The first act represents the miserable little hut of a broom-maker. Hansel is occupied in binding brooms, Gretel is knitting and singing old nursery-songs, such as "Susy, dear Susy, what rattles in the straw." Both children are very hungry, and wait impatiently for the arrival of their parents. Hansel is particularly bad-tempered, but the merry and practical Gretel finding some milk in a pot, soon soothes his ruffled feelings by the promise of a nice rice-pap in the evening. Forgetting work and hunger, they begin to dance and frolic, until they roll on the ground together. At this moment their mother enters, and seeing the children idle, her wrath is kindled, and she rushes at them with the intention of giving them a sound whipping. Alas instead of Hansel she strikes the pot and upsets the milk. The mother's vexation cools and only sorrow remains, but she quickly puts a little basket into Gretel's hands, and drives the children away, bidding them look for strawberries in the woods. Then sinking on a chair utterly exhausted, she falls asleep. She is awakened by her husband, who comes in singing and very gay. She sees that he has had a drop too much and is about to reproach him, but the words die on her lips, when she sees him unfold his treasures, consisting of eggs, bread, butter and coffee. He tells her that he has been very fortunate at the church-ale (Kirmes), and bids her prepare supper at once. Alas, the pot is broken, and the mother relates, that finding the children idle, anger got the better of her, and the pot was smashed to pieces. He goodnaturedly laughs at her discomfiture, but his merriment is changed to grief, when he hears that their children are still in the forest, perhaps even near the Ilsenstein, where the wicked fairy lives, who entices children in order to bake and devour them. This thought so alarms the parents that they rush off, to seek the children in the forest.
The second act is laid near the ill-famed Ilsenstein. Hansel has filled his basket with strawberries, and Gretel is winding a garland of red hips, with which Hansel crowns her. He presents her also with a bunch of wild flowers and playfully does homage to this queen of the woods. Gretel enjoying the play, pops one berry after another into her brother's mouth; then they both eat, while listening to the cuckoo. Before they are aware of it, they have eaten the whole contents of the basket and observe with terror, that it has grown too dark, either to look for a fresh supply, or to find their way home. Gretel begins to weep and to call for her parents, but Hansel, rallying his courage, takes her in his arms and soothes her, until they both grow sleepy. The dustman comes, throwing his dust into their eyes, but before their lids close, they say their evening-prayer; then they fall asleep and the fourteen guardian-angels, whose protection they invoked, are seen stepping down the heavenly ladder to guard their sleep.
In the third act the morning dawns. Crystal drops are showered on the children by the angel of the dew, Gretel opens her eyes first and wakes her brother with a song. They are still entranced by the beautiful angel-dream they have had, when suddenly their attention is aroused by the sight of a little house, made entirely of cake and sugar. Approaching it on tiptoe, they begin to break off little bits, but a voice within calls out "Tip tap, tip tap, who raps at my house?" "The wind, the wind, the heavenly child" they answer continuing to eat and to laugh nothing daunted. But the door opens softly and out glides the witch, who quickly throws a rope around Hansel's throat. Urging the children to enter her house, she tells her name, Rosina sweet-tooth. The frightened children try to escape, but the fairy raises her staff and by a magic charm keeps them spellbound. She imprisons Hansel in a small stable with a lattice-door, and gives him almonds and currants to eat, then turning to Gretel, who has stood rooted to the spot, she breaks the charm with a juniper bough, and compels her to enter the house and make herself useful.
Believing Hansel to be asleep, she turns to the oven, and kindles the fire, then breaking into wild glee she seizes a broom and rides on it round the house singing, Gretel all the while observing her keenly. Tired with her exertions the witch awakes Hansel and bids him show his finger, at which command Hansel stretches out a small piece of wood. Seeing him so thin, the witch calls for more food and while she turns her back, Gretel quickly takes up the juniper bough, and speaking the formula, disenchants her brother. Meanwhile the witch turning to the oven, tells Gretel, to creep into it, in order to see, if the honey-cakes are ready, but the little girl, affecting stupidity begs her, to show, how she is to get in. The witch impatiently bends forward and at the same moment Gretel assisted by Hansel, who has escaped from his prison pushes her into the hot oven and slams the iron door.—The wicked witch burns to ashes, while the oven cracks and roars and finally falls to pieces. With astonishment the brother and sister see a long row of children, from whom the honey-crust has fallen off, standing stiff and stark. Gretel tenderly caresses one of them, who opens his eyes and smiles. She now touches them all, and Hansel, seizing the juniper bough works the charm and recalls them to new life. The cake-children thank them warmly, and they all proceed to inspect the treasures of the house, when Hansel hears their parents calling them. Great is the joy of father and mother at finding their beloved-ones safe and in the possession of a sweet little house. The old sorceress is drawn out of the ruins of the oven in form of an immense honey-cake, whereupon they all thank Heaven for having so visibly helped and protected them.
HANS HEILING.
Romantic Opera in three acts with a prelude, by HEINRICH MARSCHNER.
Text by EDUARD DEVRIENT.
The text to this opera, which was written by the celebrated actor and sent to Marschner anonymously, so struck the composer by its beauty that he adapted music to it, music which ought to be heard much oftener on our stages, on account of its freshness and of its healthy dramatic action, which never flags, but continues to interest and move the hearer with ever-increasing effect till the end is reached.