Stream: Hansel and Gretel
Scottish Opera’s latest performance adds to the interesting range of streamed operas they’ve presented free online since last March. Like December’s ‘Cosi Fan Tutte’, this was recorded in the Theatre Royal, with the orchestra on the stage area and the action taking place on an extended apron stage in front of the proscenium arch.
Musically it’s impressive. Derek Clark has come up with a very workable re-orchestration of the score for smaller orchestra. In the online programme he provides a fascinating account of how he reduced the large orchestra usually required while keeping the texture of these lush Wagnerian sounds. The orchestra – which we’re allowed to see a couple of times in this film - is on top form. Some of the best moments come when conductor, Davis Parry, lets the cello and wind instruments come to the fore during the forest scenes.
There’s an excellent cast of soloists, with the clear voices of Kitty Whately as Gretel and Rhian Lois as Hansel blending beautifully both in the simpler songs and the more lyrical passages. Former Emerging Artist, Charlie Drummond, who impressed as Fiordiligi in Cosi, makes the most of the dual roles of the Sandman and the Dew Fairy with their lovely arias in the middle of the opera. Phillip Rhodes is convincing in his short role as the father, hearty and bluff, but with a sinister edge.
The star of the show is Nadine Benjamin, a put-upon mother with Rhodes, in the best scene in the early part of the opera, and a fabulous witch in the second half. In red sequins, with Christmas tree overskirt and Carmen Miranda headgear, she shimmies, cackles and exults that she’s got her prey.
I laughed and marvelled at the Witch, but this was one of the few moments when the staging came alive. The director, Daisy Evans, says she has set up a contrast between the poor but eco-friendly parents and the consumer culture, represented by the witch, of cheap plastic and sweets which tempts the children. I was convinced by the poverty-stricken parents, but by then I’d spent fifteen minutes puzzling why these poor children had quite so many fluffy toys! It’s unfortunate, perhaps that ripped dungarees are the sort of get-up that all posh kids are wearing these days…
Another problem was over-acting. I’ve noticed this fault too in performances of straight plays recorded in lockdown which often seem shouty. Here, although the quality of the music compensates, there’s a lot of over-enthusiastic gesturing and mugging which soon becomes tiresome.
I hope it’s not included in the mistaken belief that this will appeal to children Twenty odd years ago when my son was old enough to go to the theatre, he very much enjoyed both small-scale and full productions by Scottish Opera. One of my best memories is of him aged 10, laughing uproariously when he found out that Marcellina was Figaro’s mother!
So I don’t think Opera companies should be trying too hard to produce child- friendly productions. Anything with a good story, preferably though not necessarily one with laughs, is likely to appeal to children.
Available to stream for free on the Scottish Opera website.
