Act 1

Act 2

Act 3

In 1890, Engelbert Humperdinck’s sister Adelheid Wette asked him to compose the music for a children’s performance based on a tale by the Grimm brothers (Jacob, 1785-1863 and Wilhelm, 1786-1859) which she hoped to organize for her husband’s birthday.The project quickly evolved and gave rise to the definitive libretto of the Märchenoper which was completed in december 1890. Compared to the Grimm tale, Adelheid Wette’s libretto was greatly simplified for reasons of dramatic effectiveness, but also to limit the length and even violence of the original.The work was enriched with children’s songs and popular melodies evoking brahms‘ Volkslieder. Strongly influenced by Wagner, the composer drew inspiration from continuous melody and the notion of the leitmotiv with the use of recurrent themes.The work was an immediate success. Within months, Hänsel und Gretel had made a name for itself on stages throughout Germany. Gustav Mahler conducted the work in Hamburg in 1894. Hänsel und Gretel would become the first opera to be rebroadcast by radio in Europe (from Covent Garden on January 6th, 1923). Director: Andy Sommer © Opéra de Paris Production – Bel Air Media – France 2013

2012-13-HANSEL-191 Hänsel et Gretel

Hänsel und Gretel

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In 1890, Engelbert Humperdinck’s sister Adelheid Wette asked him to compose the music for a children’s performance based on a tale by the Grimm brothers (Jacob, 1785-1863 and Wilhelm, 1786-1859) which she hoped to organize for her husband’s birthday.

Engelbert Humperdinck

Daniela Sindram

C. Gillet

Schmeckenbecher.Jochen.(c)Lukas Beck

vilsmaier_photo

Silja.Anja.2

Elodie Hache studied singing with Alexandra Papadjiakou. In 2012, she joined the Atelier Lyrique de l'Opéra national de Paris. While there, she sang Arminda in La Finta Giardiniera, Clarice in Il Mondo della Luna, The Female Chorus in The Rape of Lucretia, Donna Elvira in Don Giovanni, excerpts from Phèdre in Rameau's Hippolyte et Aricie, and took part in numerous concerts. At the Paris Opéra, she sang Sandmännchen in Hänsel et Gretel, La Grande Prêtresse in Aida, Inès in Le Trouvère and took part in the production of Les Huguenots. She also doubled the role of Chimène in Massenet's Le Cid. She has appeared in such roles as Fiordiligi in Cosí fan tutte and Vitellia in La Clémence de Titus (Saint-Etienne), Salomé in Hérodiade (Düsseldorf, Saint-Etienne), Blanche de la Force in Dialogues des Carmélites (Saint-Etienne, Caen), Lully's Armide (Innsbruck), Diane and Iphigénie in Iphigénie en Tauride (Angers), Ortlinde in Die Walküre (Rennes), Elena in Boito's Mefistofele (Cracow), Micaëla in Carmen, Violetta in La Traviata and Mimi in La Bohème (Festival de Linières), the title role in Norma (Gut-Immling), the title role in Fidelio (Greece), Lady Macbeth's Next in Macbeth (Dijon).In concert, she sang Rossini's Stabat Mater as part of the Journées Musicales de Chartres, Dvorak's Te Deum and Messe en Ré with the Orchestre de Marseille, Verdi's Requiem in Saint-Etienne, Harawi at the Festival Messiaen and in a staged version in Limoges, the title role in Handel's Athalia with the Ensemble Diderot in Herblay, Ravel's Les Chansons Madécasses with instrumentalists from the Orchestre de l'Opéra de Paris, Gouvy's cantata Aslega with the Orchestre National de Metz, a Verdi Gala with the Orchestre de la Nouvelle Europe, a series of concerts with the Orchestre de l'Opéra de Limoges, a Rameau, Leclair and Gluck program with the Orchestre Régional de Normandie. She takes part in the "Ça va mieux en le chantant" series at the Angers and Nantes opera houses, and sings a "Rossini à Paris" program in Angers, Nantes and Rennes. This season, she sings the role of Hermosa in Gounod's Le Tribut de Zamora at Saint-Etienne and doubles the role of Julia in La Vestale at the Opéra national de Paris.&nbsp;

Hache HD (c) 

Seliverstova.Olga

Mariame Clément was born in Paris. After graduating from the École Normale Supérieure in Literature and History of Arts she moved to New York and then to Berlin, where she had her first operatic experience at the Staatsoper Unter den Linden. She then worked as an assistant director for various opera houses in Europe. In 2003, she won the third prize at the European Opera Directing Competition organised by Camerata Nuova and Opera Europa. Her first production was SignorBruschino / Gianni Schicchi in 2004 for the Lausanne Opera. Mariame Clément has worked in Athens (Le Comte Ory), Bern (Il viaggio a Reims, La Traviata, The Barber of Seville, La Bohème), Nancy (Rigoletto), Strasbourg (La Belle Hélène, Werther, Platée, Der Rosenkavalier, The Magic Flute, La Calisto), Anvers / Ghent (Giasone, Agrippina), at the Theater an der Wien (Castor and Pollux, The FairyQueen), in Graz (Faust, The Magic Flute), Dortmund (Le Nozze di Figaro), Nuremberg (Platée, Le Nozze di Figaro, Il Ritorno d'Ulisse in patria), Glyndebourne (Don Pasquale, Poliuto), at the Paris Opera (Hänsel und Gretel), in Essen (Le Grand Macabre, Salomé), at the Royal Opera House in London (L'Étoile), at the Théâtre des Champs-Élysées (Il Ritorno d'Ulisse in patria), in Santiago de Chili (Lulu), at the Semperoper in Dresden (The Bartered Bride), at the Bregenz Festival (Don Quixote), in Seville (Agrippina). In 2014 she created Philippe Hurel's first opera, Les Pigeons d'argile, at the Théâtre du Capitole in Toulouse. In 2016, she staged the French premiere of Wagner's second opera, Das Liebesverbot, at the Opéra national du Rhin. She also staged there Barkouf in 2018. This major piece by Offenbach, newly rediscovered, had not been performed since 1860. The production received the Best Rediscovery award at the 2019 Opera Awards. In 2020, her production of Don Quixote for the Bregenzer Festspiele received Best production of the Year Award at the Österreichischer Musiktheaterpreis. Further projects will take her, among other places, to Paris, Santa Fe, Glyndebourne and Geneva.

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