The second act, “In the Forest,” is preluded by a characteristic instrumental number, “The Witches’ Ride.”  The children are discovered near the Ilsenstein, among the fir-trees, making garlands, listening to the cuckoos, and mocking them in a beautiful duet with echo accompaniment.  At last, however, they realize that they are lost; and in the midst of their fear, which is intensified by strange sights and sounds, the Sandman, or sleep fairy, approaches them, strews sand in their eyes, and sings them to sleep with a most delicious lullaby, after they have recited their prayer, “When at night I go to sleep, fourteen Angels watch do keep.”  As they sleep the mist rolls away, the forest background disappears, and the fourteen angels come down a sort of Jacob’s ladder and surround the children, while other angels perform a stately dance, grouping themselves in picturesque tableau as the curtain falls.

The third act is entitled “The Witch’s House.”  The children are still sleeping, but the angels have vanished.  The Dawn-Fairy steps forward and shakes dewdrops from a bluebell over them, accompanying the action with a delightful song, “I’m up with early Dawning.”  Gretel is the first to wake, and rouses Hansel by tickling him with a leaf, at the same time singing a veritable tickling melody, and then telling him what she has seen in her dream.  In place of the fir-trees they discover the witch’s house at the Ilsenstein, with an oven on one side and on the other a cage, both joined to the house by a curious fence of gingerbread figures.  The house itself is constructed of sweets and creams.  Attracted by its delicious fragrance and toothsomeness, the hungry children break off a piece and are nibbling at it, when the old witch within surprises and captures them.  After a series of incantations, and much riding upon her broomstick, which are vividly portrayed in the music, she prepares to cook Gretel in the oven; but while looking into it the children deftly tumble her into the fire.  The witch waltz, danced by the children and full of joyous abandon, follows.  To a most vivid accompaniment, Hansel rushes into the house and throws fruit, nuts, and sweetmeats into Gretel’s apron.  Meanwhile the oven falls into bits, and a crowd of children swarms around them, released from their gingerbread disguises, and sing a swelling chorus of gratitude as two of the boys drag the witch from the ruins of the oven in the form of a big gingerbread-cake.  The father and mother appear.  Their long quest is ended.  The family join in singing a pious little hymn, “When past bearing is our grief, God the Lord will send relief;” and the children dance joyously around the reunited group.  The story is only a little child’s tale, but it is wedded to music of the highest order.  The union has been made so deftly, the motives are so charming and take their places so skilfully, and the music is so scholarly and characteristic throughout, that no one has yet considered this union as incongruous.  In this respect “Hansel and Gretel” is a distinct creation in the operatic world.