Customer Reviews

Humperdinck: Hänsel und Gretel

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Hansel and Gretel is generally regarded as a children's opera; but, in fact, it is a masterpiece to be enjoyed by listeners of all ages. Humperdinck was heavily influenced by Wagner and in Hansel and Gretel he produced an opera in the Wagnerian style but more accessible than Wagner's operas in length and humanity. This is one of the few operas ever written which is beautiful from beginning to end. Furthermore, no finer performance of this wonderful opera has ever been recorded. The cast is superb. Helen Donath is a suitably girlish Gretel and Anna Moffo suprises with a beautifully-sung, convincing portrayal of Hansel. Dietrich Fischer-Dieskau and Christa Ludwig are superb as the father and the witch, respectively. Charlotte Berthold, as the mother, is not quite up to the high standards of the other principals but she is more than adequate. Even the small roles of sandman and the dew fairy are superbly sung by Arlene Auger and Lucia Popp. The conducting by Kurt Eichhorn is just right. This is one of the most oustanding opera recordings I've heard to date. Please do yourself a favor and buy it while its still abvailable. And listen to it as the great masterpiece that it is, rather than passing it off as only for children.

Armed with the advice of the people here, and looking at the all-star line up, I had this CD purchased for me on my birthday. Wow. I'm certainly happy, if not ecstatic about this recording. I have so much to say, yet much of it has already been said thanks to the helpful reviewers before me.

To start off, the two principles, Helen Donath's beautifully girlish Gretel and Anna Moffo's smart and dapper Hänsel are just perfect. Other recordings of this opera generally use a lyric soprano and mezzo-soprano for these roles and seem a little weighty in contrast to this one. I believe chosing a light lyric soprano(Donath) and a lyric soprano with formidable weight at the lower register(Moffo) is a wonderful choice for this opera, especially when it comes to the scenes with these two characters with the witch. The lighter voices provide a good contrast to the mezzo-soprano of the witch, and one easily sees the difference in ages of the characters just by the voice, making the experience all that more real. Plus, I feel that the two(Donath, Moffo) compliment each other tremendously well and seem to work together fantastically.

The father and mother are played well, using Dietrich Fischer-Dieskau(one of my favorite baritones who although has done many opera roles, found his niche in the world of Lieder) and Charlotte Berthold, an accomplished mezzo. Both play their parts convincingly portraying the strict yet negligent parents. Lucia Popp and Arleen Augér play the fairies as though they were. But perhaps the unbelievable convincing comes most from Christa Ludwig's Knusperhexe(witch). I agree with all the other reviewers, so no more comments are needed about her interpretation of the role, she does it unquestionably well, lipsmacking and cackling all the while, ready to eat those children right up.

It's the extras that also make this recording so great: the sound effects, over-all sound setup, and good German. All of the sound engineering is tastefully done, including clapping for the Dancing duet "Bruderchen, komm, tanz' mit mir...", actually hearing Peter coming closer to his hut as he sings drunkily "Rallalala, rallalala...", echoes in track 10 of the first CD, and especially making the witch seem all that much spookier and entrancing when she sings "Hocus Pocus" in her aria "Halt!" You can almost feel the spell working on yourself as you're mesmerized by her wicked demands. The overall sound is setup so that generally one hears the singers as if they were right there, and creates an intimate atmosphere, as if you're dreaming this story yourself. But then also one get's the sense of depth and can sense when people are near or far. It's all engineered quite well and I think this only adds to this CD. And as for the German, it's excellently done, with consonants easily heard everywhere. With all the people in the cast with German backgrounds, it's no wonder the accents and diction are so superb.

Mr. Eichhorn does an excellent job directing the Munich Radio Orchestra and the Boys Choir. He handles the score somewhat quicker and more appropriately than do other conductors and creates an overall pleasing version of this beautiful opera.

I can't really find anything to complain about in this recording(especially the price!), and am very glad to have it in my collection(this is why I believe it is THE BEST out there to date). Thanks to RCA for re-releasing this favorite and allowing people to disappear back into the dreams of childhood again. I hope I've been enlightening. Enjoy

As one who has owned hundreds of complete operas on LP and CD, I believe this is probably the most perfect opera recording ever made. It is an ideal gift for either the most jaded opera-lover or the absolute beginner. As other reviewers have said, this is an under-rated opera -- one of the most tuneful ever written, and yet employing the most sophisticated orchestration. And this recording is one of those rare occasions when a "dream team" of singers is assembled to comprise the perfect, most appropriate cast. I find it hard to imagine that you could ever regret buying this set.

"Hansel and Gretel" is one of the most accessibleoperas in the repertoire. The music ranges from simple folk-inspiredtunes to lush orchestral tidal waves of sound. It is not a "children's opera" as some would have us believe: there is real terror and Freudian hysteria in the forest scene, the parents are painted as loving yet flawed people (the father is probably an alcoholic and, if one takes it to the next level, a possible wife-beater -- read the libretto), and the witch, if played correctly, can be truly frightening.

This recording does justice to all those elements of the opera. Kurt Eichorn directs a beautifully played reading with lots of magic and wonder. Helen Donath is a Gretel of one's dreams: sweet, innocent, and girlish without a trace of treacle. Anna Moffo is a good Hansel, but lacks the firmness and rich tone (not to mention vocal contrast) that a true mezzo would have brought to the role. Charlotte Berthold balances the mother's harpy-like entrance with tender concern for her family. And Dietrich Fisher-Dieskau plays the father beautifully: a country bumpkin with a twinkle in his eye who also has a darker side.

The fairy-tale characters are all beautifully done. Arleen Auger is a luminous Sandman, ethereal and gossamer, while Lucia Popp is a sprightly Dew Fairy with spunk to spare. And finally, there is the marvelous Witch of Christa Ludwig. Simply put, no one on records has done better with this role. She cajoles and cackles, is syrupy and sly, and makes the Witch more than just a silly cartoon villian. This is a woman who presents real danger.

From my review, it would be fairly easy to guess that this is both an opera and a recording close to my heart. The one caveat which might deter some listeners is that the voices are balanced far forward of the orchestra. For instance, when Helen Donath begins her "Suse, liebe Suse" song at the start of act one, it is no exageration to say that it sounds like she is there in the room with you. However, I find this only adds to the sweetness and charm of the piece. This is the best recording of "Hansel and Gretel" available.

* (Note to the opera novitiate: the composer is definitely NOT Engelbert Humperdinck the Las Vegas crooner.) END

Now and then, an opera appears on records and just about everything seems just right. That has yet to happen to a "Faust" or a "Carmen" or "Aida," but back in 1971 it happened with <Hansel & Gretel> when it was recorded for RCA Victor in Munich with Kurt Eichorn leading the Munchner Rundfunkorchester. Selling very well on LPs, it is now available again on CD (74321-25281-2). All critics back then were lavish in their praise, the one reservation being the very feminine voice of soprano Anna Moffo's Hansel. (That she was married to one of the top RCA biggies is beside the point.) She is a musically believable young boy, while Helen Donath is a superb Gretel. Perhaps the Mother (Charlotte Berthold) is a bit stereotypical and perhaps I find Fischer-Dieskau's Father a bit too urbane for a woodcutter; but there will never be a better Witch than Christa Ludwig or more charming Good Fairies than Lucia Popp's Dew Man and Arleen Auger's Sandman. By golly, talk about classy casting! I particularly like the somewhat speedier tempos chosen by this conductor. Many parents bring their children to productions of this work and many of them are quite put off by the long, post-Wagnerian passages of dry recite between the Big Numbers. No such problem here. And as production note, I am grateful to have the original LP cover reproduced on the CD box and not to have three translations of the German text when only the English is needed. All in all, a very welcome rerelease from RCA Victor.

At last, Kurt Eichorn's outstanding version of Engelbert Humperdinck's classic is available on CD in America.Eichorn, leading the Bavarian Symphony Radio Orchestra, provides a dancing, rhythmically alive performance that gives the listener goosebumps. The many 3-D sound affects, such as the Witch's "Hocus Pocus," incantation, are beautifully spotlit by the engineers. And Eichorn's control of his mammoth forces is never less than masterly.

Helen Donath's sweetly girlish Gretel is ideal. And she provides plenty of backbone when needed, whether she's trying to keep up a brave face when she and her brother are lost in the forest, or when sqaring off against the Witch. Anna Moffo's fruity, womanly tone is a bit mature for Hansel. Still she works beautifully with Donath and her German is quite convincing. Charlotte Berthold and Dietrich Fischer-Dieskau are vocally strong as the parents. Arleen Auger and Lucia Popp are truly luxury casting as the Sandman and the Dew Fairy. Popp's tart phrasing and legato are a pleasure as always.

But the real reason to own this particular HANSEL UND GRETEL is for Christa Ludwig's gloriously sung and acted Witch. Near the end of her career, Ludwig was asked what her favorite recording was. She replied, "The Witch in HANSEL UND GRETEL." It's easy to see why. Usually assigned to character tenors in the opera house, most listeners are denied the pleasure of hearing a first class high mezzo in this part. Ludwig is fearless in this rangey role, easily dipping down into an Italianate lower register and flying brilliantly up to high B flat in her big aria. The Berlin-born singer relishes every consonant in the part, biting deliciously into the Witches every utterance. This Witch brilliantly cackles, cajoles, and wheedles Hansel and Gretel into obeying her wishes. You're actually stunned when they push her into the oven. Ludwig's Witch is one the great operatic recordings of the 70s (when the set was originally recorded). This HANSEL UND GRETEL easily moves to the top of all recorded versions including the vaunted von Karajan set for EMI, the Pritchard for Sony, the Solti set on London, and the Runnicles version on Teldec. An essential recording to add to all opera recording libraries.

I have many recordings of this opera, and it is a yearly treat, or was, when I was growing up. There is something simply wondrous about the charm of this opera, and it sounds so simple. Well, I learned early in my singing career (Hansel was one of the first roles I sang, and after 65 performances of it, I graduated to the witch; I just didn't look like a 10 year old boy anymore, and what a joy to sing and act that role) just how hard it is to make this "wonderfully delicate child-fairy-tale opera" sound so fairy tale like. The orchestration is as involved and as heavy as any Wagnerian opera. Which is not surprising as Humperdinck studied orchestration with Wagner while Wagner was writing Parsifal. Super light voices, which are perfect for portraying children simply aren't large enough to be heard. Thus, we have often more mature singers singing "children." Some presentations are more successful than others.

In my view, these singers do a simply wonderful job of trying to portray those two children. Helen Donath has enough sparkle in her voice to give it that "impish child-like sense of fun." I also must say her diction is excellent, as is the diction of all the singers. I find that refreshing: good diction that doesn't ruin a vocal line, but a vocal line not so beautiful the diction is lost.

I must admit, I wasn't certain about Anna Moffo as Hansel. She is definitely NOT a mezzo soprano, the voice range used for this role most often (though it is sometimes sung by a soprano with a darker quality to her voice). Her voice sounds "old" compared to her other recordings (where she is singing soprano roles, and many of them dramatic coloratura roles), but she doesn't necessarily sound "OLD" for the character. There are little mannerisms which have crept in. Since I am not sure how old she was when she recorded this I am not sure of my assessment, but she does sound more like she is at the end of her career. Now don't think that makes the role poorly sung; that is simply not the case at all. She does a wonderful job trying to be a young boy.

The only singer who didn't greatly impress, though she was perfect in many ways for the mother, is Charlotte Berthold. Her mezzo was very "Pushed" in the upper register (which her role doesn't go very high in, so that makes you wonder what she would have done if she were singing Hansel, which her voice would not be suited to at all). Still, there was a "tired and fed-up" quality in her sound that just was perfect for her character of a worn out mother struggling to care for her children whose nerves were shot from the struggle of life.

Peter, the father, was simply sung the best I have in any recording; it was sung with special affect, care, a laugh in the voice, excitement, and making the most of a happy loving father. The baritone was Dietrich Fischer-Dieskau. As with everything he sings, the beauty of his voice is the first thing you recognize, and then his musicianship comes shining through. His diction is incredible, and the nuances he adds to his words is so illuminating. He simply is incredible. One treat was his story about the gobbling witch in the forest. He had such a special way of adding life and real FEAR to his voice. There is a mystery wrapped up in his sound, and you feel the hairs stand on the back of your neck as he begins the recitation. Soon we are swept away into the world of the dark forest and the evil witch who eats children. Sadly, most singers make this almost a joke, they sing well, but they don't capture the real fear of the moment. Yes, this is a fairy tale, yes, we don't have evil witches out there in the forests who eat children and ride on brooms. Yet, it is the singer's job to make us believe such things are there. I have heard very few baritones accomplish that (even in all the preformances of this opera I have sung). It is accomplished here, and what a treat to hear it. And this is where Charlotte Berthold's singing comes to great advantage: one actually feels a mother's fear enter her heart as her husband tells her about the evils in the forest.

Now for the most wonderful character of the entire opera: the Witch. I was not sure that Christa Ludwig would be good in this more unusual role. She is super in all the Wagner she sings and in much else. However, the witch must be at once scary as can be, and funny. She has to weave a spell of intrigue that captures children (however, Hansel and Gretel are too street-wise to fall for her completely). I wasn't sure Ludwig's extremely serious sound could accomplish that. She doesn't fool with the score and make silly sounds as to some witches, yet, the character is there. We are taken into her world of deception, which starts with her candy house.

The minor roles are well sung, but I have to admit, I have a recording with Te Kanawa singing the Sandman, and she is by far a more "dreamy" voice that really fits the father of sleep. Arleen Auger does a fine job, but just misses that special something that adds magic to the part. Lucia Popp's dew fairy is fine, but the part is very forgettable, for no sooner has she sang than Gretel has a wonderful "wake up" duet with Hansel ascending to a high D.

All the forest scenes are filled with the emotions we should expect. Anna Moffo and Helen Donath capture the innocence of the children as they look for berries, and eat them up; their fascination with the coo-coo, and the horror of discovering they are alone and it is getting dark. The great repose of the children's prayer is melting.

I recommend this recording highly; you won't be disappointed. In fact, it is hard to find a bad recording, though one practice (which Humperdinck himself approved) is having the witch sung by a tenor. There are recordings out there with this happening. It is an interesting alternative, but gives a very "different" affect, and to me takes the witch out of the realms of a "fairly tale character" into the realms of something more real reflecting things in our society we all wish were not there. Though some tenors can be quite funny, and play around with their falsetto in the role, even then, there is something missing and the opera doesn't work as well. Stick with versions where the witch is sung by a contralto or a mezzo soprano, the affect is much better.

As previous reviewers have said all the right things, I can only agree & say this is really the best and unbeatable version of Hansel and Gretel. Besides the outstanding singing of the dream cast, the acting within the music is unbelievably real - Gretel, the Witch, and Hansel are all superb, believable, interactive characters. I do want to differ from other reviewers and say that I think Anna Moffo is a top-notch Hansel. Her usually sultry sound is wonderfully adapted toward making Hansel a sly, mischievous but adorable boy. Her smokey soprano does contrast well against the incredibly girlish sound of Helen Donath's smart, spirited Gretel. If anything, it's a great idea to ensure Hansel's distinction from the mezzo tones of the Witch. And, oh my, the Witch!! It would take 1000 pages to rave about Christa Ludwig's delicious Witch so earlier reviews should be noted. Casting Popp and Auger in teeny cameo roles does make one blink with disbelief. No recording should be this lucky. And Fischer-Dieskau too! Wow. Conducting and orchestra could not be better suited to the sweeping music. Truly a fairy tale of a recording.

I obtained the LP on the East German Eurodisc label in the early 1970s and was struck by the fine singing, jubilant energy, and beautiful recording. (Eurodisc was known for its pristine surfaces, too. No pops or other noisy distractions.) Reviewers seemed not to notice, though, despite its stellar cast. A few years later, RCA bought the rights and released its own copy. Naturally, it quickly garnered record-of-the-year awards from this magazine and that. But whatever the politics of reviewers, it is still thoroughly enjoyable after 30 years, and the sound is just fine. It remains one of the two to own, the other being the Karajan, which is magic from first note to last. I've tried other recordings but have ended up giving them away.

There are many good versions of this childrens opera, although not just for children, this is one enjoyed by all ages. BUT this one is the ONE, AND RCA's re-issue is a listening pleasure. The sonics are wonderful, cudos to RCA. All the characters are superb and Moffo is a joy as always. This is the one to judge all others. I love it and so will you.