Humperdinck - Hänsel und Gretel Opera (E.Schwarzkopf & E.Grümmer - Cent.rec.: Herbert Von Karajan)

Engelbert Humperdinck (1854-1921) Hänsel und Gretel Opera.
Click to activate the English subtitles for the presentation (00:00-05:10)
00:00 Overture
08:38 Act 1_ Suse, Liebe Suse, Was Raschelt Im Stroh
12:24 Act 1_ So Recht! Und Willst Du Nun Nicht Mehr Klagen
14:23 Act 1_ Bruderchen, Komm, Tanz Mit Mir
18:01 Act 1_ Holla! Himmel!
19:44 Act 1_ Marsch! Fort In Den Wald!
22:14 Act 1_ Ral La La La.. Heissa, Mutter, Ich Bin Da!
24:38 Act 1_ Ho Ho! Wer Spek-Spekta-Kelt Mir
29:18 Act 1_ Doch Halt, Wo Bleiben Die Kinder_
31:01 Act 1_ Wenn Sie Sich Verirrten Im Walde Dort
32:30 Act 1_ Eine Hex', Steinalt
35:05 Act 1_ Hexenritt
39:30 Act 2_ Ein Mannlein Steht Im Walde
41:02 Act 2_ Mein Erbelkorbchen Ist Voll Bis Oben!
45:51 Act 2_ Gretel, Ich Weiss Den Weg Nicht Mehr!
50:35 Act 2_ Der Kleine Sandmann Bin Ich, S-T!
53:57 Act 2_ Abends, Will Ich Schlafen Gehn
57:35 Act 2_ Traum-Pantomime
1:03:23 Act 3_ Vorspiel
1:06:11 Act 3_ Der Kleine Taumann Heiss' Ich
1:07:51 Act 3_ Wo Bin Ich_ Wach' Ich
1:13:44 Act 3_ Bleib Steh'n!
1:14:21 Act 3_ Wie Duftet's Von Dorten
1:18:11 Act 3_ Knusper, Knusper Knäuschen
1:21:44 Act 3_ Ich Bin Rosina Leckermaul
1:26:05 Act 3_ Halt! Hokus Pokus, Hexenschuß!
1:27:29 Act 3_ Nun, Gretel Sei Vernünftig Und Nett!
1:32:46 Act 3_ Hurr Hopp Hopp Hopp
1:34:31 Act 3_ Auf, Wach Auf, Mein Jungelchen
1:38:44 Act 3_ Juchhei! Nun Ist Die Hexe Tot
1:41:30 Act 3_ Erlöst, Befreit, Für Alle Zeit!
1:45:44 Act 3_ Vater! Mutter!
Hänsel : Elisabeth Schwarzkopf
Gretel : Elisabeth Grümmer
Hexe/Witch : Else Schürhoff
Mutter/Mother : Maria Von Ilosvay
Vater/Father : Josef Metternich
Sandmännchen/Sandman : Anny Felbermayer
Taumännchen/Dew Fairy : Anny Felbermayer
Choirs of Loughton High School for Girls & Bancroft’s School
Philharmonia Orchestra
Conductor : Herbert Von Karajan
Recorded in 1953 at London
New Mastering in 2020 by AB for CM//RR
🔊Find CMRR's recordings on Spotify : spoti.fi/3016eVr
🔊Download CMRR's recordings in High fidelity audio : bit.ly/2M1Eop2
*Full comment: see first pinned comment*
The opera had been premiered the year before, on 23rd December 1893, at Weimar. Richard Strauss conducted and success was instantaneous. Strauss had accepted Humperdinck's invitation to direct his work in an enthusiastic letter in which, among other things, he said: "Truly, this is a masterpiece of the first water. It is a long time since I have been so impressed with any work. What heartwarming humour, what charm and simplicity of melodic line, what art and subtlety in your handling of the orchestra, what a triumph of form overall. My dear friend, you are a great master and you have bestowed upon our dear fellow-citizens a work they hardly deserve, though one hopes that very soon they will be worthy of it in the fullest sense." Only weeks after its Weimar premiere, the work had been taken up by a whole string of German houses, and before long it had been translated into no less than eleven other languages for performance in every corner of the world.
Hansel und Gretel has now been in the German repertory for more than eight decades and one can probably assume with a fair degree of certainty that Engelbert Humperdinck's masterpiece will continue to delight many a future generation.
Carl Maria von Weber - Der Freischütz Opera - Overture (Century's recording: Joseph Keilberth) : • Carl Maria von Weber -...

[@classicalmusicreference]

Engelbert Humperdinck (1854-1921) Hänsel und Gretel Opera. *Click to activate the English subtitles for the presentation* (00:00-05:10) 00:00 Overture 08:38 Act 1_ Suse, Liebe Suse, Was Raschelt Im Stroh 12:24 Act 1_ So Recht! Und Willst Du Nun Nicht Mehr Klagen 14:23 Act 1_ Bruderchen, Komm, Tanz Mit Mir 18:01 Act 1_ Holla! Himmel! 19:44 Act 1_ Marsch! Fort In Den Wald! 22:14 Act 1_ Ral La La La.. Heissa, Mutter, Ich Bin Da! 24:38 Act 1_ Ho Ho! Wer Spek-Spekta-Kelt Mir 29:18 Act 1_ Doch Halt, Wo Bleiben Die Kinder_ 31:01 Act 1_ Wenn Sie Sich Verirrten Im Walde Dort 32:30 Act 1_ Eine Hex', Steinalt 35:05 Act 1_ Hexenritt 39:30 Act 2_ Ein Mannlein Steht Im Walde 41:02 Act 2_ Mein Erbelkorbchen Ist Voll Bis Oben! 45:51 Act 2_ Gretel, Ich Weiss Den Weg Nicht Mehr! 50:35 Act 2_ Der Kleine Sandmann Bin Ich, S-T! 53:57 Act 2_ Abends, Will Ich Schlafen Gehn 57:35 Act 2_ Traum-Pantomime 1:03:23 Act 3_ Vorspiel 1:06:11 Act 3_ Der Kleine Taumann Heiss' Ich 1:07:51 Act 3_ Wo Bin Ich_ Wach' Ich 1:13:44 Act 3_ Bleib Steh'n! 1:14:21 Act 3_ Wie Duftet's Von Dorten 1:18:11 Act 3_ Knusper, Knusper Knäuschen 1:21:44 Act 3_ Ich Bin Rosina Leckermaul 1:26:05 Act 3_ Halt! Hokus Pokus, Hexenschuß! 1:27:29 Act 3_ Nun, Gretel Sei Vernünftig Und Nett! 1:32:46 Act 3_ Hurr Hopp Hopp Hopp 1:34:31 Act 3_ Auf, Wach Auf, Mein Jungelchen 1:38:44 Act 3_ Juchhei! Nun Ist Die Hexe Tot 1:41:30 Act 3_ Erlöst, Befreit, Für Alle Zeit! 1:45:44 Act 3_ Vater! Mutter! Hänsel : Elisabeth Schwarzkopf Gretel : Elisabeth Grümmer Hexe/Witch : Else Schürhoff Mutter/Mother : Maria Von Ilosvay Vater/Father : Josef Metternich Sandmännchen/Sandman : Anny Felbermayer Taumännchen/Dew Fairy : Anny Felbermayer Choirs of Loughton High School for Girls & Bancroft’s School Philharmonia Orchestra Conductor : Herbert Von Karajan Recorded in 1953 at London New Mastering in 2020 by AB for CM//RR 🔊Find CMRR's recordings on Spotify : spoti.fi/3016eVr 🔊Download CMRR's recordings in High fidelity audio : bit.ly/2M1Eop2 ONCE UPON A TIME... towards the end of the last century, there was, in the house of a doctor in Cologne... a puppet theatre. It belonged to the doctor's daughters, Isolde and Gudrun, and had been made for them by their mother's young brother, a head forester by the name of Max Humperdinck, who had fashioned theatre, puppets and scenery with his own hands. Upon the little stage many a fairytale had been brought to life, Mother supplying the scripts which were, for the most part, based on the tales by the Grimm brothers. And because the two girls both possessed fine voices and genuine musical gifts, their mother's elder brother, Uncle "Entepent", often contributed to the family fun by setting his sister's verses to music. Uncle "Entepent" was none other than Engelbert Humperdinck. It was not unusual for the children to be asked to sing the songs from their fairytale plays to musical gatherings in the homes of friends, where the listeners would include some of the most eminent figures in the musical life of the town, such as Franz Wüllner, the conductor of the Gürzenich Concerts and Director of the Conservertoire, lecturers from the various institutions of learning and artists from the theatres in Cologne. Piece that always met with the greatest approval was the dancing-song from Hänsel und Gretel: "Brother, come and dance with me". And it was these domestic performances of pieces written by Adelheid Wette simply for her children, that gave rise to the idea that here was material for a Singspiel, a play with music. The first to put forward the idea was Humperdinck's brother in law, Dr. Hermann Wette, the composer of Krauskopf, but the project found another early enthusiast in the person of Hugo Wolf, a close friend of both men. Hovever, some time was to pass before Humperdinck, who had relinquished his teaching post at the Cologne Conservatoire in 1890 and moved to Frankfurt, could be convinced of its viability. And Adelheid's daughters were distinctly put out when their father informed them, in the course of a walk, that their own beloved Hänsel und Gretel was to be made into an opera and shown to the general public. However, jealousy turned to pride when, at the first performance at the Cologne State Theatre, in 1894, their mother stood next to the composer and received, like him, an enormous bouquet of flowers. The opera had been premiered the year before, on 23rd December 1893, at Weimar. Richard Strauss conducted and success was instantaneous. Strauss had accepted Humperdinck's invitation to direct his work in an enthusiastic letter in which, among other things, he said: "Truly, this is a masterpiece of the first water. It is a long time since I have been so impressed with any work. What heartwarming humour, what charm and simplicity of melodic line, what art and subtlety in your handling of the orchestra, what a triumph of form overall. My dear friend, you are a great master and you have bestowed upon our dear fellow-citizens a work they hardly deserve, though one hopes that very soon they will be worthy of it in the fullest sense." Only weeks after its Weimar premiere, the work had been taken up by a whole string of German houses, and before long it had been translated into no less than eleven other languages for performance in every corner of the world. Hansel und Gretel has now been in the German repertory for more than eight decades and one can probably assume with a fair degree of certainty that Engelbert Humperdinck's masterpiece will continue to delight many a future generation. Carl Maria von Weber - Der Freischütz Opera - Overture (Century's recording: Joseph Keilberth) : kzbin.info/www/bejne/hYLEcmabistopbs

[@miro.georgiev97]

How do you remaster these recordings? I would never have known that this opera was recorded in 1953 in mono sound. It sounds like it was made yesterday, in stereo!

[@classicalmusicreference]

@@miro.georgiev97 Manufacturing secret :) Thank you, we try our best to respect the analogical heat by bringing digital technology :)

[@karlheinzkirchmann6469]

Now I'm sitting here, a grown up man, some centuries on his buckle, listening Hänsel & Gretel and I fly back in wonderfull childrenyears.

[@matteor.7439]

every time I listen to a passage from this work, I am amazed by its incredible musical richness

[@RolandHuettmann]

Some of the songs became quite popular and my mother taught them to us, her children. Such opera goes with sweet memories from over 60 years ago. It is a great work and thanks for publishing.

[@classicalmusicreference]

ONCE UPON A TIME... towards the end of the last century, there was, in the house of a doctor in Cologne... a puppet theatre. It belonged to the doctor's daughters, Isolde and Gudrun, and had been made for them by their mother's young brother, a head forester by the name of Max Humperdinck, who had fashioned theatre, puppets and scenery with his own hands. Upon the little stage many a fairytale had been brought to life, Mother supplying the scripts which were, for the most part, based on the tales by the Grimm brothers. And because the two girls both possessed fine voices and genuine musical gifts, their mother's elder brother, Uncle "Entepent", often contributed to the family fun by setting his sister's verses to music. Uncle "Entepent" was none other than Engelbert Humperdinck. It was not unusual for the children to be asked to sing the songs from their fairytale plays to musical gatherings in the homes of friends, where the listeners would include some of the most eminent figures in the musical life of the town, such as Franz Wüllner, the conductor of the Gürzenich Concerts and Director of the Conservertoire, lecturers from the various institutions of learning and artists from the theatres in Cologne. Piece that always met with the greatest approval was the dancing-song from Hänsel und Gretel: "Brother, come and dance with me". And it was these domestic performances of pieces written by Adelheid Wette simply for her children, that gave rise to the idea that here was material for a Singspiel, a play with music. The first to put forward the idea was Humperdinck's brother in law, Dr. Hermann Wette, the composer of Krauskopf, but the project found another early enthusiast in the person of Hugo Wolf, a close friend of both men. Hovever, some time was to pass before Humperdinck, who had relinquished his teaching post at the Cologne Conservatoire in 1890 and moved to Frankfurt, could be convinced of its viability. And Adelheid's daughters were distinctly put out when their father informed them, in the course of a walk, that their own beloved Hänsel und Gretel was to be made into an opera and shown to the general public. However, jealousy turned to pride when, at the first performance at the Cologne State Theatre, in 1894, their mother stood next to the composer and received, like him, an enormous bouquet of flowers. The opera had been premiered the year before, on 23rd December 1893, at Weimar. Richard Strauss conducted and success was instantaneous. Strauss had accepted Humperdinck's invitation to direct his work in an enthusiastic letter in which, among other things, he said: "Truly, this is a masterpiece of the first water. It is a long time since I have been so impressed with any work. What heartwarming humour, what charm and simplicity of melodic line, what art and subtlety in your handling of the orchestra, what a triumph of form overall. My dear friend, you are a great master and you have bestowed upon our dear fellow-citizens a work they hardly deserve, though one hopes that very soon they will be worthy of it in the fullest sense." Only weeks after its Weimar premiere, the work had been taken up by a whole string of German houses, and before long it had been translated into no less than eleven other languages for performance in every corner of the world. Hansel und Gretel has now been in the German repertory for more than eight decades and one can probably assume with a fair degree of certainty that Engelbert Humperdinck's masterpiece will continue to delight many a future generation.

[@miro.georgiev97]

I had no idea what to expect out of this opera going in, considering this is the first time I've ever listened to it, but this recording is a great first impression.

[@sergemck]

@@miro.georgiev97 This is von Karajan's greatest recording performance, and the best recording ever made of Hansel and Gretel. It is immaculate in every way!

[@gumbycat5226]

I grew up on this version of this opera. We used to have it in a truncated 10" LP format as well as the two-LP format full opera. I used to listen to it practically every day from when I was 3 to when I was 7. Know every beat by heart. For me it is musical perfection.

[@sergemck]

IMO this is von Karajan's greatest recording performance, and the best recording ever made of Hansel and Gretel. It is immaculate in every way! Eliisabeth Schwarzkopf as Gretel, Elisabeth Grümmer as Hansel, and Else Schürhoff as the Witch are superb! Although I love this re-mastering of the original 1953 mono version, in 1986, EMI released a re-processed stereo version of this 1953 mono version, and they did such a truly excellent job that it is clearly superior to the mono version, which is probably why they released it. I prefer this re-processed stereo version of the 1953 recording. I have compared both versions of Act 2_ Traum-Pantomime, and the 1986 version is clearer and more powerful and reveals von Karajan's genius and mastery in conducting.

[@iandvern29]

Such a majestic reading of this opera - thank you so much.

[@kennethduckworth8100]

Karajan's recordings from the 1950s are evergreen. One scarcely minds that some are in monaural sound. Unlike recordings that treat "Hansel and Gretel" as an operetta, Karajan situates it clearly in the world of "Die Meistersinger" and Act II of "Siegfried," and it holds up well in such company. Literally heart-warming. Thank you for posting this in superior sound. Could you do the same for Karajan's take on Strauss's "Ariadne auf Naxos," which has always struck me as the best recording of the work even though it is in mono like "Hänsel und Gretel."

[@wertherquartett]

In what way do some recordings treat this as an operetta? What does that actually mean?

[@seancoxen3329]

Of like mind. I love Karajan's opera recordings from the 1950s. After 1960, he became increasingly more self-indulgent and, to me anyway, less appealing

[@martinatherton3018]

@@seancoxen3329 - I wonder what happened in 1960...

[@ianng9915]

@@martinatherton3018 simplified answer: he took over the Berlin Philharmonic. (Also the Salzburg festival) But honestly his character has always been like that and we can’t blame anyone for who he is.

[@martinatherton3018]

@@ianng9915 - thank you for your "simplified answer". If there's a complicated one, perhaps it has more substance and makes more sense. You clearly don't recognize irony.

[@dreizehnlinden5454]

danke, dass du meine österreichischen tage und erinnerungen aufgehellt hast 🇦🇹🇮🇱🇧🇷

[@user-on5lb9ew9x]

I got great pleasure !!! BRAVO!!! Thank you from the bottom of my heart !!!

[@judithroberts5487]

Gorgeous singing. Gorgeous orchestra. Love this!

[@HorbucherundGedichteKinder]

Very beautiful opera.

[@dejanstevanic5408]

Thank you.

[@federicoboretti649]

Espectacular

[@matzek.9119]

Wonderful

[@ellobofenix4397]

La primera ópera que ví en mi vida la que mejor recuerdo de memoria y con tanta trascendencia a nivel internacional

[@paulrosa6252]

Karajan a toujours été grave. Les tempi et les sonorités de ses enregistrements sont souvent profonds mais parfois un peu lourds. La direction avec Sir Georg Sczolti de cet opéra, qu'on a eu l'heureuse idée de capter pour la télévision à Vienne devant une salle remplie d'enfants, correspond si bien au sujet et surtout à l'auditoire. Regardez la captation 'live' au Muzikverein sur KZbin. La chorégraphie durant l'ouverture, l'expression des enfants(plusieurs paraissaient très jeunes) vraiement féérique! Quant à Maestro Sczolti, sa baguette est magique. C'est une référence non seulement musicale mais aussi historique

[@martinatherton3018]

What a shame you have to disrespect one great recording in order to promote another that you prefer - and were, apparently, involved with.

[@countertenorpildooji4238]

For me 1:18:11 p101 (야금 야금 생쥐들 누가 잡아먹나) 1:21:11 p106 (날 찾아 왔나? 잘 왔다!) 1:26:03 p114 (멈춰라) 1:28:41 p117 1:31:14 p121 1:35:28 p128

[@lalu653]

1:35:29

[@user-pg3sm4uw9c]

Васхитительно сапрано Марии Каллос баритон Георга Отса оперное пение на немецком языке первый рас слышу нидумала что так красиво Браво!!!

[@juliogonzalezcampayo3201]

Posiblemente la mejor versión, pero también la de Solti, con Popp y Fassbaender, es excelente.

[@paulrosa6252]

Estoy totalmente de acuerdo con usted. Karajan siempre ha sido serio. Los tempos y tonos de sus grabaciones suelen son profundos pero a menudo pesados. La dirección de esta ópera, que tuvimos la feliz idea de plasmar para la televisión en Viena frente a una sala llena de niños, se corresponde tan bien con el tema y sobre todo con el público. Es, como tan acertadamente lo expresó, una versión de referencia; y agregaría, si me permiten, histórico. (traducción francés-español con traducción de Google)

[@juliogonzalezcampayo3201]

@@paulrosa6252 Muchas gracias.

[@classicalmusicreference]

The two Elisabeth dominate the discography and Karajan accompanies them with all the appropriate lightness and delicacy. But you won't find an equivalent to the Schwarzkopf/Grümmer duo.

[@juliogonzalezcampayo3201]

@@classicalmusicreference Soy gran admirador de Grummer y Karajan fue siempre un gran acompañante de cantantes, pero creo que las voces de Popp- Fassbaender se distinguen mejor y, sobre todo, la mezzo suena más "masculina". Pero, sin duda, la versión Karajan es un clásico.

[@classicalmusicreference]

@@juliogonzalezcampayo3201 Es bueno tener varias versiones de una obra que nos gusta.

[@blankastehlikova1175]

Dojímavé a uklidňující v této době.. Vhanil až slzy do očí

[@tigrijtigrij2401]

звук тихий

[@MaestroWenarto]

great sound but it is mono, so sad

[@sergemck]

Although I love this re-mastering of the original 1953 mono version, in 1986, EMI released a re-processed stereo version of this 1953 mono version, and they did such a truly excellent job that it is clearly superior to the mono version, which is probably why they released it. I prefer this re-processed stereo version of the 1953 recording. I have compared both versions of Act 2_ Traum-Pantomime, and the 1986 version is clearer and more powerful and reveals von Karajan's genius and mastery in conducting.

[@thomasdidymus1855]

can u set up a one time patreon donation?

[@classicalmusicreference]

Hi Thomas. Thank you for your support. Sorry for the delay in our response. You can make a one-time donation at en.tipeee.com/cmrr Thanks again!

[@brendanward2991]

Wonderful, and wasted on children!

[@iandvern29]

It was boxing day and I was 7 years old - keen to see the Hansel and Gretel pantomime on TV. I was wrong - it was the opera and how I loved it. This started a life long love of opera. It most certainly wasn't wasted on me.

[@mk5244]

@@iandvern29 ....I took my sons to Hänsel and Gretel. They still remember and are grateful to have seen and listened to the Sandman and the witch. If you don’t continue to give this kind of culture to your children, it is most likely wasted later on to adults. As kids they learn to listen and watch, without a glimpse to the smartphone! RDS

[@sergemck]

Impeccable quality is never wasted on children! A bit of Teutonic grimness gets them out of Tele-tubby land!