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    • darjin01 on PLACIDO DOMINGO
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    darjastisu

    🎭 Awarded performing Arts Photographer | 🌊 Scuba Diving Addict | 📸 Canon EOS R Ambassador| 🎙️ Voice over Talent | double bassist |Check my work 👇

    None of the composers on this programme agreed on None of the composers on this programme agreed on who the hero was.

A family matinee at the Slovenian Philharmonic opened with Copland’s Fanfare for the Common Man — written in wartime, and premiered, at the conductor’s suggestion, right at income-tax time. Copland had no objection. He wrote back that he was all for honouring the common man at income tax time.

Then the William Tell overture, which most of the hall knows as a chase rather than as a revolutionary. Then excerpts from the Eroica, the symphony whose title page once carried Napoleon’s name until Beethoven scraped it off hard enough to leave a hole in the paper. Then Scheherazade, where the weapon is a story that refuses to end. And last, finally, a cape: the Superman theme, in Fedor Vrtačnik’s arrangement.

The heroes actually in the building were from the Ljubljana Fire Brigade Association and the Slovenian Rescue Dog Unit.
Hero music never names its hero. We do that afterwards, and we keep changing our minds.

Dirigent: Sam Burs-tin
Pripovedovalec: Franci Krevh
Orkester Slovenske filharmonije
V sodelovanju z Gasilsko zvezo Ljubljana in Enoto reševalnih psov Slovenije

#dstphotography #slovenskafilharmonija #samburstin #dvoranamarjanakozine #familyconcert
    Everyone who plays in this hall has already won so Everyone who plays in this hall has already won something. Almost nobody outside it knows their name yet.

That gap is the whole point of Mladi virtuozi. Festival Ljubljana has been running the cycle for thirty-four seasons now: from October to April, the Knights’ Hall at Križanke gives a stage to young musicians who arrive with first prizes and gold plaques from national and international competitions. Sometimes an ensemble, sometimes two players and a programme of their own choosing, in a hall small enough that the front row can hear them breathe.

What surprises people who wander in is that there is nothing provisional about it. The playing is finished work — the kind of command that takes years and leaves very little to chance. The only thing missing is the part that has nothing to do with music: the name that fills a hall by itself. In the photographs you cannot tell the difference, because there isn’t one.
Some of the names in the old programme books of this cycle now fill far larger rooms. In the hall, on the evening itself, nobody could have told you which ones.

Thirty-four seasons in, the cycle is still about the same narrow thing: the stretch of a musician’s life when the playing is all you have to go on — and all you need.

Tine Lestan and Kristijan Kmet · 34. Mladi virtuozi, Festival Ljubljana · Viteška dvorana, Križanke

#dstphotography #mladivirtuozi #festivalljubljana #krizanke #chambermusic
    Jala Brat and Buba Corelli brought the GOAT Tour t Jala Brat and Buba Corelli brought the GOAT Tour to Arena Stožice, to a hall of something like twelve thousand people. Tickets started at 49 euros and ran to 150 for a seat in a VIP box.

I photograph concerts, which means I read a show through whatever it gives me to see by — and this one gave very little. Below-average lighting, a few bursts of fire. Fire fills one frame and leaves nothing for the next.

So I’ll ask it plainly, and not rhetorically: at those prices, in a room that size, is that enough? Or is it a bet that an audience this large won’t notice the difference?

I don’t think today’s audience is easier to satisfy than it used to be. I think it’s only quieter about it.

#dstphotography #jalabrat #bubacorelli #arenastozice #goattour
    Two piano concertos in one evening, and in neither Two piano concertos in one evening, and in neither of them does the right hand play.

One of them exists because of a war. Paul Wittgenstein lost his right arm on the Russian front, and spent the years after it commissioning music he could still play. Ravel’s answer, finished in 1930, is written so thickly that it keeps sounding like more hands than are on the keys — which was the intention. The texture, he said, should never feel thinner than one written for two. Wittgenstein tried editing it anyway, and Ravel told him that performers are slaves.

The other has nothing to do with loss. Hans Abrahamsen has cerebral palsy and uses two fingers of his right hand, so the left-hand repertoire was never a curiosity to him — it was simply the piano literature he could sit down and play. About Left, alone he was precise: it is not written for a pianist with only one hand, but by a composer who can only play with the left. The limitation isn’t the subject of the piece. It’s where he stands to see the instrument.

The programme opened with music that had waited even longer for its hands. Mikheil Shugliashvili finished Polychronia in Soviet Georgia in 1978 and never heard it; the first performance came in 2019, twenty-three years after his death. His manuscript doesn’t name the percussion instruments, or say how many players are needed — the publisher still prints the gap as a gap. And between the two concertos stood a piece with no past at all: Klemen Leben’s Neoheroj, for soprano, orchestra and electronics, on texts by Jani Kovačič.  Nothing about any of it sounded like less.

Dirigent: Johannes Kalitzke
Klavir: Joonas Ahonen
Sopran: Maria Leben
Orkester Slovenske filharmonije
Program: Mikheil Šugliašvili, Polikronija za orkester (1978) · Hans Abrahamsen, Leva, sama – koncert za klavir za levo roko in orkester (2015) · Klemen Leben, Neoheroj, za sopran, orkester in elektroniko, na besedila Janija Kovačiča (2026) · Maurice Ravel, Koncert za klavir za levo roko in orkester v D-duru (1930)
Cikel: SOS 1 – Sodobne orkestrske skladbe, sezona 2026/27

#dstphotography #joonasahonen #hansabrahamsen #lefthandpianoconcerto #slovenskafilharmonija
    Where voices learn to float. A women’s choir, a h Where voices learn to float.

A women’s choir, a harp, and two French horns. An unusual combination, almost fragile in its simplicity. And yet, in Brahms’ hands, it becomes something quietly extraordinary.

Voices rising like a gentle breath, the harp weaving threads of light between them, and the warm, distant sound of horns carrying something that feels almost like a memory.

Under Stephen Layton’s direction, the music of Brahms, Fauré, Holst and others unfolded in a world where nothing needed to be loud to be deeply felt.

There is a particular beauty in music that seems to exist somewhere between silence and sound. In voices that find their strength not in volume, but in the delicate way they belong together.

And perhaps that is the loveliest thing about an evening like this.

Music without a bass line does not fall. It simply learns another way to fly.

Dirigent: Stephen Layton
Ženski zbor Slovenske filharmonije in godalni ansambel Orkestra Slovenske filharmonije
Harfa: Urška Križnik Zupan
Rogova: Jože Rošer, Metod Tomac

VIP 1 | Vokalno-inštrumentalni program
Dvorana Marjana Kozine, Slovenska filharmonija

#dstphotography #stephenlayton #slovenskafilharmonija #choralmusic #concertphotography
    O videnem telesu | On the Seen Body The body reme O videnem telesu | On the Seen Body

The body remembers what the mind sometimes forgets.

A glance. A judgement. The quiet weight of being watched. All the invisible things that slowly become part of the way we move, the way we stand, the space we dare to occupy.

In O videnem telesu, Vito Vidovič Bintchende explores the traces that other people’s eyes leave upon us. Through movement, silence, and vulnerability, the body becomes both a storyteller and a story being told.

And somewhere behind the camera, I find myself wondering about my own gaze.

Photography captures a fraction of a second, turning something fleeting into something that remains. A movement interrupted, a gesture suspended, a body held forever in a moment it was only passing through.

Perhaps no gaze is ever entirely innocent. Not even mine.

Because being seen is never quite the same as being understood.

And sometimes, what remains of a glance is something we carry for a lifetime.

Koncept, koreografija in izvedba: Vito Vidovič Bintchende
Dramaturgija: Zala Mojca DeLyria
Glasba: Johanna Walleser / Djonni Laser
Scenografija: Maja Logar, Jasna Ivančič
Oblikovanje luči: Aleksander Pešec
Produkcija: Zavod Flota
Koprodukcija: Plesni teater Ljubljana, OFF-Theater / Tanz*Hotel (Dunaj)

#dstphotography #ovidenemtelesu #plesniteaterljubljana #zavodflota #solodance
    Things I Cannot Say About Things A little toy car Things I Cannot Say About Things

A little toy car, passed from one generation to another. Nothing extraordinary. Just something that has quietly survived the passing of time.

In Stvari, ki jih ne morem povedati o stvareh, ordinary objects become silent companions to a story about presence, memory, and the strange ways we hold on to things.

One performer. A handful of objects. An almost empty stage. And suddenly, the smallest gesture seems to hold an entire lifetime.

I left thinking about all the things we keep. The books, the photographs, the little treasures whose stories only we remember.

One day, someone will empty our rooms. Some things will be kept, others forgotten, perhaps left in a box beside the road.

We spend our lives believing these things belong to us.

Perhaps we are simply passing through theirs.

Režija: Nina Ramšak Marković
Nastopa: Jerko Marčić
Dramaturgija: Milan Ramšak Marković
Dramaturgija giba: Ana Dubljević
Scenografija: Katarina Prislan
Oblikovanje luči: Bor Ravbar
Produkcija: Zavod Melara, Kuća Klajn in Cankarjev dom

#dstphotography #cankarjevdom #theatrephotography #performingarts #contemporarytheatre
    Poli brings the bear crackers. Gives him a name. W Poli brings the bear crackers. Gives him a name. Wants to be his friend. And still, Šraufštok grows sadder.

There is something painfully familiar in that small detail. We can offer someone everything we think they need and still miss the thing they are longing for. Helping asks us to look beyond our own idea of happiness, even when it means taking a friend somewhere we cannot stay.

In Gospod Gnilc in plešoči medved, Andy Stanton’s wonderfully absurd world becomes a journey to rescue a bear from two men who want to make money from his dancing. Beneath the mischief and the adventure is a question about care: are we willing to listen when another creature’s needs are different from our wishes?

A little girl is willing to go a long way for a bear. First, she has to understand where he belongs.

Andy Stanton: Gospod Gnilc in plešoči medved
Prevod: Boštjan Gorenc – Pižama
Dramatizacija: Tatjana Doma in Luka Marcen
Režija: Luka Marcen · Dramaturgija: Tatjana Doma
Likovna podoba in scenografija: Volha Milović
Kostumografija: Ana Janc
Glasba: Mitja Vrhovnik Smrekar
Koreografija: Lara Ekar Grlj
Oblikovanje svetlobe: Maša Avsec
Lutkovno gledališče Ljubljana

#dstphotography #gospodgnilc #lutkovnogledalisceljubljana #theatrephotography
    Klik za ljubezen | Dress rehearsal There is somet Klik za ljubezen | Dress rehearsal

There is something quietly beautiful about an empty theatre just before a story is ready to be told.

The lights are still searching for their perfect place. A voice pauses, a phrase begins again, a small gesture changes. Somewhere between the music and the silence, the final pieces fall into place.

For a little while longer, nothing has to be perfect.

In Klik za ljubezen, five voices and four musicians bring to life a charming, gently humorous story about the search for love in a world of screens, messages, and unexpected connections. A comic opera about something wonderfully timeless, hidden inside something very modern: our longing to find someone who truly sees us.

And perhaps that is what makes a dress rehearsal so special.

The audience has yet to arrive. The applause is still waiting. And everything that will soon seem so effortless is being carefully, patiently brought to life.

A little uncertainty, a little laughter, a little magic.

The last moments before a story belongs to everyone.

Glasba in dirigent: Iztok Kocen
Libreto: Jakob Barbo (po komediji Vinka Möderndorferja)
Režija: Vinko Möderndorfer
Scenografija: Jaro Ješe
Kostumografija: Tina Žen
Oblikovanje luči: Andrej Petrovčič
Oblikovanje zvoka: Gregor Troha

Nastopajo: Peter Grdadolnik (Gospod Marko), Ireneja Nejka Čuk (Gospodična Suzana), Lovro Korošec (Gospod Albert), Katja Konvalinka (Mama), Klemen Torkar (Smetar)

#dstphotography #skgg #klikzaljubezen #dressrehearsal #theatrephotography
    About a Lost Little Donkey 🫏🌿 Sometimes, getting About a Lost Little Donkey 🫏🌿

Sometimes, getting lost is simply another way of finding yourself.

Somewhere deep in the forest, a little donkey discovers that the world is much bigger, stranger, and perhaps a little scarier than he ever imagined. But between the rustling leaves, unfamiliar sounds, and an unexpected friendship, he begins to find something he didn’t know he had. Courage.

A tender little story about fear, friendship, and the quiet bravery it takes to find your own way home.

No words are needed. Sometimes a heartbeat, a sound, or a small gesture can tell us everything.

And perhaps that’s the loveliest thing about puppet theatre. For a little while, we all remember how to see the world through a child’s eyes. ✨

O izgubljenem osličku | Lutkovno gledališče Ljubljana

Story and direction: Marko »Mare« Bulc
Set and visual design: Damir Leventić
Music: Polona Janežič

#dstphotography #lutkovnogledalisceljubljana #oizgubljenemoslicku #puppettheatre #theatrephotography
    Everyone hears her voice. But does anyone really l Everyone hears her voice. But does anyone really listen?

At the heart of Anton Foerster’s Gorenjski slavček is a young woman with an extraordinary gift. A voice that attracts admiration, awakens ambitions and suddenly becomes the subject of everyone else’s plans.

What appears to be a charming story of village life, love and music reveals something rather more complicated. Everyone seems to know what is best for Minka. Her family, the villagers, even a stranger who recognises her talent. Yet somewhere between their expectations and good intentions, her own wishes risk being lost.

Vito Taufer’s production allows us to look beyond the familiar warmth of this Slovenian opera and discover the quieter questions hidden beneath its humour and melodies.

And perhaps that is what I love about photographing opera. Those fleeting moments when a gesture, a glance or a subtle change of expression tells us something the music has not yet revealed.

Because sometimes, the most important part of a story is not what we hear, but what remains unspoken.

Gorenjski slavček · SNG Opera in balet Ljubljana

Direction: Vito Taufer
Revival director: Matej Prevc
Conductor: Jakob Barbo
Set design: Samo Lapajne
Costume design: Barbara Podlogar
Lighting: Pascal Mérat
Choreography: Sanja Nešković Peršin
Dramaturgy: Tatjana Ažman
Chorus master: Željka Ulčnik Remic

Orchestra, soloists and chorus of SNG Opera in balet Ljubljana

#dstphotography #antonfoerster #operaballetljubljana #vitotaufer #slovenianopera
    So prostori v katere so ujeta tisočletja. Ta je b So prostori v katere so ujeta tisočletja.

Ta je bil zgrajen leta 1268 kot minoritska cerkev sv. Frančiška Asiškega v Kopru: enoladijska gotska dvorana beraških redov, postavljena okrog glasu, ki mora brez pomoči nesti do zadnje vrste. Za cerkvene namene so jo opustili leta 1809. V letih 1968 in 1969 so jo predelali v telovadnico koprske gimnazije in to je ostala do leta 1990, ko so jo zaprli in pustili pri miru. V okviru celovite obnove tega očem dolgo skritega kulturnega bisera je občina Koper leta 2008 začela s sanacijo stropa z baročnimi poslikavami, prav tako so bile pravilno obdelane in predstavljene tudi stenske poslikave, ki krasijo glavno korno kapelo. Obnove je bil deležen tudi obstoječi notranji venec.

Čudež življenja išče izjemne prostore in izjemne glasbenike. Prejšnje izvedbe so bile v Postojnski jami, v Predjamskem gradu, v Noordungovem centru v Vitanju. Tokrat je bila zgodba morje in Koper je bil logična izbira za 100 poslušalcev Radia 1.

Žan Serčič je pričaral čaroben večer. Pred koncertom je povedal, da se vedno znova vrača k opažanju majhnih trenutkov, v eni svojih pesmi jim pravi čudeži. Skromna trditev za koncert, ki se po čudežu imenuje, in ravno prave velikosti za tole dvorano. 

In če vas ni bilo v živo, si v nedeljo lahko cel koncert ogledate na Radio1 Tv. 

#dstphotography #cudezzivljenja #zansercic #ildivji #koper
    Music is the only art that cannot wait for you. A Music is the only art that cannot wait for you.

A painting hangs there until you come back to it. A photograph will be the same photograph tomorrow. Music exists only while someone is making it — pressure moving through air, gone the instant the playing stops. Every performance is the entire work and the end of it at once.

Maybe that is why players look the way they do. They are not showing you something finished. They are keeping something in the air, and it lasts exactly as long as they do.

The art that disappears fastest is the one people keep the longest.

#dstphotography #musicphotography #chambermusic #liveperformance #musicians
    In 1689 the cello had almost nothing to play on it In 1689 the cello had almost nothing to play on its own.

That year, in Bologna, Domenico Gabrielli wrote seven ricercari for unaccompanied cello - among the earliest surviving music for the instrument alone. He had about a year left to live, and the instrument he was writing for was, in a sense, still being invented.

Fifty years later a Frenchman was making the trip in the other direction. Jean-Baptiste Barriere left Paris for Italy in 1736 for one reason: to stand next to the Neapolitan cellist Francesco Alborea and learn how he did it. He went home and published sonatas that sound like a man translating.

That is what a programme called Sonatas from Four Lands actually is. Not four national styles set politely side by side, but one accent carried by hand across borders - Graun bringing Tartini back to Berlin, Geminiani eventually writing the book that taught Englishmen how to sound Italian.

The ensemble is called musica cubicularis, and the name means what it sounds like: music for a room. Three players, no conductor, an atrium that holds a few dozen people. Close enough that you hear rosin and breath along with the notes - which is the whole pleasure of it and, with a camera, the whole problem.

Inspiration does not travel in scores. Somebody has to go and stand next to it.

Ansambel: musica cubicularis - Nika Somborac (violoncelo), Domen Marincic (viola da gamba, violoncelo), Tomaz Sevsek (cembalo)
Program: Sonate iz stirih dezel - Domenico Gabrielli, Antonio Caldara, Johann Gottlieb Graun, Jean-Baptiste Barriere, Francesco Geminiani
Cikel: Harmonia Concertans - Stara glasba na Novem trgu, 16. sezona
Atrij ZRC SAZU, Novi trg, Ljubljana

#dstphotography #harmoniaconcertans #musicacubicularis #baroquecello #earlymusic
    Mahler never heard a single bar of this symphony. Mahler never heard a single bar of this symphony.

He left the Tenth in 1911 as a continuous draft — some 166 pages, only part of it orchestrated, the rest written down in the shorthand a composer uses when he assumes he will have time to come back. He didn’t. For half a century the work sat as a torso. Deryck Cooke assembled a performing version from the draft; it reached the radio in 1960, the concert hall in 1964, and Cooke kept revising it for the rest of his life.

On the last page Mahler wrote, in the margin, für dich leben! für dich sterben! — to live for you, to die for you — and under it Almschi!, his name for his wife. So part of what fills the Gallus Hall is a private letter, scored for a hundred people.

The Slovenian Philharmonic opened its season with it, Kahi Solomnišvili conducting: one work, no interval, eighty minutes of orchestra and nothing to hide behind. From where I stand there is no good moment — the light is set for listening, not looking, and any sound I make belongs to me alone. You learn to breathe with the phrase and press between them.

We call the Tenth unfinished. The music was all there. What ran out was the time to write it down.

Dirigent: Kahi Solomnišvili
Orkester Slovenske filharmonije
Program: Gustav Mahler, Simfonija št. 10 v Fis-duru (izvedbena različica Derycka Cooka)
Cikel: Same mogočne skladbe, otvoritveni koncert sezone 2026/27
Gallusova dvorana, Cankarjev dom

#dstphotography #slovenskafilharmonija #mahler10 #kahisolomnisvili #orchestraphotography
    Opera has spent four centuries on people pretendin Opera has spent four centuries on people pretending to be someone they are not. The disguise used to be a cloak, or a letter, or a twin brother. Now it is a profile.

Klik za ljubezen is a comic opera about looking for love online: sixty minutes, no interval, five singers and four musicians. Iztok Kocen wrote the score and conducts it. The libretto is by Jakob Barbo, built on a comedy by Vinko Möderndorfer, who also directs. The characters arrive at their dates carrying what people actually carry — the past, the frustrations, the version of themselves they would rather you met first.

The cloak got smaller. The hiding is the same.

Glasba in dirigent: Iztok Kocen
Libreto: Jakob Barbo (po komediji Vinka Möderndorferja)
Režija: Vinko Möderndorfer
Scenografija: Jaro Ješe
Kostumografija: Tina Žen
Oblikovanje luči: Andrej Petrovčič
Oblikovanje zvoka: Gregor Troha
Nastopajo: Peter Grdadolnik (Gospod Marko), Ireneja Nejka Čuk (Gospodična Suzana), Lovro Korošec (Gospod Albert), Katja Konvalinka (Mama), Klemen Torkar (Smetar)

#dstphotography #klikzaljubezen #skgg #cankarjevdom #operaphotography
    The words to Slovenia’s best-loved opera were writ The words to Slovenia’s best-loved opera were written by a woman who had to learn Slovene as an adult.

Luiza Pesjak was born in Ljubljana in 1828 into a lawyer’s household, schooled in German, tutored for a while by France Prešeren. Her first writing was German; she did not speak Slovene at all. She took the language on in her thirties, after the constitutional reforms of 1860 — and in 1872 wrote the libretto for Gorenjski slavček. She went on to become the first woman to write a novel in Slovene.

Anton Foerster’s music did the rest. More than 150 years on, this is the opera people can hum without owning a recording of it, the one that opens seasons and fills matinees with children.

Photographing it is mostly a matter of waiting. The stage gives you one lit second in every thirty, and the rest of the time you stand still in the dark and try not to be a noise.

We speak of a mother tongue as if it were handed to us. Hers was picked up late, on purpose — and it is the one we still sing.

Režija: Vito Taufer
Obnovitev režije: Matej Prevc
Scenografija: Samo Lapajne
Kostumografija: Barbara Podlogar
Oblikovanje luči: Pascal Mérat
Koreografija: Sanja Nešković Peršin
Dirigent: Jakob Barbo
Dramaturgija: Tatjana Ažman
Zborovodkinja: Željka Ulčnik Remic
Orkester, solisti in zbor SNG Opera in balet Ljubljana

#dstphotography #gorenjskislavcek #luizapesjak #operaphotography #sngoperainbalet
    No music stands. That is the first thing you notic No music stands. That is the first thing you notice.

The Baltic Sea Philharmonic brings together young musicians from the countries around the Baltic Sea, and it is one of the very few orchestras that perform almost entirely from memory. With nothing between them, they have only each other: facial expressions, eyes, smiles, glances. Watching them communicate without a single word was remarkable – and so was watching the music carry them, felt perhaps even more intensely because no page stood in the way.

The evening opened with Rautavaara’s Cantus Arcticus, a concerto for birds and orchestra, built on recordings of Arctic birdsong, and the musicians gradually walked onto the stage while it played. Slovenian violinist Lana Trotovšek then joined them for Bruch’s First Violin Concerto, and conductor Robert Trevino led them through Sibelius’s Fifth Symphony.

When you know the music by heart, perhaps you also play it from there.

#dstphotography #balticseaphilharmonic #lanatrotovsek #ljubljanafestival #orchestra
    Founded in 1548, the Staatskapelle Dresden is one Founded in 1548, the Staatskapelle Dresden is one of the oldest orchestras in the world. It came to Ljubljana with its chief conductor Daniele Gatti and Mahler’s Sixth.

The “Tragic” is a symphony of marches, cowbells and the famous hammer blows of fate – music that asks for virtuosity from every corner of the orchestra. Gatti led it boldly through all of it. From the very first bar, the notes seemed to be carried on wings, all the way to the silence into which they finally faded.

Another fantastic evening – and a reminder that silence belongs to the music, too.

#dstphotography #staatskapelledresden #danielegatti #mahler #ljubljanafestival
    Charismatic, dark-haired, magnetic Marilyn Monroe Charismatic, dark-haired, magnetic Marilyn Monroe of the piano.

But the glamour is only the surface. What Khatia Buniatishvili has with the piano looks more like a passionate love affair: every phrase lived through, not simply played.

Born in Batumi, Georgia, she took on Tchaikovsky’s First Piano Concerto with the Berliner Symphoniker and conductor Gudni Emilsson – a piece that opens with some of the most famous chords ever written for the instrument. After the interval came Beethoven’s Seventh, which Wagner called the apotheosis of the dance.

Some pianists play music. A few seem to fall in love with it right in front of you.

#dstphotography #khatiabuniatishvili #berlinersymphoniker #ljubljanafestival #pianist
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