Attention!
The performance on November 4 has been canceled.
The performance on November 5 has been canceled, but the chamber opera “Smėlio Čakona” will be performed at the same time instead.
days of the date of the canceled event.
“Prima Donna” is an extraordinary mono-opera in which theater and opera merge into an intimate narrative about the human inner voice, choices, and emotional courage. In an effort to transcend the boundaries of a conventional musical performance and achieve a deeper understanding on the part of the audience, the performance does not begin on stage —it begins in the dressing room, where the soloist faces not the gaze of the audience, but herself.
Unlike in a traditional concert, here the audience becomes a silent wall—allowing one to hear what is born in the heart and transformed into music through the voice. This dialogue between the soloist and silence is an invitation to a deeper, more authentic encounter with oneself.
The performance’s plot has no clearly defined action, but it unfolds through seven different characters—opera heroines whose voices shape the soloist’s inner dialogue.
Giuditta—the voice of courage and passion—asks, “Would you dare to choose passion when no one applauds?”
Esmeralda—the spirit of freedom—invites us to move forward and not be afraid to be ourselves.
Laureta teaches us to say “I want” without guilt and without limitations.
Musetta is a playful persona who poses the question: to be seen, but not to be a performance.
Cleopatra is the voice of will and self-worth, who says: “Don’t prove it. Just be.”
Margarita questions how much guilt limits us and how to let it go.
Undine, the deepest of them all, invites us to dive into ourselves—even if the water is cold.
The performance draws on musical works ranging from the Baroque to Romanticism and 20th-century classics—from Handel and Lehar to Puccini and Dvořák—but their harmony here is not merely aesthetic, but philosophical: each melody marks a step into the soloist’s world. Music becomes not only a sensory experience but also a space for inner transformation.
Through monologues, songs, and moments of silence, the soloist journeys from emotion to realization: what remains when you remove your makeup? What speaks when the role disappears? Is the voice with which we speak truly our own, or is it dictated by someone else?
“Prima Donna” is not just a performance, music, or a display of vocal virtuosity. First and foremost, it is an intimate encounter with oneself, an invitation to hear what is often drowned out by the noise, roles, and voices of everyday life.
