Image: Joel Davies Photography

Image: Joel Davies Photography

British Director Natascha Metherell’s rapidly developing career has seen her work with many renowned opera and theatre companies internationally including The Royal Opera House, Covent Garden; The Royal Danish Opera, Copenhagen; Glyndebourne Festival and Touring Opera; English National Opera; Dutch National Opera; Opera Vlaanderen; Opera di Roma; Teatro Massimo, Palermo; Cincinnati Opera; Garsington Opera; The Rose Theatre, Kingston; The Royal Court Theatre, London.

Metherell’s current and future engagements include, as Director, a chamber version of Carl Nielsen’s Maskarade (Royal Danish Opera, Copenhagen Opera Festival, Regional Tour of Denmark) and La bohème (Cincinnati Opera); as Dramaturge/Co-Director R.E.D. - a dance and physical theatre retelling of Little Red Riding Hood (David Lloyd’s Mischief Company U.K.); as Revival Director Terry Gilliam’s Benvenuto Cellini (Opera di Roma), Kasper Holten’s Maskerade (Royal Danish Opera) also La traviata, Die Zauberflöte, Der Fliegende Holländer (Royal Danish Opera) and La bohème (Gran teatre del Liceu, Barcelona).  As Associate Director, La damnation de Faust (Staatsoper Berlin), Benvenuto Cellini (Opera de Paris, Gran theatre del Liceu, Barcelona; Dutch National Opera, English National Opera), Lohengrin (Royal Danish Opera), A Soldier’s Tale (NNT Japan).

Her directorial credits in both opera and theatre include, as Artistic Director of Stanley Hall Opera Festival The Barber of Seville, a “slick and well craftedEugene Onegin, and a double-bill of Mozart’s The Impresario and Leoncavallo’s I Pagliacci; Bake For One Hour (English National Opera); Two Truths (Glyndebourne on Tour); Oklahoma! (Opera Holland Park); The Cunning Little Vixen (Co-Opera Co., London); Catenae (The Site at The Royal Court); Minotaur at Inner Temple Hall featuring Timothy West; My Fifteen Minutes (Wimbledon Studio Theatre); Freshly Ground (The Miller Theatre); Charity Wars (Pleasance Theatre); Distortion (Lyric Hammersmith); Kickaround (Jerwood Space); The Wedding Dress (Gallery 32); Miss Julie (Greenwich Playhouse).  As Associate Director of London’s Rose Theatre she directed “a captivating” adaptation of Hans Christian Anderson’s The Snow Queen, and worked on a number of critically acclaimed productions including The Importance of Being Ernest with Jane Asher, Farewell to the Theatre, Treasure Island, Miss Julie and Terrance Rattigan’s The Winslow Boy with Timothy West, she also worked on David Storey’s Home for the 2009 Sir Peter Hall Season at Bath’s Theatre Royal. 

Natascha has worked extensively as an associate, revival, and assistant with international directors including Sir Peter Hall, Sir Jonathan Miller, Kasper Holten, Claixto Bieito, Laurent Pelly, Robert Carsen, Jonathan Kent, Terry Gilliam, Tom Morris, and Daniel Slater.  Her UK credits include The Flying Dutchman; The Death of Klinghoffer, Fidelio, The Damnation of Faust, Benvenuto Cellini, The Elixir of Love, La bohème, Candide, The Mikado, The Marriage of Figaro for English National Opera; Hänsel und Gretel, Albert Herring, La Cenerentola and A Midsummer Night’s Dream at Glyndebourne; La Cenerentola for Garsington Opera; and A Soldier’s Tale for the Royal Opera House, Linbury Theatre.  Further engagements include revivals of Terry Gilliam’s award winning productions of La damnation de Faust (Palermo; Opera Vlaanderen; Staatsoper Berlin) and Benvenuto Cellini (Opera de Paris, Gran theatre del Liceu, Barcelona; Dutch National Opera); Jonathan Kent’s Der Fliegende Holländer (Royal Danish Opera); Jonathan Miller’s La bohème (Cincinnati Opera); and Will Tucket’s A Soldier’s Tale (New National Theatre, Tokyo).

Natascha was educated in London and has a BSc in Neurosciences.