A voice for every story— on stage, in cinema, and beyond.

Latvian-born mezzo-soprano Natalja Sticco (Černohajeva) is a classically trained vocalist whose career spans grand opera houses, international concert stages, and now, the evolving world of cinematic sound. With over 200 performances of 30 operas in six countries, her voice—at once grounded in tradition and emotionally cinematic—is drawing attention from both opera lovers and film creatives.

Natalja launched her professional career with the Latvian National Opera, where she trained under the prestigious Young Artist Program directed by Andrejs Žagars and performed roles such as Orlofsky (Die Fledermaus) and Olga (Eugene Onegin). She was a chorus member in LNO’s major productions from 2009–2017, sharing the stage with luminaries like Jonas Kaufmann, Kristīne Opolais, and Elīna Garanča. Her international credits include appearances at Teatro Calderón in Spain, the Bolshoi Theatre in Moscow, Monte Carlo, and the Royal Opera House Muscat in Oman.

Since relocating to the United States in 2018, Natalja has become a favorite among American audiences, celebrated for her powerful interpretations of roles such as Carmen, Azucena, and Santuzza. Her performances span operatic, sacred, and early music, while her linguistic fluency allows her to perform with equal artistry in Italian, Russian, French, German, and Latin.

Now entering a new creative chapter, Natalja is applying her operatic voice to cinematic expression. She recently provided special vocal effects for the indie horror film The House of Schudder and has been cast in a forthcoming animated feature bound for the 2026 Boston Film Festival. Her growing catalog of operatic film covers demonstrates her versatility and artistic curiosity—offering a glimpse of what opera can become when its emotional storytelling is brought to the screen.

A graduate of the Jāzeps Vītols Latvian Academy of Music, and also holding degrees in Engineering and Information Technology, Natalja embodies the fusion of classical artistry and modern innovation. Whether on the opera stage or in the cinematic soundscape, she continues to explore the full spectrum of human emotion through voice.