A visual and aural treat — fresh, innovative and a joy to watch
Presented by: State Opera South Australia
Previewed date: 19 August, 2026
Ahead of opening night of State Opera South Australia’s production of Hansel & Gretel, Glam Adelaide was invited to attend an exclusive preview of the final dress rehearsal. What was witnessed was a magical, brand new staging of Engelbert Humperdinck stunning opera.
Hansel & Gretel was first performed in 1893. Humperdinck’s sister Adelheid Wette, wrote the libretto for her own children. It is a retelling of the Brothers Grimm fairytale of the same name, following the story of siblings, Hansel & Gretel, who were abandoned by their parents in a forest. They stumble across a house made of gingerbread and start to eat it until the witch who lives inside captures them to become her supper.
The artistic team, comprising Constantine Costi (director), Jonathon Oxlade (set and costume designer), Shannon Burns (associate director), Bernie Tan-Hayes (lighting designer) and Dane Lam (conductor), created a sensational retelling and new staging of this fascinating opera. Approaching the staging from the perspective of the children allows for a very imaginative approach to all aspects of the staging. Costi and Burns have worked closely with their cast to create characters with a lot of depth. Oxlade’s set design, whilst appearing simple, has so many moving components it needs to be seen to be believed. A pair of revolves are used to great effect (without being overused), allowing set items to rotate in from the back of the stage. The impressive tall forest that takes centre stage is also used creatively to allow characters to seemingly appear from nowhere. Oxlade’s costume design is equally impressive. The set and costuming work hand-in-hand. There are moments, especially during the overture, that give the impression of the window displays you might see in shop windows at Christmas time. Tan-Hayes’ lighting adds great depth to the mood throughout the production, often creating huge looming shadows of the forest over Hansel & Gretel, adding to the illusion that they are small children.
From the first notes of the French horns and opening swell of strings, The Adelaide Symphony Orchestra’s mastery of this score has you transfixed. Humperdinck’s score is as much a character in this opera as the people on the stage. The Adelaide Symphony Orchestra, under the baton of Maestro Dane Lam, sprinkles its own magic over this production. Great attention has been paid to the tempos in order to keep the score moving, helping build the tension in the production’s more dramatic moments. It is clear the orchestra really enjoys playing this opera. Humperdinck really knew how to write for an orchestra, and often you hear countermelodies and motives bounce between different sections of the orchestra in a game of tag.
Opera performers undergo years of intensive training to learn the skill to project their voice, unamplified across a full symphony orchestra. It is not uncommon in opera that sometimes, for a final dress rehearsal, a performer’s cover vocally performs a role and the main artist acts through the part to allow vocal rest ahead of the opening performance. At the final dress rehearsal Meechot Marrero, who is the cover for Sofia Troncoso (Gretel), stood side stage and sang the role whilst Troncoso moved through the performance. Marrero, who has performed the role numerous times around the world, was exquisite to listen to. Her soaring soprano voice rang clear and it was evident that she has a deep love for this score. Troncoso acted the role beautifully, bringing a real sense of youth and drive to her mannerisms. Having heard Troncoso in State Opera’s The Magic Flute in 2025, I am looking forward to hearing her as Gretel during the season of Hansel & Gretel.
As Hansel, Kangmin Justin Kim is perfectly cast. His countertenor voice is among the best I have heard. His German was crisp and clear and his vocal tone brought a wonderful sense of innocence to the role. He also works brilliantly against Troncoso; they both give a very believable performance as children.
Catherine Carby doubles as Hansel & Gretel’s mother and the Witch. Whilst both roles take on villain traits, Carby’s approach to each role had huge contrast. As Mother, Carby brings across characteristics similar to that of the stereotypical evil step-mother, while Carby’s Witch almost draws on the look of Stephen King’s character from IT, Pennywise. With a white face and orange hair, Carby almost glides around the stage. Vocally, Carby is wickedly brilliant. Her mezzo soprano voice revels in Humperdinck’s score. There is a menacing glee throughout Carby’s performance.
Morgan Pearse as Peter (the father) gives a commanding performance and showcases why he is an in-demand baritone across the globe. His booming voice fills Her Majesty’s Theatre, and it is a real privilege to hear an artist with this exceptional vocal quality. His character work is equally good, showing an easily-manipulated father.
Rounding out the lead cast was Lucy Stoddart as the Dew Fairy and Sandman. Her cameos in each act quickly showcase this up-and-coming performer as one to watch. Her costumes are worth the ticket price alone, especially the Dew Fairy!
Supporting the cast is State Opera’s Children’s Chorus, who have had expert guidance from Chorus Master Anthony Hunt. Their voices are a joy to hear, especially as the echoes in the forest toward the end of Act 2.
Hansel & Gretel is a real visual and aural treat. State Opera South Australia has once again crafted a new staging of a great opera that is fresh and innovative. This production is also the perfect option to introduce a younger audience to the incredible art form of opera. In their golden jubilee year, State Opera has continued to set the benchmark for opera around the world. Bravo!
Reviewed by Ben Stefanoff
Photo credit: Andrew Beveridge for State Opera South Australia
Venue: Her Majesty’s Theatre
Season:
Friday 21st August, Tuesday 25th August, Thursday 27th August and Saturday 29th August at 7.30pm
Duration: 2 hours and 20 minutes (including a 20 minute intermission)
Tickets: From $35 (plus booking fee)
Bookings: https://www.stateopera.com.au/productions/2026/hansel-and-gretel
