Discover how critics have been reacting to the Royal Opera House’s co-production with the San Francisco Opera.
Bachtrack.com: “Kate Lindsey’s live-wire Hansel was a tour de force of physical comedy, gawky and agile by turns, her tone often narrowed to piercing treble purity, offsetting the richer, even mezzo-ish warmth of Heidi Stober’s Gretel. The power and vocal dynamics between the pair fluctuated as changeably as children’s moods.”
The Stage: *** “Telling the story as it is, this production offers consistent musical pleasures.”
The Guardian: *** ” In a promising UK debut in the pit, conductor Giedrė Šlekytė makes space for some exquisite solo lines and injects Humperdinck’s luxuriant score with enough momentum to prevent stodginess”
London Unattached: “Most importantly though, this production of Hansel and Gretel works for all ages. Two six-year-olds on one side of me were on the edge of their seats throughout, and despite the darker moments (at one point, Hansel is enchained and fed through a funnel like a goose for foie gras, at another the dead witch’s arm is brandished on stage), didn’t flinch. On the other side, three women on what looked like a pre-Christmas treat giggled their way through the lighter moments and gasped at all the right points.”
The Telegraph: **** “The sight and sound of a cast thoroughly enjoying themselves performing to an audience of the future is a rare delight.”
The i News: *** “This Christmassy production is trying to have its gingerbread and eat it too – and loses some of Humperdinck’s musical magic.”
Hansel and Gretel continues to run at the Royal Opera House until the 9th January 2025.