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1. Dahlhaus, Carl, Nineteenth-Century Music, Berkeley, Los Angeles London, University of

California Press, 1989.
2. Dahlhaus, Carl, Wagners Musical Influence, Wagner Handbook, Ulrich Mller i Peter
Wapnewsky, Harvard, Harvard University Press, 1992.

34
35

Carl Dahlhaus, ., 341.

. , 341.

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3. Figa, Elise, Allison Kieckhefer, Hansel and Gretel. Teacher Study Guide, New York,
Metropolitan Opera Guild, 1996
4. Glauert, Amanda, Hnsel und Gretel, The New Grove Dictionary of Opera (tom 2), Stanley
Sadie (ur.), Oxford University Press, 1992.
5. Grey, Thomas: Opera and Music Drama, Nineteenth-century Music, Jim Samson (ur.),
Cambridge University Press, 2001.
6. Grimm, Jacob i Wilhelm Grimm, Hansel and Gretel u Grimms Fairy Tales, New York, Barns
and Noble Classics, 2003.
7. Istel, Edgar, German opera Since Richard Wagner, The Musical Quarterly, god. 1, br. 21915,
www.jstor.org/stable/737850 (pristupljeno u oktobru 2009)
8. Norris, Geoffrey i Lyle Neff, Cui, Csar, The Grove Online, L. Macy (ur.),
www.groveonline.com
9. Tatar, Maria, The Hard Facts of the Grimms Fairy Tales, Princeton University Press, 2003.
10. Vagner, Rihard, Opera i Drama, Beograd, Madlenianum, 2003.
Adriana Sabo
HANSEL AND GRETEL BY ENGELBERT HUMPERDINCK: AN EXAMPLE OF A SUCCESFULL
CONFRONTATION WITH THE DEMANDS OF THE POST-WAGNERIAN ERA
By the time of Richard Wagners death in 1883, opera composers faced an important problem: how to
continue composing works of this genre after masterpieces such as The Ring? In the effort to answer that
question composers either composed operas that completley copied Wagners works (as is the case of
Richard Strauss first opera Guntram), or that were written with the sole purpose to become interpolated
in the repertoire of an opera theatre. Humperdincks opera Hansel und Gretel emerges from this context
as a refreshingly new and different. Due to its use of folksongs and the fairytale libretto, this opera gave
one possible answer to the abovementioned question. It is also important to note that, due to this fairytale
opera, Humperdinck was deemed as the true successor of Wagner.

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KEY WORDS: Engelbert Humperdinck, Richard Wagner, Hansel und Gretel, fairy-tale, post-wagnerian
opera, folk songs.

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