There is something rather apt about State Opera South Australia placing Hansel and Gretel at the centre of its 50th anniversary celebrations. Engelbert Humperdinck’s much-loved opera is steeped in German Romanticism, but its appeal is rooted in a tension between tradition and reinvention.

Overtly Wagnerian yet still very much a fairy tale of dark folklore and magical beliefs, this exciting new production brings that tension to life in ways that feel both connected to the past and original.

Sofia Troncoso and Kangmin Justin Kim in State Opera South Australia’s Hansel and Gretel. Photo © Andrew Beveridge

It opens with the poor family in their small house on the edge of the woods. Jonathon Oxlade’s clever design creates a believable domestic world, while rotating structures and stylised trees make it also the stuff of dreams or nightmares. When we later see the metallic interiors of the trees, the set takes on a newly surreal feel.

Excellent lighting by Bernie Tan-Hayes is crucial to the effect, playing with our sense of scale, atmosphere and menace. The Witch’s world is bathed in red, with frighteningly large hands invading the stage, making the forest feel sentient, unstable and threatening.

Catherine Carby in State Opera South Australia’s Hansel and Gretel. Photo © Andrew Beveridge

That darkness gives greater emphasis to the opera’s balance of innocence and evil, sophistication and tradition. Director Constantine Costi’s decision to cast Catherine Carby as both Mother and Witch highlights a conceptual link between home and forest, safety and danger. On stage, however, this feels a little awkward, with the two characters demanding contrasting theatrical energies.

To her credit, Carby shines in both roles, and clearly has fun as the red-headed Witch. Her kitchen is an especially impressive set, with a touch of humour in the dancing knives on the wall.

At the centre of the production are two stars of the opera world, Kangmin Justin Kim and Sofia Troncoso as the hungry and lost children. It is a coup for SOSA to have Kim here in his Australian debut, singing a role he has previously performed with the Dallas Opera. He is a wonderful performer, combining vocal refinement with theatrical mischief. His bright countertenor singing makes him all the more convincing as a youngster, full of impulsiveness, playfulness and childhood fears.

Troncoso is an excellent Gretel, singing with clear vocal freshness and performing with appealing dramatic intelligence. Together they establish a convincing sibling relationship, knowing and familiar without becoming overly sentimental or child-like. Their interwoven voices express their mutual dependence, making the opera’s final triumph feel earned. This is a victory over evil achieved through their shared initiative and cunning.

Kangmin Justin Kim and Sofia Troncoso in State Opera South Australia’s Hansel and Gretel. Photo © Andrew Beveridge

Morgan Pearse brings considerable authority to Peter, their Father, with his powerful baritone providing suitable weight and urgency. Lucy Stoddart makes an appealing impression in the dual roles of Sandman and Dew Fairy, with the production’s most inventive costumes, also designed by Oxlade. The State Opera Children’s Chorus is impressive, particularly in the dream sequence, where Humperdinck’s music achieves one of its most luminous transformations. They are also delightful as the blackbirds.

SOSA’s artistic director Dane Lam was in the pit, conducting the Adelaide Symphony Orchestra with an ear for both the score’s richness and transparency. Playing with acting concertmaster Cameron Hill, the ASO brought out all the echoes of folk tunes within the orchestral writing. The horns and strings gave the music its pleasing weight without ever overwhelming the voices.

Hansel and Gretel is sung in German with clear English surtitles. The translation is perhaps a little too basic. It’s easy to follow, but I couldn’t help noticing that it lost some of the nuance and playfulness of the original. In a work so finely balanced between innocence and darkness, the words need their subtlety. Even so, there is wisdom here for us all: “When all is lost, be clever and brave.”

Introducing the performance, Lam gave an enthusiastic welcome to the audience in celebration of SOSA’s Golden Jubilee, reminding us that this is not simply another revival, but part of looking forward to the next fifty years. To that end, SOSA will take the production to Hong Kong next year as part of its new collaboration with Opera Hong Kong. Lam also strongly advocated for the importance of live music to accompany performances, an issue that has been in the news of late.

Hansel and Gretel may find themselves in a dark and scary forest, but this is a fine production full of confidence, imagination, and musical pleasure. It is a worthy celebration of State Opera South Australia’s Golden Jubilee. Happy Anniversary!

State Opera South Australia presents Hansel and Gretel at Her Majesty’s Theatre Adelaide until 29 August.