Engelbert Humperdinck, (1854—1921), is a true turn-of-the -century mix of influences, and another one of those rare figures in music history - a composer who became a household name on the basis of a single work. We finish this term with a German composer dominated by Wagner but splendidly escaping his influence, at least for this one work. Richard Strauss, who conducted the first performance (in 1893) described it as “a masterpiece of the highest quality… all of it original, new and so authentically German.” And it brought relief from Wagnerian heavyweight works. Fun facts here.
Humperdinck began his career as an assistant to Wagner, living in Bayreuth and copying out the full score of Parsifal (now that’s a claim to fame !!!) Wagner's influence persisted in Humperdinck ‘s music, and it wasn’t till 1890s that he broke away from it. Then, in this opera, he started with a fairy tale instead of a gloomy Teutonic myth, and while he drew from Wagner’s harmonic techniques, they were combined with folk melodies and light, shimmering musical fantasies, children’s songs and dances. The German audiences were delighted at this liberation from Wagner’s influence - this opera was short, and very sweet.
“It was the kind of miraculous success - an exact meshing of subject matter and artistic sensibility - that Humperdinck would never be able to conjure up again. The score of Hänsel und Gretel is a perfect fusion of childlike, but never childish, melodic simplicity and a Wagnerian harmonic language - more Meistersinger diatonicism than the chromatics of Tristan, admittedly - all cloaked in rich orchestral hues, which is almost unique in operatic history. To German opera audiences in the 1890s, who were starting to resent the instant success of the lurid Italian verismo operas of composers such as Mascagni, Humperdinck's frankly popular, almost naive style must have seemed like a breath of homegrown fresh air." Read more from Andrew Clements here.
Humperdinck and his sister, the librettist, even lightened the story: Hänsel and Gretel’s mother sends the children off to pick strawberries, instead of to die as in the Grimms’ original. And the opera brings in charming new characters—the Sandman, the Dew Fairy, and 14 angels who guard the children while they sleep. Synopsis here
But it wasn’t trivial. “Humperdinck’s Hansel and Gretel could be said to be Wagner’s shortest opera … The children become heroes, experiencing the same challenges that face the protagonists of Western culture’s classic mythology. Within the contours of their simple story resides an essential human experience: the challenge each of us must face when we confront difficulties, obstacles and evil in order to achieve a goal… The rite of passage from childhood to an awakened consciousness is the core of the opera. The children must fend for themselves when in danger. The confidence that they have the resources to find solutions for serious challenges is their reward. The existential challenge experienced by Hansel and Gretel is no less powerful than that presented to Siegmund as he draws the sword from the tree, or to Siegfried when he slays the dragon, or to Brünnhilde when she sacrifices herself and restores the world order. It is entirely appropriate that this ‘children’s story’ be wrapped in Wagnerian riches.” Read more of this fascinating analysis from James Conlon of LAOpera.
And our production? It’s from the Zurich Opera House – details here. And it’s designer is Maurice Sendak, so expect Wild Things.
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