(Trans)National Fairy Tale and Romantic Childhood: Humperdinck's Hänsel und Gretel through its Parisian Reception

Around 1900, Engelbert Humperdinck and Adelheid Wette's Hänsel und Gretel was one of the most widely performed operas in Europe. The critical discourse prompted by its Paris premiere provides an opportunity for exploring the political dynamics of nineteenth-century fairy tales and for elucidating the piece's considerable historical significance. Although Humperdinck's opera was a prime vehicle for perpetuating Franco-German cultural competition, a prominent strand of its Parisian reception emphasised transnational commonalities linking French and German cultural heritage – an emphasis facilitated by the fairy tale's nationalist ideologies. According to some Parisian critics, the opera's wildly successful representation of childhood explained its international success. Certainly, Hänsel und Gretel embodied an influential perception of childhood that also animated late nineteenth-century French literary and political spheres. In so doing, the opera also gave musical and dramatic shape to some highly restrictive aspects of the Romantic image of the divinely protected child.