Talk about Engelbert Humperdinck to a music lover so slightly warned, and almost instantly it will quote you the name of its famous opera Hansel and Gretel. If, rightly, that magical picture which depicts two children face a wicked witch living in a gingerbread house is presented as the eternal masterpiece of German composer, it would still not forget that this is not the only one. Thus, although a little less enchanting than its predecessor, although it draws its inspiration from him as folk tales, Die Königskinder is among the most impressive vocal frescoes of the early twentieth century. This time, Humperdinck tells us a story where passions and feelings unite in order to denounce naively but no less effectively, the imbalances of increasingly indifferent society: his. In a sense we will consider willingly anti-materialist, Die Königskinder is a marvel of its kind. Lyric desire, it uses a voice tray to match its ambitions, each singer playing his character to perfection, including supporting roles. Attracted by the scene, it does not neglect the pit. Conditioned by the sublimity of a partition Wagnerian pace (reference to preludes, but also orchestration) at any time the Deutsches Symphonie-Orchester Berlin tangling brushes. Worthy heir of the famous RIAS Berlin 1946 renamed Radio-Symphonie-Orchester Berlin in 1956, he also stands in the many musical interludes. Guarantor of its cohesion, Ingo Metzmacher acts enthusiastic and responsible leader. Wrongfully disgraced, these "Children of the King" found an echo in his interpretation that has not stopped ringing. Both for its plot for music that accompanies it, this is indeed a work that is worth exploring. With a sound recording can cure deafness, she ardently calls us his wishes. Let us not disappoint.
