This contribution presents a performative and speculative reflection on the second stage of the doctoral artistic research project "MONSTER SINGS" (MONŠTRUM SPIEVA). The presentation consists of a textual performance accompanied by short films documenting a performative experiment. Using a "queer and trans-feminist lens", the research offers an "unfaithful reconstruction" of the finale of Act I of Dvořák’s Rusalka. The core of the study is the "kiss", interpreted as a "precarious act of translation, transition, and transformation". The author explores the "kiss" as a "sonic and somatic response to crisis" and a way of speaking through and beyond another body. Through the concept of the "queer, trans, and accented mouth", the work investigates how the "mouth" acts as a site of "combustion" and "accumulation of histories". The research deconstructs the traditional operatic narrative of sacrifice, reimagining transformation as a "magnum opus" that allows for "pleasure and abundance" instead of "imposed silence". By interweaving operatic libretto with "queer poetics" and "trans vocality", the contribution proposes the "kiss" as a model of "radical meaning-making" and artistic intervention. The accompanying video documentation captures these physical and vocal manifestations, situating the project at the intersection of opera studies, trans studies, and contemporary performance art.