The complex, inclusive dance project V hiši 3in3 se godi sto stvari (Abubble and Abuzz in Our Bright&Busy House) brings together children and young people with special needs, young dancers and professional dancers, as well as artists from both sides of the Slovenian-Italian border in a joint dance exploration and experimentation: a project dedicated to establishing a movement dialogue that enriches both individual performers and the dance ensemble as a whole. Each member of the Vrtiljak children’s dance group has their own unique movement vocabulary, characterised on the one hand by physical disability and on the other hand by the desire and need for physical expression. The interaction between them opens up a new world of communication.

In the dance performance Abubble and Abuzz in Our Bright&Busy House, the real and imaginary worlds interact and complement each other. Fragments of the children's everyday lives come to life on stage – glimpses at the journey of growing up, learning, coping with difficulties, making friends, and feeling joy. In the imaginary world, everything unfolds as in a dream, with greater intensity and vibrancy, but no less real. With its gaiety and magic, the colourful paper kite transcends the limits of actuality, moving with ease between the realms of both fantasy and reality to create connecting links between them. The coordinated movement on stage reflects the acceptance, support, warmth, and courage that we have introduced into our everyday lives. Dance emerges as a gameplay of gaze, movement, touch, and rhythm, allowing dancers to create unity regardless of the diversity of individual physical expression. Together, we create art where individuals and relationships matter. Art that is born out of respect, acceptance, and shared dialogue.

Libretto: Simona Semenič
Directed by: Yulia Kristoforova
Conductor: Simon Dvoršak
Dramaturg and Choreographer: Ana Pandur
Set Designer: Vasilija Fišer
Costume Designer: Monika Colja

Performed by: Gaja Sorč, Laure-Catherine Beyers, Katja Konvalinka, Irena Yebuah Tiran, Aja Markovič
Ensemble of the Slovenian Chamber Music Theatre
 

Rather than a lyrical tale of love, the opera canvas is a raw deconstruction of female existence in a world defined (still, or perhaps once again, after a glimmer of change?) by the male gaze, containing echoes of Louise Bourgeois. 

The libretto by Simona Semenič and composer Nina Šenk is based on the myth of Don Juan, cast in the role of a passive canvas for the heroines’ projections. In this production, the power relations are even more pronounced – women become the canvas, while the absent Don Juan is an invisible ray inscribing their destinies with his absence. The idea of him shapes their dreams, fears, and the limits of their existence. In utilizing this relentless mirroring, the opera exposes the process in which women are predetermined through the imaginary evoked by Don Juan's promise.

In a world where womanhood is established as a response to the verticality of the male idea, the protagonists are trapped in the dynamics of objectification. They wander through their own existence as beings in constant motion – as beings who have lost their direction. Their destiny is not a matter of romantic longing, but of mere survival; they struggle to make their own fantasies legitimate and to prevent their lives from ebbing away prematurely. This objectification reaches its culmination with anatomically correct mannequins that occupy the stage together with and instead of the living bodies. Here, the woman is no longer an independent subject, but an object of medical or social treatment, torn between nature and culture. 

While a young girl on a stretcher fights desperately for her life – in stark contrast to the cliché image of a girl who wants to die – the banal cruelty of daily living unfolds around her. Men are indifferent to female histrionics, and rather than taking real action against violence, society responds merely with the question: "What will they think?" At the same time, the rhythm of the factory thrusts us into the world of cynical female workers who, paradoxically, still shape their desires through the absence of the subject that considers them just consumer objects.
Composer Nina Šenk's score won the 2022 Johann Joseph Fux Award, and the opera received its premiere in October 2023 in Graz. The work, a kaleidoscopic melding of identities and unrelenting soundscape, raises the question: “Who is really painting on our lives when we ourselves become nothing but a canvas?”
 

Gimnazija Šentvid is celebrating its 80th anniversary. The ceremonial academy will bring together numerous generations who have co-created the history of Gimnazija Šentvid and who, through their knowledge, work, values, and respect for tradition, have significantly contributed to its development and reputation.

The artistic programme of the event will feature former students—today distinguished and acclaimed artists: singer Jadranka Juras, pianist Bowrain, rapper Vazz, guitarist Jure Cerkovnik, and poet Anja Grmovšek Drab.
Recollections and reflections will be shared by Lado Bizovičar, Tomi Meglič, Jože Habula, and Robert Pešut Magnifico.
The connection between past and present will be symbolically expressed through a joint performance by accordionist Tadej Cerkovnik and dancer Julija Markovič Halik.

The event will be hosted by Nataša Lipovec and Boštjan Anžin.
Direction and script: Zora Lovrenčič.

Prior to the official commencement of the programme, there will be an opportunity for informal gathering and conversation; guests will be received from 5:30 p.m. onwards in the Foyer -2.

Featuring: Jure Pukl, sax; Nina Strnad, vocals; Žigan Krajnčan, vocals, dance; Lazaro Amed Zumeta, percussion; Aljoša Kavčič, keyboards; Kristijan Krajnčan, drums 

Celebrating 40 years in music, distinguished Slovenian musician, composer, arranger, and conductor Lojze Krajnčan will mark his 40th anniversary in the business with a special concert at Cankarjev dom on 2 April 2026. This milestone brings together the RTV Slovenia Big Band and acclaimed guest artists, some of Lojze Krajnčan’s recent close collaborators. The evening pays tribute to his extensive body of work and invaluable influence on the development of national orchestral music.

The concert commemorating Lojze Krajnčan’s four decades of artistic partnership with the RTV Slovenia Big Band will offer an insight into this legendary artist’s versatile musical identity. He started out on his career as a talented principal trombone, and succeeded maestro Jože Privšek at the helm of the Big Band as conductor and arranger. For the first decade, he also served as the Band’s artistic director and, through various radio and TV projects, ushered in a new era of jazz and contemporary musical genres.

In recent years, under his leadership, the Band has thrived in dialogue with outstanding musicians, most notably Alex Sipiagin, Renato Chicco, Mirna Bogdanović, Marko Črnčec, Kristijan Krajnčan, Nina Strnad, Teo Collori, Boštjan Gombač, Ana Bezjak, Tomaž Gajšt, and many others. Krajnčan’s signature arranging technique and broad artistic range have allowed him to bring together different styles, generations, and musical aesthetics.

The evening is both a tribute to tradition and a glimpse into the future, but above all an homage to Lojze Krajnčan’s commitment and musical curiosity
 

Duration: 90 min

Béla Fleck, banjo; Edmar Castañeda, harp; Antonio Sánchez, drums

Over the course of his eclectic career stretching across four decades – and bagging multiple Grammy Awards along the way (to date, he has won 19 of them) – banjo virtuoso Béla Fleck has taken his five-stringed instrument to places where the sound of the banjo had rarely been heard before: Africa, India, and China. Fleck’s musical acumen is as vast as the prairies evoked by the sound of his instrument. He has indefatigably created circumstances that challenge the banjo stereotypes while effortlessly bending genres, moving from bluegrass, fusion, folk, country, classical music and jazz to world music. 

Whether in a contemporary jazz band The Flecktones, in a duo with Chick Corea (during the pandemic, Béla Fleck and the legendary pianist recorded the album Remembrance, considered to be Corea’s final recording before his passing in 2021), in intimate sets with his wife Abigail Washburn, in hybrid concerts with symphony orchestras, or with the funky Bootsy Collins and The Blind Boys of Alabama. While winning Grammys in various categories, Béla’s true heart lies in bluegrass, as evidenced by his 2021 album My Bluegrass Heart. In 2024, on the centennial of the premiere of Rhapsody in Blue, he placed the banjo at the centre of his interpretation of Gershwin's enduring masterpiece, accompanied by a symphony orchestra, while previously also recording his own version of Rhapsody in Blue(grass).

He has been expanding the possibilities of his instrument his entire life, and doing so with the passion of a civil rights activist. "When you look at the banjo, it’s like … it’s the history of the world! I mean, it’s slavery, it’s the birth of the blues, the birth of American music. It’s a continuation of African music, a melting pot, a meeting ground. … [Some people] are associating it with the stereotypical images that were portrayed because they didn’t see images of Black people playing the banjo or even remember that Louis Armstrong had a banjo in his first Hot Five band. That was the instrument that was around from the start of jazz. Not guitar, not even piano; the banjo was there,« reflected Fleck in the Downbeat magazine, with his image gracing the cover.

Fleck is touring Ljubljana with an all-star trio and an instrumentation – banjo, harp, and drums – that might seem unusual on paper, but in truth yields a magical, seductive, and energetic blend of melody, harmony, and rhythm. Formed in autumn 2024, the band features Antonio Sánchez, a four-time Grammy Award winner and one of the globe’s most sought-after drummers whose impressive credentials include 18 years and 9 albums as a member of the celebrated Pat Metheny Group. Sánchez rose to worldwide fame in 2014 when he scored Alejandro González Iñárritu’s Birdman; the original soundtrack was nominated for a Golden Globe, a BAFTA, and a Grammy. The trio is complemented by the Colombian musician Edmar Castañeda, a preeminent jazz harp virtuoso. Masterfully blending styles and genres, Castañeda has cemented the harp’s place in jazz through a wealth of collaborations with music titans such as Wynton Marsalis, John Scofield, Hiromi, and Paco de Lucía.

ar from the familiar stars, in a quiet corner of the universe where darkness never reaches, lies the planet Nytheria — a world born from high-vibrating souls. The Nytheriels, its inhabitants, are embodied beings of light. They know no possessiveness, envy, or negativity—only the unity of the heart. At the planet’s center lies the Core, where the Light Heart of Nytheria radiates pure love that sustains the entire world.

But what happens when Nytheria is attacked by the Vulkrans—creatures born from eternal rage?

The idea for the album Constellations was most likely born at Barcelona's Miró Foundation, during an impromptu conversation about the Miroglyph —a language you have to learn to be able to read Miró's painting-poems—and the synaesthesia between painting and music. The conversation was inspired by Duke Ellington's rap tribute Blues for Miró.

At the intersection of various musical genres, this project is primarily a unique fusion of jazz and the rhythmic form of flamenco bulería, or a meeting of contemporary music and "groove." The bright and compelling musical expression of Raynald Colom, a Barcelona-based French trumpeter, considered one of the finest trumpeters in European jazz today, intertwines with vocal and piano invocations and a proficient jazz rhythm section that merges with the rhythmic patterns of flamenco. In this concert-cum-performance created especially for the contemporary flamenco series Noches de tablao, Colom joins forces for the first time with dancer Urška Centa, whose presence invests the project with the narrativeness and rhythm of the body as a movement score. With a backup of internationally renowned musicians – flamenco singer Antonio Luque "Canita," jazz pianist Marko Črnčec, versatile bassist Jošt Lampret, and percussionist Kike Terrón, already featured in the series with Juanfe Pérez – the evening brings a unique constellation of flamenco, jazz, and contemporary classical music, providing room for unexpected abstract and expressive dialogues.

As a young musician, Raynald Colom was mentored by jazz legends such as Clark Terry, Roy Hargrove, and Jerry González, establishing close artistic bonds during his stay in Madrid. Today considered one of the most accomplished trumpeters in European jazz, over the past twenty years Colom roster of collaborators has included David Sánchez, Greg Osby, Jesse Davis, Eric McPherson, Omer Avital, Dafnis Prieto, Mulgrew Miller, and others. With Nicholas Payton, Colom collaborated on a tribute to the legendary album Sketches of Spain, led by Bob Belden.

An internationally renowned dancer, musician, and author, Urška Centa works at the intersection of flamenco, contemporary dance, and music. She started out on her career in Madrid, studying with leading flamenco masters and becoming involved in the jazz and improvisation scene. As an artist, she has performed at numerous venues and festivals at home and abroad (Cankarjev dom, Teatro de la Ciudad Esperanza Iris in Mexico City, Teatro Juárez in Guanajuato, Festival de Jazz Zacatecas, FIAC Contemporary Art Festival in León, CerModern in Ankara, Teatro Verdi in Italy, etc.) and worked with prominent musicians such as Guillermo McGill, Tadej Kampl, Jure Pukl, Robert Jukič, Miron Rafajlović, Zvezdana Novaković, Katja Šulc, Izidor Erazem Grafenauer, and many others. With her own company, Sentido Project, Centa has developed a distinctive hybrid style that has met with favourable reception on international tours. She is the author of several choreographic works and dance performances. Her work is marked by virtuoso physical presence, an exceptional sense of rhythm and improvisation, and a commitment to creating art that opens up space for intercultural dialogue and innovation.

The Noches de tablao series presents fresh artistic initiatives in the field of contemporary flamenco that intertwine the disciplines of live music and dance, with an educational and theoretical accompanying programme. The series builds an intercultural arc between international and local artists, who establish a dialogue between flamenco and other artistic genres, and tap into new creative approaches to music, dance and performance art. Since its launch in 2017, Noches de tablao has served as a platform for new artistic projects based on genre blending, running through a wide gamut of contemporary forms of expression. It features a series of concerts and dance shows that marry tradition with innovation in a variety of fascinating new ways. 

Running time: The performance lasts approximately 2 hours.

In Slovenian, without translation.

Bertolt Brecht Bertolt Brecht (1898–1956) was a man of the theatre, a true homo theatralis, director, playwright, dramaturge, theorist, and theatre reformer. He was also a poet and writer. It is perhaps impossible to determine with complete certainty which of these was his foremost vocation. Fredric Jameson therefore suggests that we talk about the “Brecht complex” as a collection of heterogeneous, discontinuous and fragmented layers of history – after all, such a montage of contradictory fragments was also Brecht’s favourite theatrical and artistic format. At around the same time, Alain Badiou defends a similar position, namely that we should see Brecht as “an emblematic figure of the twentieth century.” Both authors, Jameson and Badiou, thus proceed from the observation that Brecht’s life correlates to the history of his own era. There is therefore no simple disjunction between Bertolt Brecht's life and times, no unbridgeable gap; on the contrary – the conjunction in the title of the performance suggests that an irreversible dialectical integration occurs between the two, that they must be understood in their mutual interaction, and that therefore we cannot speak of one without also saying something about the other.
The Life and Times of Bertolt Brecht is therefore not a classic biography, even though Brecht's life is full of interesting and unusual anecdotes, myths, legends, and all but incredible occurrences. Instead, it is an attempt to use Brecht and his life to say something about the historical context of his time, about fascism and exile, and about the dark times in which talking about trees, as Brecht wrote in his famous poem An die Nachgeborenen [To Those Born Later], meant remaining silent about so many wrongdoings. Moreover, the performance is perhaps an attempt at historicization, that characteristic Brechtian technique of alienation, which dictates that the action of a play be set in the past to draw parallels with contemporary events from a cognitive and temporal distance.

At the same time, the production seeks to deconstruct the myth of Brecht-as-genius, the great author and an exceptional individual. These are all ideological categories that Brecht rejected and that were first associated with him during his lifetime, but spread widely after his death. Brecht does not represent an individual author, but primarily collective authorship, thus enabling a new reflection on different types of collectivities in a hyper-individualised and atomised society. 
Art—and theatre in particular—is a collective work, with emphasis on both words. Brecht's theatre was created by a large community of collaborators, at the same time being a precisely organized, dedicated, and selfless endeavour. Bertolt Brecht thus primarily represents the workshop or Werkstatt, to which many of Brecht's contemporaries contributed, many only indirectly, through discussions and conversations they had with him, from which he later drew his inspiration, while others contributed quite directly. Seminal figures in this regard were Brecht's female collaborators, Helene Weigel, Ruth Berlau, Margarete Steffin, and Elisabeth Hauptmann, women whom the historical narrative of Brecht, at the intersection of bourgeois-patriarchal enthusiasm for the Individual (male), constantly relegated to the margins.

The Life and Times of Bertolt Brecht focuses primarily on Brecht's exile (1933–49). It was during this time, the period that witnessed fascism and World War II, that Brecht formulated his fundamental concepts of epic or dialectical theatre, including the concept of alienation or Verfremdung, and wrote his two seminal theoretical works, Buying Brass and A Short Organum for the Theatre, as well as his so-called "major plays," The Life of Galileo, The Good Person of Szechwan, The Caucasian Chalk Circle, and Mother Courage and Her Children. If the tradition of European theatre largely rests on the legacy of Brecht's theatre, then its origins in the experience of exile must be borne in mind, an experience likewise bearing a crucial political message for contemporaneity.

Yanis Varoufakis (1961) is a world-renowned economist, former Greek finance minister, university professor, author, and public speaker on the socio-economic challenges of our time. With an analytical mind and tireless curiosity, Varoufakis examines the sources and holders of political power; in his work, he dissects complex issues of economic reality and insightfully breaks them down into basic, easily understandable concepts.

The lecture will be held in English with simultaneous translation into Slovenian.  

The lecture Raise Your Soul! Lessons from a Century of Resistance, scheduled for 30 November, has been postponed to 5 December at 19.30.
The same tickets and assigned seating apply to the new date.

Please note that access to the venue will be through Entrance no. 3 (Maxi underpass), via Foyer II.

Ticketholders unable to attend the event on the new date are entitled to a refund or a credit note. Ticketholders wishing to claim a refund are requested to send their e-ticket, a ticket photo or scan to vstopnice@cd-cc.si no later than 4 December 2025 and include their bank account number for the refund.

The Slovenian Railways Wind Orchestra is a versatile ensemble that has been preserving its cultural identity and ensuring the highest level of concert performance in Slovenia for more than 120 years. Over the decades, the orchestra has far surpassed the local environment from which it originated, establishing itself as a cultural ambassador of Slovenian railway workers and proudly representing Slovenian culture and exceptional musicianship around the world.

Based in Zidani Most, the Slovenian Railways Wind Orchestra is also renowned for blending tradition with contemporary musical influences. In the spirit of cultural collaboration, the ensemble frequently performs with a variety of acclaimed artists. Their November concert will feature a rich and diverse programme, crowned by a performance from the outstanding Slovenian vocalist Maja Keuc.

As the first and only active railway wind orchestra in Slovenia, its more than seventy members continue to uphold its founding mission — representing the tradition of their hometown and Slovenia’s rich cultural heritage at home and abroad since as early as 1902.

Rok Pelc, Conductor of the Slovenian Railways Wind Orchestra
Rok Pelc is a music teacher, professional musician, and arranger with extensive musical experience. He took over as conductor of the Slovenian Railways Wind Orchestra in 2024, laying the foundation for the ensemble’s continued artistic growth. He began his musical journey in this very orchestra in Zidani Most and has been a member since 1999. In his role as conductor, he embodies creativity, dedication, and collaboration.