 50% off with the purchase of one or more adult tickets in certain sections. Info: (415) 864-3330 or www.sfopera.com
Saturday, November 9, is Open House at San Francisco Opera
San Francisco Opera is reaching out to families to build future audiences. SFO hosts its second Community Open House on Saturday, November 9, and on November 24 and 30th, SFO will host “The Barber of Seville for Families,” a special two-hour long family-friendly production of Rossini’s hilarious opera. Photo by Marie-Noelle Robert/Theatre du Chatelet.
San Francisco Opera (SFO) will host its second Community Open House at the War Memorial Opera House this Saturday, November 9, from 10:30 a.m. to 2:30 p.m. Free to the public, this special community event is structured for individuals and families who have a curiosity about opera and are interested in learning more about the world of opera, including production and artistic elements. Children are welcome.
* Musical presentations at 11:20 a.m. and 12:50 p.m. will feature music from Rossini’s The Barber of Seville conducted by Resident Conductor Giuseppe Finzi and vocal selections featuring Adler Fellows Laura Krumm and Joo Won Kang.
* Musical presentation at 12:10 p.m. will feature the San Francisco Opera Chorus, led by Chorus Director Ian Robertson
* Activities include sing alongs with the Adler Fellows (10:30 & 11:20 a.m.), stage combat workshops (10:40 & 11:20 a.m. and 12:50 & 1:40 p.m.), costume demonstrations (12:50 & 1:40 p.m.) and an opportunity to meet General Director David Gockley (1:40 p.m.)
* Other activities in the opera house lobbies will include arts and crafts projects, a table exploring San Francisco Opera’s archives, a costume photo booth, opera videos on demand and wig and makeup demonstrations.
* Attendees can enter to win tickets to SFO’s “The Barber of Seville” (11.13.2013 – 12.1.2013) or “The Barber of Seville for Families” (11.24.2013 and 11.30.2013).
Details: War Memorial Opera House is located at 301 Van Ness Avenue, San Francisco. One of the last Beaux-Arts structures built in the United States, the Opera House seats 3,146, with 200 standing room places. Every performance features supertitles (English translations) projected above the stage, visible from every seat.
For more information on San Francisco Opera and their upcoming performances, visit http://sfopera.com/Home.aspx
Driving to San Francisco and Parking: Be sure to allow ample time when driving into San Francisco and crossing the Golden Gate Bridge—there is frequently a delay on Highway 101 South due to ongoing road expansion work. Arrive early at your parking garage of choice because those also fill up, especially when the San Francisco Symphony is performing on the same day. Recommended Garages: Two garages are very close to War Memorial Opera House— the Performing Arts Garage (1/2 block) (Grove Street between Franklin and Gough Streets) and Civic Center Garage (roughly 2 blocks) (McAllister Street between Polk and Larken Streets) (both have flat $15 pay cash as you enter policy on performance nights)
Review: Richard Wagner’s “The Flying Dutchman,” at San Francisco Opera through November 15, 2013
American baritone Greer Grimsley is the Dutchman and American soprano Lise Lindstrom has her San Francisco Opera debut as Senta in Richard Wagner’s “The Flying Dutchman,” at SFO through November 15, 2013. The production underwent a dramatic scenic overhaul with the last minute firing of its director/set designer and features bold video projections of turbulent waves, leaping flames and a myriad of abstract images. Photo: Cory Weaver, SFO
In Richard Wagner’s early opera “Der Fliegende Holländer” (“The Flying Dutchman”), a ship’s captain is satanically cursed to roam the seas for centuries and is allotted just one chance every seven years to dock and come ashore and find redemption through the love of a woman. San Francisco Opera’s (SFO) production, intended to commemorate the 200th anniversary of Wagner’s birth, features lyrical music and beautiful singing but the over-abundance of video projections in constant churning motion detract from the music’s splendor. Aside from this, last Sunday’s matinee performance featuring American bass baritone Greer Grimsley as the Dutchman and American soprano Lise Lindstrom as in her SF Opera debut as Senta, with Patrick Summers conducting and Ian Robertson at the helm of the chorus, was highly enjoyable.Behind the scenes, the waves had been quite choppy at SFO before the Dutchman opened. Petrika Ionesco, the original director and set designer of this co-production with Belgium’s Opéra Royal de Wallonie, was sacked by SFO General Director David Gockley just one week before the SFO premiere, with Glockley citing artistic differences. A written statement from Gockley in our press kit mentions eliminating 40% of Ionesco’s scenic pieces, simplifying the staging, cutting down the use of supernumeraries, and providing more clarity. Assistant Director Elkhanah Pulitzer stepped in and did the best she could. Production designer S. Katy Tucker worked rapidly to refine and expand the video projections.
The production starts out quite promising. While the orchestra’s lush Overture poetically conjures the turbulence of the tossing sea, captivating projections of surging waves fill the screens. In another early scene, Senta, who will become the focus of the Dutchman’s salvation, is by the sea with a toy boat and a lovely impressionist mood is evoked with. This scene foretells her sacrifice. But very soon, it becomes too much. Coming from all sides of the stage; the projections are bold, immense, colorful, dizzying and far from simple. Except maybe the color coding—red waves signified the Dutchman and his deathly realm while gray ones the bleak real world. In Act I, we witness these projections whipping a violent storm and clouds while Daland (Kristinn Sigmundsson) stands in front of the chorus of roughly 25 sailors who are singing and swaying from left to right while the Steersman above them grips the ship’s wheel —I chose to close my eyes and just listen! How far we’ve come though. We used to complain about how static the sets were. Now, with so much technical infrastructure at our disposal, it’s easy to get carried away.
The Dutchman, Wagner’s second opera, is full of lush passages and its dramatic music anticipates his future works. His leitmotifs are all introduced in the overture and it’s fun to listen for them as the performance progresses. Patrick Summers drew excellent playing from his orchestra throughout but, on Sunday, there were some occasional balance problems where singers were overpowered by orchestral sound.
Greer Grimsley is the Dutchman and Lise Lindstrom is Senta in Richard Wagner’s “The Flying Dutchman,” at San Francisco Opera through November 15, 2013. This year marks the 200th anniversary of the composer’s birth. Photo: Cory Weaver, SFO
Strapping Wagnerian Greer Grimsley sang the title role with passion. He made his mesmerizing entrance in a tight black t-shirt with his long hair slicked back and sported a huge dangling pendant and provided most of the energy in the performance. From his Act I duet with Daland/Sigmundsson, “Wie? Hör’ ich recht?” (where the treasure/daughter exchange is made), to his duets with Senta/Lindstrom, his voice reflected anguish, tenderness, power and clarity. At intermission, I met a couple who had travelled from Seattle just to hear him sing again. Originally from Hamburg, they remarked that his German pronunciation was impeccable.
Kristinn Sigmundsson’s strong bass as Daland is the first voice we hear. Bold, deep and gravelly, it projected the maturity and evil-edged nature of his character—a father who is supposed to be protecting his daughter but instead sells her off to a stranger for a trunk of treasures. Tenor and Adler Fellow, AJ Glueckert, as his Steersman, had a lovely lyrical tenor. We’ll get a chance to hear more of Glueckert on November 27, when the current crop of Adler Fellows perform their always spectacular “The Future is Now” concert of opera’s greatest hits.
Tenor Ian Storey sung passionately as Erik, a lone hunter amongst a community of sailors, who is devoted to Senta and who tries to woo her at every turn. Storey made his SFO debut in the Company’s 2011 Ring cycle as Siegfried in Götterdämmerung. On Sunday, not only was his singing impeccable, he came across as a young man sincerely in love.
Ian Storey is Eric, the huntsman, who is jilted by Senta in Richard Wagner’s “The Flying Dutchman,” at SFO through November 15, 2013. Photo: Cory Weaver, SFO
Lise Lindstrom’s SFO debut as idealistic Senta, was strong in the singing and so-so in the acting. On Sunday, she sang Senta’s ballad with vibrancy and her voice exhibited a lovely range. As a young woman who is psychologically obsessed with an idealized love, and experiencing inner turmoil, she was wanting though. As the opera’s lynchpin, her character has to channel those conflicting core emotions that drive the drama to her final sacrifice. In this regard, she was flat as was her dramatic jump off the cliff into the icy waters, which was more of a hop.
Saturday, November 9, is Open House at SFO—SFO will host its second Community Open House at the War Memorial Opera House this Saturday, November 9, from 10:30 a.m. to 2:30 p.m. Free to the public, this special community event is structured for individuals and families who are interested in learning more about the world of opera, including production and artistic elements. Children are welcome.
The 2013 Open House will feature onstage musical demonstrations including highlights from Rossini’s “The Barber of Seville” with the SFO Orchestra conducted by Resident Conductor Giuseppe Finzi and vocal selections (sung in English) featuring Adler Fellows Laura Krumm and Joo Won Kang. The SFO Chorus, led by Chorus Director Ian Robertson, is also featured in an onstage musical demonstration.
Other activities include sing-alongs with the SFO Chorus and Adler Fellows; stage combat workshops; costume, wig and makeup demonstrations; a costume photo booth; an opportunity to meet SFO General Director David Gockley; and hands-on family activities throughout the opera house. Costumes will also be on display. Attendees can enter to win tickets to SFO’s “The Barber of Seville” (11.13.2013 – 12.1.2013) or “The Barber of Seville for Families” (11.24.2013 and 11.30.2013).
Details: There are three remaining performances of The Flying Dutchman—Thursday 11/7 at 7:30 PM*; Tuesday 11/12 at 7:30 PM* and Friday 11.15 at 8 PM (* OperaVision performance: HD video projection screens in the balcony). Tickets range from $30 (Balcony) to $385 (Box) and may be purchased at www.sfopera.com , at the San Francisco Opera Box Office, or by phone at (415) 864-3330. War Memorial Opera House is located at 301 Van Ness Avenue, San Francisco. One of the last Beaux-Arts structures built in the United States, the Opera House seats 3,146, with 200 standing room places. Every performance features supertitles (English translations) projected above the stage, visible from every seat.
For more information on San Francisco Opera and their upcoming performances, including Falstaff, visit http://sfopera.com/Home.aspx
Free Pre-Opera Talks: 55 minutes prior to curtain time, music educators give 25-minute overviews of the opera. These informative talks are free to ticketholders and take place in the Orchestra section with open seating.
Driving to San Francisco and Parking: Be sure to allow ample time when driving into San Francisco and crossing the Golden Gate Bridge—there is frequently a 15 to 30 minute delay on Highway 101 South due to ongoing road expansion work. Arrive early at your parking garage of choice because those also fill up, especially when the San Francisco Symphony is performing on the same day. Recommended Garages: Two garages are very close to War Memorial Opera House— the Performing Arts Garage (1/2 block) (Grove Street between Franklin and Gough Streets) and Civic Center Garage (roughly 2 blocks) (McAllister Street between Polk and Larken Streets) (both have flat $15 pay cash as you enter policy on performance nights)
SF Opera’s Lyrical Lohengrin—singers, chorus and orchestra add up to music for the ages…meet Camilla Nylund this Sunday when she signs cds
Now in his 4th season with San Francisco Opera, Music Director Nicola Luisotti has proven many times over that when a production is theatrically flat, he will awaken it musically. And that he did on Saturday, dazzling again, as he energetically tackled Wagner for the first time ever in San Francisco Opera’s production of Richard Wagner’s Lohengrin, which runs through Friday, November 9, 2012. At Saturday’s premiere performance, the lush music coming from Luisotti’s orchestra directed the singers and Ian Robertson’s marvelous opera chorus as they filled the opera house with one of the most musically memorable Lohengrins ever.
But as divine as the music was, British theatre and opera director Daniel Slater’s production itself was disappointing. Abandoning Wagner’s 10th century Belgium setting and, instead, taking inspiration from the military and political contexts surrounding the 1956 Hungarian Revolution, Slater’s update could have been interesting but failed to fly. When combined with Robert Innes Hopkins’ dull sets and bland costumes, the result was a visually drab experience that made me wonder if this was the same opera company that had so delighted us this summer with its astoundingly visual Magic Flute, brought to life by artist Jun Kaneko. With the advent of high-definition video via satellite (HD simulcast), which has become increasingly popular since its introduction in 2006, opera has reached a turning point. Production values need to be as high as musical values, otherwise the result is major attrition from live local performances to the $23 (cheaper) and sometimes immensely more interesting HD broadcast offerings available at the local movie theatres.
Why see this production then? Tenor Brandon Jovanovich is one reason. The entire opera is anchored by his superb and consistently lyrical singing in the role of Lohengrin, the mysterious Knight of the Grail, who appears to defend the princess Elsa who has been accused wrongly of the murder of her brother. Jovanovich, who delivered a vibrant Siegmund in SFO’s 2011 production of Die Walküre, was again mesmerizing and unfaltering all night long in the vocally grueling role. While his most notable arias are in Act III— “In fernem Land” and Mein lieber Schwan—his singing throughout was big and yet expressively romantic. His voice blended beautifully with Finnish soprano, Camilla Nylund, his love interest. From the moment Jovanovich/Lohengrin came on stage to bid the swan farewell, there was no question that Elsa would agree to marry him and to never ask his name or history. This tall and strapping stranger was in all ways heroic and the roaring ovation he received from the audience was well-deserved.
In her San Francisco Opera debut, the Finnish soprano, Camilla Nylund, captured the maiden Elsa’s dreamy nature and sung beautifully. She’s a truly tragic heroine whose idealistic faith and trust are shattered. She enters in Act I wrongfully accused of murder and spends most of Acts II and III in anxiety, as she is humiliated on her way to the altar. She then breaks her martial vow and later collapses. A particularly juicy moment came when Nylund unleashed her considerable vocal reserve on Petra’s Lang’s cunning, showing that she was not all milk toast. Her voice blended well with Jovanovich, particularly in their Act III duet ‘Das süsse Lied verhallt’ (Love duet).
Mezzo Soprano Petra Lang, who made quite an impression in her 2007 SF Opera debut as the sizzling Venus in Tannhäuser, again brought a dramatic flair to her role that was on par with excellent singing. As Ortrud, the old-world sorceress who really stirs the drama, Lang seemed to delight in vexing the vulnerable Elsa. Dressed in a business suit that evoked the bright blue of the old two-stroke East German Trabbi (Trabant), synonymous with the communist bloc, the fiery redhead seemed completely at home in the role, despite the awful costume. Lang has sung Ortrud in Berlin, Budapest, Bucharest, Vienna, Geneva, London and Edinburgh and will reprise the role later this season at the Bayreuth Festival. On Saturday’s opening performance, her voice was bursting with energy and her performance far more compelling than Nylund’s.
German bass-baritone Gerd Grochowski was outstanding as Ortrud’s husband Friedrch von Telramund, who is duped into wrongly charging Elsa but takes great twisted pleasure in doing so. Grochowski had his SF Opera debut in November 2010 beside the indefatigable Finnish soprano Karita Mattila as Jaroslav Prus in The Makropulos Case.
While there’s little point in dwelling on the mundane, the sets by Robert Innes Hopkins did nothing for the opera. The beginning action seemed to occur in a large drab room accentuated by shelves scantily filled with books. The wedding suite was presented as a diorama and looked like a cheap hotel room. Green garlands covered the wall seams and an oddly out-of- place colonial style lamp hung from the ceiling.
The costumes were worse. The men of Brabant were in tan military duds and the women recalled droll DDR fashion. Camilla Nylund, a large woman to begin with, spent most of the evening dressed in long storybook princess style flowing gowns that tended to emphasize her size.
Lohengrin is sung in German with English supertitles
Approximate running time: 4 hours, 20 minutes including two intermissions
Details: Richard Wagner’s Lohengrin is at War Memorial Opera House through Friday, November 9, 2012. Remaining Performances: 10/28 (1p.m.), 10/31(7 p.m.), 11/3 (7 p.m.), 11/6 (7 p.m.) 11/9 (7 p.m.) Tickets: : $22 to $340 at the Box Office, 301 Van Ness Ave., San Francisco, by phone at (415) 864-3330, or online at www.sfopera.com. Standing Room tickets go on sale at 10 a.m. on the day of each performance; $10 each, cash only.
War Memorial Opera House is located at 301 Van Ness Avenue, San Francisco.
Driving to San Francisco and Parking: Be sure to allow ample time when driving into San Francisco on the weekend and crossing the Golden Gate Bridge—there is frequently a 15 to 30 minute back-up on Highway 101 South from Sausalito onwards due to congestion around the toll-plaza. Arrive early at your parking garage of choice because those also fill up on weekends. Recommended garages near the opera house are the Performing Arts Garage and Civic Center Garage (both have flat $15 pay cash as you enter policy on performance nights)
ARThound 