Humperdinck called his greatest hit a “Kinderstubenweihfestspiel” (a festival play for the consecration of the nursery) and the course of time has proven this joke appropriate: while Parsifal around Easter is the high point of the year for Wagnerians, Hänsel und Gretel at Christmastime is for everybody (including all those who claim they can’t stand Wagner and ignore the influence he had on Humperdinck).
In 1985, Volksoper director Karl Dönch created a lovely production for this repertory favourite which shows the kitchen of Mozart’s birthplace as a part of the broom-maker’s house, an eerie forest with an owl whose eyes glow red in the dark, and a gingerbread house from times without artificial colorants or flavours. Happily, these sets have been preserved for posterity in the program, which since last year consists of three pop-up cards with a handwritten synopsis and drawings by set and costume designer Toni Businger.
With the exception of Gertrud Ottenthal (who nailed the tone of a working mother returning to children whose homework isn’t done), the evening’s cast consisted entirely of members of the ensemble, which, in other pieces, occasionally makes for a not-too-enthralling evening. But with Hänsel und Gretel one can trust the Volksoper to be a good parent who won’t compromise on the children’s Christmas gifts, and the quality of Viennese performances for young audiences is generally very high. Also, knowing that many singers have started remarkable careers there (Daniela Fally, the Staatsoper’s new Zerbinetta, is a former Volksoper Gretel), there is all the more reason to give things a try rather than sniff at the absence of big names. Luckily, these expectations were fulfilled and singing was definitely above what could be expected for a popular piece that will probably sell no matter what. Everything looked and sounded well rehearsed and one felt the will to make this new run of performances special.
Heading the cast with baritonal authority and esprit was Sebastian Holecek as the broom-maker, who didn’t only remind me of his father, the Volksoper legend Heinz Holecek, but looked, sounded and acted like he had some Hermann Prey genes in him. He may be tired of hearing that, but everybody old enough to remember these singers certainly enjoyed this bit of nostalgia. Holecek, it should be said, was also the only one whose diction was always perfectly understandable. In this respect, Hänsel und Gretel is not an easy piece – the folk songs aside, much German prose is spread over even more notes, so crystal-clear delivery is needed to avoid children asking: “Which language is this sung in?” (as actually happened).