Gala opera resounding success at Astana Opera
On January 22, a gala opera was a resounding success at Astana Opera. Each overture, scene and aria opened a new chapter of a musical narrative, El.kz citesastanaopera kz.
The audience, together with the author of the program, People’s Artist of Kazakhstan Abzal Mukhitdin, seemed to turn the pages of a fascinating opera book, where various characters came to life and eternal themes of love, honour, betrayal and hope were brought up.
The first chapter was dedicated to national classics: a scene from Yevgeniy Brussilovsky’s opera Qyz Zhibek, one of the first national composers who combined the European opera traditions with the melodies of the Kazakh steppe. Bolat Yessimkhanov sounded formidable and convincing as Bazarbai, while Assem Sembina’s interpretation of Zhibek’s aria (“Tolqyma”) conveyed the titular character’s inner strength. Talgat Galeyev, Beimbet Tanarykov, Narul Toikenov, Gulzhanat Sapakova also took part in the number. The choir’s performance of “Gakku”was a brilliant finale of this scene, emphasizing tranquillity of the steppe nature and harmony hidden in its simplicity.
A scene from the opera Abai by Akhmet Zhubanov and Latif Khamidi continued the national theme. The central moment was Zhanat Shybykbayev’s performance of Abai’s aria. His deep, rich voice conveyed the hero’s tragic wisdom. Together with him, Ramzat Balakishiyev, Nazym Sagintai, Ulpan Aubakirova and Yerzhan Saipov demonstrated their talents.
If the Kazakh classics seemed to make the viewers contemplate their native tunes, the world repertoire filled the evening with lively contrasts. In a light, but not devoid of drama scene from Rossini’s opera Il Barbiere di Siviglia, the audience laughed and admired the artists’ inimitable voices and acting. Altynbek Abilda’s Figaro was effervescent and charismatic, the famous Saltanat Akhmetova’s Rosina brought a special energy to the performance and it was unexpected for many that the principal soloist appeared on a balcony. Almaviva’s cavatina performed by Artur Gabdiyev and the male choir was captivating in its ardour.
Rusalka’s aria from Dvořák’s eponymous opera performed by the guest from the Czech Republic, Libuse Santorisova, had a completely different mood. The program also featured Lensky’s aria and the Duel scene from Tchaikovsky’s Eugene Onegin. Artur Gabdiyev as Lensky conveyed the hero’s despair and courage, while Talgat Mussabayev as Onegin brilliantly demonstrated the complexity of the character’s internal conflict. Zhanat Shybykbayev and Aigul Niyazova also took part in the scene.
The audience warmly greeted Cio-Cio-san’s entrance aria from Puccini’s Madama Butterfly, Spanish Dance from Manuel de Falla’s opera La Vida Breve, Luisa’s aria from Ruperto Chapi’s zarzuela Las Hijas de Zebedeo. A scene from Puccini’s Tosca left no less a strong impression. The duet of opera prima Zhupar Gabdullina as Tosca and Yevgeniy Chainikov as Scarpia held the viewers on the edges of their seats, as did the duet of Aida and Amneris from Verdi’s opera Aidaperformed by Bibigul Zhanuzak and Saltanat Muratbekova.
Their colleagues Bagdat Abilkhanov, Shyngys Rassylkhan, Dinmukhamed Koshkinbayev, Sultan Bakytzhan, Tatyana Vitsinskaya, Zhannat Baktay, Madina Islamova, the Astana Opera Symphony Orchestra, Choir, Children’s Choir and the opera house’s supernumeraries also took part in the concert.
At the end of the evening, a scene from Sydyq Mukhamedzhanov’s comic opera Aisulu was presented to the audience, and the viewers left the hall in a very high mood. “It was a wonderful evening,” viewer Askar Ibrayev noted after the concert. Others compared the concert to a journey through the pages of opera classics, where each number was different from the others.
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