ASTANA BALLET

Gorgeous dancers of the Astana Ballet from Kazakhstan

If the Republic of Kazakhstan exported the artists of their Astana Ballet on an international tour to raise awareness of their progressive nation, they certainly succeeded.  So entranced were we by their program at Alice Tully Hall that we have spent the remainder of the night reading about the country online.  

They are the ninth largest country in the world and the largest landlocked country.  They declared their independence from the dissolving USSR in 1991 and moved their capitol to Astana in 1998.  Their population is nearly 18 million people with Islamic Kazakhs outnumbering Russian Orthodox folk by about 3 to 1.  Religious freedom and democracy are practiced and there are many other ethnic groups and religions also represented.

Last night's program at Alice Tully Hall combined elements of the old and the new; the folkloric, the classical, and the modern. We adore classical ballet and observed some very fine renditions, set to some of our favorite composers--Vivaldi, Rachmaninoff, Gounod, Saint-Saens, Strauss, and Tchaikovsky. 

One could observe a very strong influence from Russian classical ballet in the port de bras, and the épaulement. And what a beautiful line was achieved by the extensions. The women dancers had exquisitely arched feet. We particularly enjoyed the graceful lifts in the trio and duet from the ballet Diversity.

The most familiar classical piece was Fokine's "The Dying Swan". For years we have been watching one of the hairy-legged "girls" of Les Ballets Trockadero de Monte Carlo dance a satirical version of this ballet in travesti.  We had almost forgotten how moving was Fokine's original.

That being said, we were most enchanted by the folkloric numbers which won us over with their exoticism, their colorful costuming, and athleticism. In one selection, the stage was filled with men leaping to astounding heights.

Kazakh folk music was used for the opening number called "Enlightenment" in which a very well-trained corps de ballet filled the stage with swirling movement, emphasized by their swirling skirts.

Modern ballet was not neglected. A few selections toward the end of the program involved all of the sexy movement and sprightly energy we have come to expect.

There were further Russian touches that have lingered with the Kazakh people. Some of the choreographers and producers are referred to as "Honored Workers of Kazakhstan" or as "People's Artist of Russia".

Astana Ballet is the newest representative of Kazakhstan theatrical arts, having been founded barely six years ago, at the initiative of the Head of State--Nursultan Nazarbayev. The company has performed in the major cities of Russia, China, France, Austria, Korea, Tokyo, Poland, and Azerbaijan. Last night's performance honored Kazakhstan's Presidency of the United Nations Security Council, a term which lasts for the month of January. But the memories of Kazakhstan's artistry will endure for far longer. 

If readers care to read my enthusiastic review of Astana Opera, it was written in October of 2014 and archived.  It will be available through use of the "search bar". We enjoyed the same variety of classical/modern/folkloric modalities as we enjoyed last night. It is such joyful news that Kazakhstan supports and shares their arts.

(c) meche kroop

VOICE OF ASIA

Gulzhan Mustakhim and Ruslan Baimurzin

If the Republic of Kazakhstan exported the artists of their Astana Opera on an international tour to raise awareness of their progressive nation, they certainly succeeded.  So entranced were we by their program at Carnegie Hall that we have spent the remainder of the night reading about the country online.  

They are the ninth largest country in the world and the largest landlocked country.  They declared their independence from the dissolving USSR in 1991 and moved their capitol to Astana in 1998.  Their population is nearly 18 million people with Islamic Kazakhs outnumbering Russian Orthodox folk by about 3 to 1.  Religious freedom and democracy are practiced and there are many other ethnic groups and religions also represented.

What is important to us music lovers is the fact that the country supports musical education and performance.  A fabulous new opera house holding 1250 people was built and Ildar Abdrazakov sang the lead in Verdi's Attila for the opening, with Maestro Valery Gergiev (Principal Guest Conductor) on the podium.  The orchestra is a young one with most members between 25 and 30 years of age.

Now how does all this translate into last night's performance?  The program bridged East and West, traditional and modern.  What we most appreciated was the opportunity to hear their traditional native music.  Depicted above are two instrumentalists in exotic native costume-- Ms. Mustakhim making some gorgeous sounds on the kobyz, which appeared to have but two strings played with a bow and Mr. Baimurzin plucking the two strings of the dombrya.  They played Tugan zher, which means Motherland.

The exceptional chorus delighted us with a medley of folk songs, conducted by Erzhan Dautov.  Two exotically costumed singers performed a spirited duet from Birzhan and Sara by M. Tolebaev (about whom we can learn nothing, except that he was a "People's Artist" worthy of a bronze monument); soprano Aigul Niyazova and tenor Medet Chotabayev were accompanied by the enormous symphony orchestra, conducted by Abzal Mukhitdinov.

The orchestra opened the program with a scherzo entitled Celebration by Rakhmadiev in which we could hear the hooves of galloping horses.  They also performed a work by Zhubanov-Khamidi along with that wonderful choir.

Although we yearned to hear more of the native music, the European part of the program was also satisfying.  Dramatic soprano Zhupar Gabdullina sang "Santo di patria" from Verdi's Attila with ringing high notes and a fearless attack of the fioritura.  Baritone Sundet Baygozhin performed "Largo al factotum" from Rossini's Il Barbiere di Siviglia; he was expecially good with the tongue-twistingly rapid verse.

The barcarolle "Belle Nuit" from Offenbach's Contes d'Hoffman was sung in thrilling harmony by soprano Aigul Niyazova and mezzo Dina Khamzina.  Soprano Alfiya Karimova performed Bernstein's "Glitter and Be Gay" from Candide with a convincing sense of drama and impressive coloratura.  She sang in British English which seemed a bit strange.

Violinist Erzhan Kulibaev did a fine job with Tchaikovsky's Violin Concerto in D Major; we especially enjoyed hearing his solo cadenzas with their runs, arpeggios and trills.

But, for us, the highlight of the evening was a stirring performance of Polovtsian Dances from Borodin's Prince Igor.  Instead of the field of red flowers at The Metropolitan Opera, we had a stage full of singers in red.  There was such depth in the choral singing that we were strangely moved almost to tears.  The evening ended with much beating of drums and clashing of cymbals.  

We have had only a taste of the music of Kazakhstan but our appetite is whetted for more.  Clearly the progressive intentions of this ancient culture emerging as a modern nature is reflected in the cultural diversity of their musical programming.  No wonder the opening work was entitled "Celebration"!

(c) meche kroop