Watch Hansel Vs. Gretel Online Megashare

Watch Hansel Vs. Gretel Online Megashare

The Metropolitan Opera’s grandest, most storybook-literal productions are sometimes described as “singer-proof.” These shows, in other words, make their desired impact, regardless of the would-be divas and divos who inhabit them.

Watch Hansel Vs. Gretel Online Free

Armies of sopranos and tenors have passed through the virtual city that Franco Zeffirelli constructed for Puccini’s “La Bohème.” No one would argue that it’s not a better evening with Pavarotti — or, last week, the rising star Michael Fabiano. The point is that it’s going to be a spectacle, even if the talent is spottier.

Richard Jones’s surreal, macabre staging of Humperdinck’s glorious “Hansel and Gretel,” revived on Thursday evening in English as the Met’s annual family holiday offering, is neither particularly grand, in the Zeffirelli sense, nor conventionally pretty. But its atmosphere is so arresting, and certain of its images so haunting, that it would enchant and move you even if you pressed the mute button. It’s singer-proof.

Happily, on Thursday it didn’t have to be. A capable, appealing cast added to the production’s darkly antic effect. The mezzo-soprano Christine Rice appeared in concert with the Met Orchestra in 2011, but was making her house debut as Hansel. It followed another recent trouser (or at least semi-trouser) role for her, Bradamante in Handel’s “Alcina,” with the English Concert chamber orchestra at Carnegie Hall. In both parts, her voice has been bright and lean, her diction crisp and energetic.

Her Gretel was the soprano Aleksandra Kurzak, a veteran of this production whose slender tone has lately gotten subtly fuller, her range’s center of gravity lower. The colors of their voices are similar enough that the great “Evening Prayer” duet was more like a mirror than a blend. Their chemistry delightful, Ms. Rice and Ms. Kurzak danced, crept and cowered with ease, radiating sweetness without ever tipping over into sentimentality.

Mr. Jones’s production, set perhaps in mid-20th-century England, certainly steers clear of schmaltz. We are constantly reminded that this is an opera about two poor, hungry children. Their cottage is drab rather than cozy, and the second act takes place not in a forest but in a drafty abandoned ballroom. The Witch’s gingerbread house is here a cavernous industrial kitchen.
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