Published · 23 August 2026
Croatian Opera Academy 2026: My Debut as Mutter in "Hänsel und Gretel"
Three intensive weeks at the Croatian Opera Academy culminated in my debut as Mutter in Humperdinck’s "Hänsel und Gretel", premiered on 11 August in Novi Marof, Croatia.
A few days ago, my summer at the Croatian Opera Academy came to an end. From 20 July to 13 August 2026, I worked on the role of Gertrud, the Mother, in Humperdinck’s Hänsel und Gretel. These three intensive weeks were filled with daily musical and stage rehearsals, individual lessons, vocal work and repertoire coaching, hanging out and getting to know each other, culminating in what we had all been preparing for: bringing a complete opera production to the stage.
Hänsel und Gretel in Novi Marof
We performed the premiere on 11 August at the Ivan Rabuzin Cultural Centre in Novi Marof, Croatia. I had the pleasure of performing the Mother alongside Isabel Mancl as Gretel, Slađa Raičević as Hänsel, Jurica Jurasić Kapun as the Father, Marta Popescu as the Witch, Sarah Witter as the Sandman (Sleep Fairy), and Catherine Chen as the Dew Fairy. The premiere was warmly received and took place in a wonderful atmosphere. For me, it was especially meaningful to bring the Mother to the stage for the first time, a role that presented a very different musical, dramatic and character challenge from the parts I had previously performed.
Working with Étienne Lemieux-Després
One of the most valuable parts of the entire experience was working with Canadian conductor Étienne Lemieux-Després. His career has taken him to institutions including the Berlin and Hamburg State Operas, Teatro Real Madrid, Opéra de Lyon, Opéra National de Bordeaux and the Elbphilharmonie, and he has worked alongside conductors including Kent Nagano, Marc Minkowski, Daniele Rustioni and Ivor Bolton. For me, however, what made working with Étienne particularly meaningful went far beyond his musical expertise. Throughout the process, he created an environment in which we as singers felt safe, heard and valued. Making music with him was serious and precise, but at the same time genuinely joyful. After some of my previous experiences, working in such a healthy and supportive atmosphere carried a very personal significance for me and reminded me how much artistic freedom can grow from mutual trust and respect. Working with him will certainly remain one of my favourite professional experiences so far.
Stage Work with Marta Tutiš
The production was directed by Marta Tutiš, who works with the Opera of the Croatian National Theatre in Zagreb as an assistant stage director. Throughout the staging process, we explored the relationships between the characters, the rhythm and physical language of the production, and the ways in which Humperdinck’s music and this familiar fairy tale could become a vivid and immediate theatrical story. I particularly appreciated the space we were given to explore our characters while still working within a clear and precise directorial vision.
Vocal Work and Repertoire
Alongside the production itself, COA offered an opportunity for intensive individual work on vocal technique and repertoire. During the programme, I worked with Jelena Stefanić, Ena Pongrac, Tamara Ivaniš, Michael Smallwood, Michael Nagl and Margareta Matišić. Each brought a different perspective to technique, interpretation and repertoire, leaving me with a great deal of material and new ideas to continue exploring after returning home.
The People Who Made the Experience
The founder and Artistic Director of the Croatian Opera Academy is Croatian bass-baritone David Oštrek, a long-standing ensemble member of the Staatsoper Unter den Linden in Berlin. I am especially grateful to him for believing in me and giving me the opportunity to bring the Mother to life on stage through this production. But once all the rehearsals, lessons and performances are over, what I may remember longest are the people. I feel incredibly fortunate to have spent these weeks surrounded by cast mates, mentors, orchestra members and crew who were not only exceptional musicians and professionals, but also some of the kindest and most caring people I have had the privilege of working with. Artistic growth requires challenges, but those challenges do not have to come from an unhealthy or uncomfortable environment. This experience reminded me how much can be achieved when there is trust, mutual respect and a genuine desire to help one another grow. At last, Croatian Opera Academy 2026 is an experience I will cherish for a long time, for the music we created, everything I learned and, above all, the people I was lucky enough to share it with.