Natalija Stanković is a Serbian opera stage director whose work can best be described as chameleon-like. It encompasses collaborations with contemporary Serbian composers, the integration of new digital technologies in opera, cultural heritage preservation, music theater for children, and inclusive music theater.
Her work with young Serbian composers includes Džumbus (2019) and XX (Monoopera for Schizophrenic Voice and Strings) (2021) by Serbian composer Milica Ilić. The chamber opera Clean Water (2022) represents the start of Natalija’s collaboration with Olga Janković and is notable for being the first opera to feature MetaHuman technology on stage. Her ongoing work with Olga particularly targets cross-sectoral artistic practice and the engagement of modern audiences. Natalija also staged Behind the Opera Scene, an operetta by the acclaimed composer Vera Milanković, which marks the return of Serbian operetta to the stage after 85 years.
Within the project Opera: Past, Present, Perfect!, realized by the Musical Opera Theater Organization MOTO, Natalija co-directed the opera Children’s Room by composer Milenko Živković, which premiered at the closing of the 53rd BEMUS festival in 2021. It is the first Serbian children’s opera, restaged after 80 years. The opera became part of the Little Theatre Duško Radović’s permanent repertoire, was performed nationwide, and received several awards. In the co-production of MOTO and MP Duško Radović, Natalija directed Benjamin Britten’s opera Let’s Make an Opera!/The Little Sweep.
Natalija is dedicated to nurturing the next generation of opera performers leading workshops for young opera singers as part of the Summer Opera School organized by NGO MOTO. Through working with the same organization, she became deeply involved in working with individuals with autism. She directed two inclusive music theater performances, tailored to this community, The Fairytale of Titirija (2023) and The Circle of Fairy Dobrila (2024). Her approach focuses on inclusivity and understanding, ensuring that the artistic process is accessible and meaningful for all participants. Through these projects, she has expanded her work to address the needs of diverse audiences and foster a more inclusive environment within the arts.
Before embarking on her directing career, Natalija completed her bachelor’s and master’s degrees in Music Theory at the Faculty of Music in Belgrade and earned a master’s degree in Opera Directing from the Verona Opera Academy. She gained extensive experience as an assistant director working at the Operosa Montenegro Opera Festival, Teatro Filarmonico di Verona, Abay Opera House in Kazakhstan, Teatro Comunale di Bologna, Jerusalem Lyric Opera Studio, Ente Luglio Musicale Trapanese. She also completed an internship at the Arena di Verona Opera Festival. These formative experiences have significantly influenced her collaborative approach and ability to adapt to diverse artistic environments. As of 2024, she was selected as one of 11 mentees from around the world in the Bridge Mentorship Program. Her mentor is Brigitta Gillessen, the director of Kinderoper Köln.
