The sight of Mark Thompson’s imposing setting brought back memories of my introduction to this opera and this production. It was a performance in the Sydney Opera House on 2 September 2005 which I fancy everyone connected would rather forget.
At this performance not only were the scheduled Hansel (Sarah Castle) and Gretel (Tiffany Speight) indisposed, but also the mother (Elizabeth Campbell). Elisa Wilson was called on to sing the role of Gretel while the rehearsal director, Julie Edwardson, walked it on stage.
Sian Pendry, who had just joined the full-time OA chorus, but who had sung the role previously with another company, sang Hansel, and Roxane Hislop performed the mother. It was doubtless a stressful night for all concerned, but particularly for conductor Richard Hickox.
No such dramas on this opening night, apart from some overlong scene changes, and a lighting glitch spoiling a critical effect in the final scene, betraying first night nerves.
Conscientiously re-staged by Claudia Osborne, undertaking her first mainstage opera assignment as the inaugural director of Opera Australia’s Young Artist Program, this welcome revival of that same Moshinsky production, remains a captivatingly surreal experience for both adults and children alike.
Originally written as a series of songs to amuse his sister’s children at Christmas, Humperdinck expanded this idea into a full-scale opera at the suggestion of his sister, Adelheid Wette, who also wrote the libretto for the opera.
Although he went on to write other operas, Hansel and Gretel was by far his most successful. Moshinsky’s still stunning production is a perfect example of why this is so.
A close associate of Wagner, Humperdinck’s score draws on German folksong for its melodies with lush Wagnerian inspired orchestrations adding weight to the score, given a luminous rendition by the Opera Australia Orchestra under the sympathetic baton of Tahu Matheson.
Matheson is on record as declaring Abendsegen (Evening Prayer) “one of the most beautiful and powerful things ever written”. Few who experienced the exquisite rendition offered by Margaret Plummer (Hansel) and Stacey Alleaume (Gretel) on opening night are likely to argue his assessment.
For his production, Moshinsky has embraced the darkness inherent in the Grimm fairytale, but also included fun touches along the way, for which Mark Thompson has designed delightfully spooky larger-than-life settings, including a witch’s cottage that resembles a scrumptious cake, surrounded by sugar children who magically transform into real children towards the end of the opera.
Thompson also provided laugh-out-loud costumes for the story-book characters who inhabit the opera, including the Dew Fairy (Kathryn Williams) and the Sandman (Shikara Ringdahl).
Adults playing children is often difficult to make convincing and although Margaret Plummer and Stacey Alleaume sing exquisitely and offer well-observed performances as Hansel and Gretel, occasional overly broad playing threatened the sincerity of their characterisations.
Similarly, the moment during Shane Lowrencev’s entrance through the audience, when he stepped out of character as the drunken father, to greet surprised audience members, spoiled an otherwise excellent performance, while Helen Sherman’s harassed rather than horrible stepmother, and Jane Ede’s turn chewing up the scenery as the deliciously wicked witch who fully deserved her horrible comeuppance, were both firmly on target.
A special mention for the Opera Australia Children’s Chorus whose accurate singing and natural exuberance provided a delightful lift as the production reached its climax.
It also highlighted the appeal of this opera as an ideal introduction to the art. A fact recognised by those parents who accompanied an unusual number of youngsters to this performance.
Hänsel & Gretel
Joan Sutherland Theatre – Sydney Opera House, Bennelong Point, Sydney
Performance: Tuesday 27 January 2026
Season continues to 28 February 2026
Information and Bookings: www.opera.org.au
Images: Margaret Plummer as Hansel, Jane Ede as The Witch and Stacey Alleaume as Gretel in Opera Australia’s production of Hänsel & Gretel (2026) – photo by Carlita Sari | Margaret Plummer as Hansel, Shane Lowrencev as Father, Stacey Alleaume as Gretel and Opera Australia Actors in Opera Australia’s production of Hänsel & Gretel (2026) – photo by Carlita Sari | Stacey Alleaume as Gretel, Margaret Plummer as Hansel and Opera Australia Children’s Chorus in Opera Australia’s production of Hänsel & Gretel (2026) – photo by Carlita Sari
Review: Bill Stephens OAM