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The Spokesman-Review Newspaper
Spokane, Washington  Est. May 19, 1883

‘Hansel and Gretel’ fun, rewarding

Travis Rivers Correspondent

Some operas are funny, but Engelbert Humperdinck’s “Hansel and Gretel” is much better than just funny. It’s a masterpiece of fun. Spokane-Coeur d’Alene Opera’s production was as much of a treat as the gingerbread of the Witch’s house on stage.

Much of the fun of “Hansel and Gretel” is its familiarity. Based on the famous Grimm brothers fairy tale, it contains music that has become familiar, such as the children’s “Evening Prayer” in Act II and the dance song “Brother, Come and Dance With Me” in the opening scene. That familiarity puts the audience at ease as Humperdinck slips in some rewardingly complex music – a bit like Wagner, but with tunes.

High spirits also come from seeing two grown women playing the parts of the children of the title. Mezzo-soprano Jessica Bowers was in fine voice and made a sturdy appearance as Hansel. Soprano Heather Holzapfel, as Gretel, sported one of the best displays of blond ringlets since Shirley Temple and a bright, girlish voice, besides.

Heather Peterson nicely met the challenge of the dual mezzo roles of the children’s exhausted and bedraggled Mother and the cackling Witch. In the latter role, Peterson also flew to and fro on her broom – a challenge for someone like Peterson, who has a fear of heights. (The flying was fine, but I would have gladly traded the aerial work for the scary exploding oven the libretto specifies when the Witch gets thrown in.)

Kimberly Monzon sang beautifully in two soprano roles of the Sandman and the Dew Fairy. And baritone Daniel Oakden was impressive as the Father, a devil-may-care character until he discovers that Mom has sent the kids into the Witch’s Forest to pick strawberries.

The production was sung in English in a slightly modernized version of the Victorian period translation by Constance Bache. Bowers, Oakden and Monzon seemed to have a firmer grip on precise diction and projection than others in the Saturday performance I heard.

The Dream Sequence in Act II was enhanced by a team of talented and disciplined young dancers from Ballet Spokane and the Academy of Dance & Dance Center of Spokane as the children’s guardian angels. The choreography by Janet Wilder and Phaedra Jarrett was serene and graceful as the scene demands.

When the Witch died in Act III, an eight-member chorus of freed Gingerbread Children appeared arranged in perfect stair-step order and singing charmingly.

Conductor Dean Williamson did a mighty impressive job of pacing and balance in Humperdinck’s complex score. Originally written for a symphonic-sized orchestra, the parts were skillfully reduced for a very, very busy band of 20 players by arranger Osbourne McConathy.

If you are new to opera or are afraid of it, this is fine place to start: a familiar story, great tunes, rewardingly intricate music in a good-looking, good-sounding production sung by talented performers.