Piše: Jana Haluza
Fotografije: Sandra Šimunović / Pixsell
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A little over half of Iva Hraste Sočo’s term as Director of the Croatian National Theatre in Zagreb has passed, and she is steadily and confidently moving toward achieving her goals. Nearly all performances—opera, ballet, and drama—are practically sold out, the theatre is established and highly respected on the global stage, and the countdown has begun for the opening of a new stage at Adžijina Street 7a, at the location of the former workshop and set storage area.
This will be a new opportunity to further expand an already rich repertoire, as the three ensembles are in constant competition for more stage time. In March this year, during the annual election assembly of Opera Europa—the world’s largest association of opera houses and festivals, which includes over 240 members from 46 countries—Iva Hraste Sočo was elected Vice President, further strengthening the reputation and influence of our national theatre within the European opera community.
The secret to her success is clear: top quality always comes first, along with care for the status of every employee.
She appointed one of the world’s greatest opera conductors, Italian Pier Giorgio Morandi, as honorary chief conductor—something he proudly includes in his biographies printed in playbills for performances at major venues like La Scala in Milan, the Metropolitan Opera in New York, and the Vienna State Opera. His involvement guarantees productions worthy of the world’s greatest opera houses.
In the ballet department, she managed to resolve the issue of dancers’ early retirement rights in a short period after years of delays, and rejuvenated the ensemble with younger talent, which sparked new production possibilities. Halfway through her term, she entrusted the drama department to internationally acclaimed playwright Tena Štivičić, who has brought HNK’s drama and its classical repertoire into alignment with the latest global theatrical trends.
Although there is no real need to expand the theatre’s popularity or attract more subscribers or viewers, Iva Hraste Sočo is investing in the long-term sustainability of the theatre through various initiatives—such as organizing performances for children from Zagreb’s shelters or connecting high art with youth events, such as the recent party held in the theatre foyer under the name “After Young Werther.”
How did you come to the decision to run for the position of Director of the Croatian National Theatre in Zagreb?
That decision developed naturally over the years through my work in the theatre and communication with colleagues and staff. The experiences I gained in various stages of my career—as an artist, diplomat, and Assistant Minister for Theatre and International Cultural Cooperation—gave me a broader perspective, a deeper understanding of both the artistic process and institutional operations. All of this was invaluable in taking on this role.
Looking back at your two and a half years in office, how do you view your accomplishments?
I’m pleased. We’ve made a number of important advances—not just in our repertoire but also in creating better working conditions. There’s a stronger sense of satisfaction among the employees—artists, administration, and technical staff. The Croatian government enabled the HNK to exit the Civil Service Coefficients Regulation, which opened the door for salary increases after a decade of neglect in that area. We’re building a new stage, and we’ve achieved numerous strategic goals.
Our productions and artists have won several prestigious awards, and with over 5,600 subscribers—a historic record!—and full houses, it’s clear we’ve taken a good direction with our programming.
How would you assess the current state of the ensembles?
The HNK ensembles are undergoing a significant phase of renewal and development. In the Opera, we have an exceptionally strong lineup—from established soloists to younger singers who are already achieving remarkable success, and a truly outstanding choir and orchestra. With such an artistic base, under the leadership of Maestro Pier Giorgio Morandi and Opera Director Željka Barišić Pulig, we’ve reached a performance level worthy of the most prestigious European houses, as confirmed by audience reactions.
In Ballet, under the artistic direction of Massimiliano Volpini, we’ve introduced new energy and contemporary technical excellence. By rejuvenating the ensemble and launching a Ballet Studio aimed at preserving Croatian talent within our troupe, we’ve laid the foundation for long-term growth.
Drama is entering a fresh phase under Tena Štivičić, whose international experience and vision for the drama ensemble is already leading to important shifts in how theatre is conceptualized.
In all our artistic departments, we support programs that nurture young artists and give them the opportunity for artistic development, including scholarship programs in Drama, Opera, and Ballet.
The new stage at Adžijina Street is about to open. How important is it for the theatre’s operations?
It’s extremely important. It’s a crucial step toward resolving the issue of using the same stage for all three branches—opera, drama, and ballet. The new stage, with a capacity of around 320 seats, will ease the pressure on the main stage and allow greater flexibility in planning rehearsals and performances. The project is funded by the Government of the Republic of Croatia through the Ministry of Culture and Media, and the opening is expected in November.
This year marks the 130th anniversary of the HNK building. How are you celebrating that milestone?
This major anniversary is very important to us, which is why we’ve dedicated the entire year to it. We’re celebrating it under the patronage of the Government of the Republic of Croatia, which recognized its significance. As part of this celebration, we marked the 100th performance of “Tko pjeva, zlo ne misli” (“He Who Sings Means No Harm”) by hosting children from Zagreb orphanages, and the 200th performance of the ballet “Giselle.” In future performances of this classic piece, our principal dancers Iva Vitić Gameiro and Guilherme Gameiro Alves will share the stage with stars from Milan’s La Scala, Nicoletta Manni and Timofej Andrijashenko. We will also open the first theatrical pop-up museum in Croatia, a kind of nucleus of a future permanent museum, which will bring the rich history of the HNK to life through interactive screens and artifacts placed throughout different locations within the building.
In October, we’ll also mark the 130th anniversary of the birth of Jakov Gotovac with gala performances of his operas “Ero the Joker” and “The Stranger,” accompanied by a dedicated exhibition… The central event will be the launch of a comprehensive monograph that covers everything—from Stanković’s theatre in the Upper Town, to the architecture of our building and its cultural significance, the development of our repertoire, and a look ahead to the future and the new stage.
The Zagreb Opera Festival is entering its third edition this autumn. What is its role?
The festival was created as part of my program for the director position. I believed—and practice has confirmed—that the time was right for the HNK, as the largest national institution, to become the centre of such an international gathering. In the first year, we included our national theatres and Ljubljana; last year we welcomed theatres from Maribor, Belgrade, Warsaw, and Palma de Mallorca. Our goal is to position Zagreb as a relevant destination on the European opera map.
Sponsors have become an important part of your business model. How important are they to the theatre?
Extremely important. We’ve intensified cooperation with the private sector since the beginning of my term. Partnerships with institutions like Croatian Postal Bank and Bosqar Invest have provided us with additional income, but also improved the audience experience. This approach to sponsorship—as a genuine partnership—is the foundation of our operations.
How does the HNK today balance between classical and contemporary expression?
In Opera and Ballet, the classical repertoire dominates, which our audience recognizes and appreciates. However, we also produce contemporary works, such as Parać’s “Judita” or the ballet triptych “Broken Relationships.” In Drama, we nurture relevance and a dialogue with the present, as seen in “Crime and Punishment” or the upcoming production “The Years.” Overall, we strive for a balance between tradition and modernity.
Your work has been internationally recognized as well: you were recently appointed Vice President of Opera Europa, the largest association of opera houses, and are also a jury member for international awards. What does this mean for HNK and Croatian culture?
Aside from being personally meaningful, it places the HNK in Zagreb within the European cultural dialogue. It opens doors for co-productions and international touring, and it gives our artists more opportunities to gain recognition beyond Croatia.
At the last meeting in Barcelona, there were more than 260 directors from around the world—and they were all well aware of the HNK in Zagreb. Our theatre is a member of the European platform FEDORA, and at this year’s Fedora Prizes Biennale, I served as a jury member, as well as a member of the panel for the International Opera Awards.
Additionally, our productions are featured on OperaVision, a platform that allows opera lovers around the world to watch our programs.
How do you attract a new audience?
Through various formats—from social media campaigns to projects like
“After Young Werther,” where we merged opera with a party concept. We plan to do something similar soon with drama.
Our goal is to bring theatre closer to younger audiences, not just through the content, but also through atmosphere, approach, and communication. We also organize workshops and quizzes around drama performances—this season, for “Measure for Measure” and “Crime and Punishment.”
You still teach at the Academy of Dramatic Art and the Academy of Music. What motivates you most in this work?
Theatre is my fundamental drive. Although the role of director is complex and demands managerial, financial, and communication skills, what continuously inspires me is the artistic process, whose production principles I try to pass on to my students.
I’m happiest when I can be at a rehearsal, watching a new performance take shape. That’s the heart of the theatre.
