When a mysterious ghost appears after the death of the King of Denmark, Prince Hamlet feels a sense of duty and a strong urge to avenge his father. Torn between his duty to avenge his father's death and his own conscience, which tells him that revenge is wrong, Hamlet makes a series of fatal decisions that culminate in a final, terrible reckoning at Elsinore.

In the live, intimate format of a radio play, Shakespeare's universally-known tragedy transports the listeners into a dark universe of revenge, madness and family tragedy. The abridged radio adaptation stays loyal to the Hamlet-esque spirit of the original play, while investing, through the specifics of the medium, many of the events and characters with new sonic and semantic dimensions.

The live radio play places Hamlet in a contemporary context and invites a reflection: Is to be, or not to be, the question when a voice is all we have?
 

In Slovenian, without translation

Burnout, stress, depression, and mental distress have become an integral part of the modern business world. Leaders, entrepreneurs, and employees face daily pressures that often go unnoticed—until it’s too late.

The 1st Slovenian MEN-TAL Conference is the first business event in Slovenia that addresses mental health in the workplace without sugarcoating the issue. We will bring together leading experts in psychology, business leadership, and personal development, as well as entrepreneurs who have personally experienced burnout and mental distress.

The conference offers practical solutions that companies and individuals can immediately implement in their daily practices. It is designed as a space for open discussion, experience sharing, and learning about key strategies for managing stress, preventing burnout, and fostering a healthy work environment.

The conference is organized by SUN EVENT in collaboration with Novartis, Mikro+Polo, and Kreativna baza, with the support of the Diversity Charter, the European Union, and the National Institute of Public Health. All funds raised through registration fees and sponsorships will be donated to ŠENT – the Slovenian Association for Mental Health and UP-ornik.

Conference Program

08:30 – 09:00 | Participant Arrival
09:00 – 09:10 | Conference Opening
The opening will feature keynote addresses from the organizers and sponsors.
09:10 – 09:30 | Gregor Kirsch
Former military rescuer with experience in war zones, specialist in organizational culture.
09:40 – 10:10 | Aleš Vičič
Slovenia’s most renowned sports psychologist, who has worked with over 150 elite athletes and 60 Olympians.
10:10 – 10:40 | Dan Podjed
Anthropologist researching the impact of technology on life and work, recipient of the Bob Award.
10:40 – 11:00 | Coffee Break
11:00 – 11:30 | Dr. Vita Poštuvan
Psychologist and researcher specializing in suicidology, working daily with individuals in mental distress.
11:30 – 12:50 | Panel Discussion 1: Burnout and Mental Struggles in the Business World
A discussion with top experts and entrepreneurs on recognizing and preventing burnout.
Moderator: Nejc Jaka Sekula
12:50 – 13:20 | Lunch & Networking
13:20 – 13:40 | Asst. Prof. Dr. Monishankar Singha
Psychologist, former Buddhist monk, expert in mindfulness and mental resilience.
13:40 – 15:00 | Panel Discussion 2: Mental Health and Leadership in Crisis Situations
Leaders and experts will share their insights on the role of leadership in employee mental health.
Moderator: Maja Monrue
15:00 | Conference Closing
 

The first evening of this year’s Noches de Tablao contemporary flamenco cycle begins with the concert-dance vision of an artist who has profoundly reshaped the space between jazz and flamenco – Guillermo McGill. The Spanish jazz drummer, composer, and professor of Uruguayan origin, whose playing has shaped the sound of countless flamenco and jazz legends, presents his deep understanding of music as a living substance, as embodied emotion, through the project Dance of the Angel (La danza de un ángel).

Decades of musical creation have forged a brilliant musical mind in which youthful pretension and the need to prove oneself have given way to wisdom, evolving into a pure ability to merge deep emotional expression with musical sophistication. In his pursuit of fundamental themes of spirituality, Guillermo McGill has found a space where individual and collective emotions, stories, and unspoken truths converge – in a continuous dialogue with movement, with dance, with invisible currents that shape our inner world. Music, hand in hand with dance, has always been the purest expression of the human spirit, a way to bridge silence and inhabit time.

There is a place where this truth still lives, woven into everyday existence. Dance of the Angel finds its inspiration in Andalusia, a corner of the world where flamenco resides – an artistic language that does not merely tell stories but marks every moment in need of a voice. In it, the project’s creator sought an understanding of rhythm that transcends technique, resembling more a conversation, the simplicity of breath, and the echo of something ancient yet always new. In this vision, Guillermo McGill meets Slovenian artist, dancer, and choreographer Urška Centa, who unbinds flamenco from tradition, using it as a means to excavate new metaphorical territories and identities. Together with extraordinary collaborators – Sevillian musicians, saxophonist Bernardo Parrilla and pianist Chiqui Cienfuegos, Madrid-based guitarist Álvaro del Valle, and Slovenian double bassist Jošt Lampret – they seek to bridge distances and traverse the boundaries of time, space, and self through sound and movement.

This is not just a concert. It is an invitation into a dimension where music is everything.

About Guillermo McGill
Guillermo McGill is a drummer, percussionist, professor, composer, and producer who has collaborated with some of the most prominent artists in jazz and flamenco, including Enrique Morente, Dave Liebman, Tete Montoliu, Juan Manuel Cañizares, John Abercrombie, Wynton Marsalis, Marc Johnson, George Mraz, Niño Josele, and many others.
As a member of Chano Domínguez's trio, alongside Javier Colina, since its founding in 1991, he also participated in Fernando Trueba’s film Calle 54. He
continues to perform and has released seven albums as a bandleader while contributing to more than 80 recordings as a sideman. Additionally, he has
published the Flamenco Jazz Real Book and two instructional books for cajón. He has performed at some of the world’s most renowned festivals, theaters, and concert halls, including Carnegie Hall, the Mariinsky Theater, Queen Elizabeth Hall, Teatro Real, Auditorio Nacional, JVC Jazz Festival NY, Lincoln Center, Beacon Theater, Chicago Jazz Festival, Los Angeles Jazz Festival, Palais de Congrès de Paris, Kennedy Center, Berlin Jazz Festival, Festival de Jazz de Buenos Aires, Beijing Jazz Festival, Blue Note Tokyo, Yokohama Jazz Promenade, Kuala Lumpur DPAC, North Sea Jazz Festival, and many more.
Since 1984, he has taught drums and ensemble performance at some of Spain’s most prestigious jazz schools, including Taller de Música in Barcelona, Taller de Músicos in Madrid, Escuela de Música Creativa, and since 2005, Musikene, where he currently teaches.

About Noches de Tablao
The Noches de Tablao cycle presents contemporary flamenco art through interdisciplinary artistic events primarily based on the live connection between
music and dance, alongside an educational and theoretical program. The project builds a cultural bridge between international and local artists, fostering dialogue between flamenco and other musical genres while showcasing new approaches to music, dance, and performance art. Since its inception in 2017, Noches de Tablao has provided a platform for cuttingedge artistic projects that challenge genre boundaries, offering a wide range of contemporary forms of expression. The cycle features concerts and dance performances where tradition enters into dynamic alliances with innovation.

Noches de Tablao cycle supported by Riko d.o.o.

Running time: 120 min
In Slovenian, without translation.

The ŠILA School Improv Theatre League is a student-run improv theatre programme kicking off its 28th season this coming spring!

ŠILA’s grand final will determine the winner of the 24/25 ŠILA season that gets to keep the coveted ŠILA trophy for one year. One of the teams gained a slight lead over the other contestants in the first final. Are we in for a major surprise in the Grand Final?

The two ŠILA teams that have scored the most points this season and made it through to the final will compete in a problem-solving competition. The ŠILA competitions take the form of short improv disciplines condensed into three-minute scenes. The audience members also play a key role in the show, influencing its course and deciding the final result with their cues for scenes and scores. This unforgettable display of unscripted theatrical scenes full of humour and imagination is not to be missed.

After the show, awards will be presented for the best achievements in the improv theatre throughout the year.

ŠILA is a nationwide improvisational theatre programme for high school students that has been promoting cultural recreation for young people since 1997.

 

Line-up: Sara Fontán (violin, electronics) / Edu Pou (drums, percussion, electronics)

Los Sara Fontán are one of those undiscovered gems that make the whole process of seeking out new music worthwhile. That’s exactly how we felt when we heard the very first notes of their debut album Queda Pendiente, which turned out to be the perfect introduction to the musical ideas and adventurous spirit of Sara Fontán and Edu Pou.

We’re already familiar with Edu from the cult duo ZA!, but this collaboration with Sara opens up new worlds. And what a rousing story this classically trained violinist and DIY experimentalist are writing together. After five years of intensive live touring across Europe by train, car and plane, and after making sure that it would be possible to travel without an album, single or video in tow and without following the routines forced on them by the music business, they decided to put an end to their ‘live only’ principle and release a record. There were a few reasons for this: to explore new ways of doing things, to banish complacency, and to (finally) listen to all those people who’d been saying they wanted to take the experience away with them and relive it at home. Another key motivation was that they had built a home studio, which allowed them to spend three weeks in January working entirely on their own, leave a record of themselves as they are now and carve out spaces for new creation.

Los Sara Fontán will be opening this 41st edition of Druga Godba, and you can be sure that even the tiniest dose of the magic that adorns their debut will be enough to inspire you right up to the final note of the festival.

"The Impro liga’s What's Better? season, which has thrilled audiences all year round, promises a truly fantastic conclusion in the grand final."

The What's Better? season has seen us address various controversial issues. We've divided this year's improvisers into two large groups, based on their leanings towards this or that side of the argument. The Blue and the Red Group contested against each other in small teams all year long over “what’s better”. So, among other things, we learnt that introverts are better than extroverts and that football is better than basketball. 
The season will culminate in the Grand Final in the beautiful Štih Hall, where the best improvisers of the season will face off!

The audience will be thrilled by the world-renowned Theatresports format, designed by the father of theatre improvisation, Keith Johnstone. It's a hilarious combination of sports and theatre, where teams of experienced improvisers face off in a variety of stage challenges, taking cues from the audience. The entire competition is judged by expert referees, who evaluate the scenes and give penalties. The audience is invited to loudly criticise the judges, in the classic sporting style.

After the final match, awards will be given to the best achievements of the season.

In Slovenian, without translation.

The band Fake Orchestra has been active as a musical collective since 1997, with its more or less permanent members and guests including many top-class Slovenian musicians. They have performed at numerous important venues and celebrations in their homeland, as well as abroad, from Istanbul to New York.

They have recorded five albums in a variety of genres. At their now traditional December concert, they will present a selection of their favorite jazz repertoire.

Ana Vipotnik - vocals
Primož Fleischman - saxophone
Igor Leonardi - guitar
Aljoša Kavčič - piano
Tadej Kampl - bass
Lovro Bone - drums
Special guest: Lara Grbić - vocals

Nino Ošlak is preparing a unique concert experience to celebrate his 15-year career. The current winner of the Popevka music competition will release his fourth original album, titled Elektro-romantika, this fall. The versatile pop musician will perform solo for the first time at Cankarjev dom, and the concert will not only be a retrospective of his work but also a glimpse into the future.

Nino began developing his musical talent as a child and entered the world of popular music in his teenage years. In 2013, he released his first solo pop album titled Simfonija, and during his studies at the Academy of Music in Ljubljana, he released two more solo pop albums. With several of his songs (Nekaj je na tebi, Rabim te, Ko si z mano...), he has become one of the most played domestic radio artists in recent years. In addition to new songs, some of his hits that have marked his first fifteen years of creation will also be performed in a special, more intimate way. For some songs, Nino will be joined on stage by specially selected guests, whom he prefers to keep as a surprise.

Nino Ošlak is considered one of the more charismatic and productive musicians of the younger generation, who captivates listeners of different generations with his exceptional interpretation and stylistically diverse musical ideas. Nino's performances are not just ordinary concerts. They are experiences where music authentically meets the heart, and where the musician and his accompanying ensemble connect with the audience in a unique way—through stories, both romantic and life-inspired, through narratives and romantic melodies.

PERFORMERS
Nino Ošlak – vocals, piano
Gregor Nestorov – drums, percussion
Marko Matjašič - keyboards
Tadej Klojčnik – bass
Dominik Širovnik – electric & acoustic guitar
Rok Martinovič – acoustic guitar
Neža Tuma – backing vocals
Blaž Vidovič – backing vocals

Predstava Tam, v vrtu je povabilo v vrt dveh, ki v njem odstirata lepoto mehanizmov poslušanja. V svojem početju prisluškovanja naravi odkrivata svetove zvoka in njihovo odzvanjanje v polju vidnega. Pri tem jih prevajata skozi lastni telesi, da v njima razširita domišljijske potenciale in opazujeta njihovo sovpadanje s svetom giba.

Urška Centa, koreografinja in plesalka, ter Domen Novak, dramski igralec, skozi zvočno-gibalno predstavo vodita s čistim instinktom radovednosti in ta med njima ustvarja povezave in plete odnose, ki preizprašujejo linearne poteke dogajanja. Podobe, ki prihajajo iz različnih osebnih časovnih obdobij dveh soustvarjalcev, so razrez njune performerske identitete, znotraj njih pa potekata iskanje medsebojnega stika ter raziskovanje njunega sobivanja in soodvisnosti.

Vrt razumeta kot igrišče, mikrokozmos človeških interakcij, zgradbo skupnosti, prostor za razisko-vanje različnih konstelacij odnosov, kraj povabila. Skupaj opazujeta daljnosežnost in verižnost reak-cij v njem in onkraj njega, pri tem pa poudarjata vlogo čutov pri oblikovanju človeške izkušnje. 

V predstavi se človeško telo kot inštrument prepleta z različnimi inter- in transdisciplinarnimi strukturami, ki zaznavajo načine, kako so povezana naša življenja. Strukture slednjega se nanašajo tako nanju kot na širše grajenje notranje mreže s prisotnimi v prostoru, pri tem pa se sklicujejo na strukturno logiko narave, ki vznika iz zavedanja o globoki povezanosti po-sameznika z okoljem. V predstavi se iz ozadja zrcali tudi misel o družbenem vrednotenju človekove odvisnosti od narave. Negovanje vrta je metafora, ki za umetnika pomeni kulturno vrednoto ter ju kot posameznika nenehno povezuje z vsem živim in jima ponuja odločitev o bolj izostreni izkušnji prisotnosti v svetu.

Predstava Tam, v vrtu je plod koreografske raziskave vzporednosti giba in zvočnosti, izvedene s pomočjo delovne štipendije Ministrstva za kulturo RS za področje glasbenih umetnosti, ki jo je Urška Centa v sodelovanju z Domnom Novakom predstavila oktobra 2023 v miniaturi Miniatura no. 9 (del 4 miniature, Atrij ZRC, NEST) ter novembra 2023 v zvočni koreografiji The Garden, ki je bila izbrana za predstavitev na mednarodnem festivalu sodobne umetnosti FIAC v Leónu v Mehiki.

Premiera predstave Tam, v vrtu bo potekala v sklopu cikla Noches de tablao, ki predstavlja umetnost na področju sodobnega flamenka. Oblikujejo ga interdisciplinarni umetniški dogodki, osnovani predvsem na živi povezavi glasbe in plesa, ter spremljevalni program izobraževalnih in teoretskih vsebin. Program gradi medkulturni lok med tujimi in domačimi ustvarjalci, ki vzpostavljajo dialog med umetniško prakso flamenka in drugimi glasbenimi žanri in predstavljajo nove ustvarjalne pristope h glasbeni, plesni in performativni umetnosti. Od svojega nastanka leta 2017 daje prostor najnovejšim umetniškim projektom, ki temeljijo na žanrski presečnosti in ponuja širok spekter sodobnih izraznih form. V njem se nizajo koncerti in plesne uprizoritve, v katerih tradicija vstopa v navdušujoča zavezništva z novitetami.

Cikel Noches de tablao podpirata Ministrstvo za kulturo in Mestna občina Ljubljana.

Featuring unforgettable animations of the universe, the solar system and the origins of life on Earth, the fun show Neanderthal Flute takes the audiences on a vivid sound journey to the very beginnings of human creativity. What did it take for this miracle to happen? Who wanted to prevent this miracle from happening? Was it really an event of cosmic proportions and a question of the preservation of an overall cosmic balance? 
This sensational, wonderfully informative, insightful and scientific performance is underscored by an indispensable pinch of humour, technical flavour and, of course, a wealth of musical knowledge, extensive experience and genuine commitment.