Twelve years ago, Astana Opera—a theater on par with the world’s leading stages such as La Scala, the Royal Theatre in Madrid, the Bolshoi Theatre, and the Metropolitan Opera—burst onto the cultural scene of the capital, becoming a true breath of fresh air for audiences.
Over the years, Astana Opera has brought to life numerous large-scale cultural projects, ranging from classical opera and ballet productions to contemporary works by outstanding directors and choreographers. Many of these achievements have been made possible through the support of its general partner, Halyk Bank. This support, combined with the talent of the artists, has propelled Kazakhstani opera and ballet onto the international stage while maintaining the highest standards of performance and technical excellence. In this feature, dedicated to World Theatre Day, the artists will share their memories of the most remarkable projects staged at Astana Opera.
Zhuphar Gabdullina (Aida) and Dina Khamzina (Amneris) – Aida Open-Air Performance, Palace of Peace and Reconciliation, 2017
The Astana Opera State Theatre of Opera and Ballet was founded in 2013 at the initiative of the First President of the Republic of Kazakhstan. The complex spans 64,000 square meters and is situated on a 9-hectare site, with approximately 3,000 square meters dedicated to stage spaces.
The main hall accommodates 1,250 spectators, while the chamber hall seats 250. In terms of technical capabilities, the theater not only meets but in many aspects surpasses the world's leading venues. From backstage areas and workshops to numerous rehearsal halls, every space adheres to the highest international standards.
Bakhtiyar Adamzhan (Lescaut) and Madina Basbayeva (Manon) – Jules Massenet’s Manon, 2017
Since the founding of Astana Opera, Halyk Bank has been its general partner, as culture remains a key priority in the bank’s philanthropic initiatives. In just the past five years, Halyk has allocated more than 1.5 billion tenge to support cultural development. Although Timur Kulibayev no longer holds an official role in Astana Opera’s board of trustees, his commitment to culture and the performing arts remains steadfast. His contribution to the development of Kazakhstan’s leading theatrical venues continues to be significant, with ongoing support provided through sponsorship projects and initiatives in which he plays a key role as one of Halyk Bank’s principal shareholders. International tours, large-scale productions, open-air concerts, and regional performances are just a few of the projects made possible by the enduring and fruitful partnership between Halyk Bank and Astana Opera.
Gustav Mahler’s Symphony No. 8 Featuring 1,200 Artists
The performance of Gustav Mahler’s Symphony No. 8, featuring 1,200 musicians, was a record-breaking event in the history of Kazakhstan’s musical arts. The production brought together 20 choral ensembles, including the choirs of Astana Opera, Abai State Opera and Ballet Theatre, the Italian Carlo Felice Theatre, the South Kazakhstan Regional Opera and Ballet Theatre, the B. Baikadamov State Choral Chapel, as well as choirs from the philharmonic societies of Pavlodar, North Kazakhstan Region, Aktobe, and Astana. Additionally, 10 choirs from specialized music institutions and five children's choirs participated. Five symphony orchestras took part in the performance: the orchestras of Astana Opera, Abai State Opera and Ballet Theatre, Zhambyl Philharmonic, the State Academic Symphony Orchestra of Kazakhstan, and the chamber orchestra Academy of Soloists. At the conductor’s podium stood Astana Opera’s chief conductor, Honored Artist of Kazakhstan, and laureate of the State Prize of the Republic of Kazakhstan, Maestro Alan Buribayev.
Conductor Alan Buribayev – Gustav Mahler’s Symphony No. 8 with 1,200 Artists
"I was part of this concert, but to be honest, I didn’t believe until the very end that we could pull it off—I couldn’t imagine fitting 1,200 people on the theater stage!" recalls Astana Opera’s symphony orchestra bassoon section leader, Aset Neldybaev. "But of course, all of this became possible thanks to Maestro Alan Buribayev—his charisma, energy, and unwavering belief in the project. He didn’t just conduct; he made a dream come true. We first rehearsed the symphony with our orchestra, and then Maestro Alan Askarovich traveled to Almaty to work on it with another orchestra. Can you imagine how many ensembles were involved? Both symphonic and choral—25 in total! It was an enormous undertaking."
– "We were both the hosting and inviting party. We had to properly welcome the Italian orchestra from the Carlo Felice opera house and arrange seating for everyone on stage… There were 14 bassoonists alone! It was an unprecedented lineup. Fortunately, our stage isn’t just large—it’s deep and spacious. And when it all began, the audience erupted with energy. It was a true moment of unity—record-breaking in scale and spirit: 1,200 musicians on stage and 1,200 spectators in the hall. Unbelievable," remarked Aset Neldybaev.
Evgeny Chaynikov as Zhirenshe – Abai Opera
One of Astana Opera’s signature productions is the national opera Abai by A. Zhubanov and L. Khamidi, which premiered in 2015. For this staging, over 200 costumes were created by Academy Award-winning designer Franca Squarciapino. Her work was based on historical sources and archival photographs discovered in libraries and museums. However, the success of the production was not only due to its unique costumes and set design. A crucial role was played by the outstanding vocal performances of the soloists and the powerful, emotionally rich choir, led by Yerzhan Dautov, an honored artist of Kazakhstan.
Astana Opera Choir – Abai Opera
"When it comes to the opera Abai, for any Kazakh artist, it is more than just a production—it is a work filled with profound meaning," says Yerzhan Dautov. "Working on this opera was a great honor, especially alongside such outstanding specialists as set designer Ezio Frigerio, costume designer Franca Squarciapino, and stage director Giancarlo del Monaco. The production we presented is, in my opinion, one of the finest. This view is shared by professionals who have seen the performance in Almaty, Uzbekistan, Moscow, and Genoa. They all noted that this particular version succeeded in capturing the essence of Abai—the true Kazakh national spirit. An exceptional work, without exaggeration."
Astana Opera's Global Collaborations
On June 30, 2014, during the tour of the legendary Teatro alla Scala, a memorandum of cooperation was signed between the management of Astana Opera and the leadership of La Scala and San Carlo theaters. This partnership opened the doors for Kazakhstani audiences to experience world-class artistry. The stage of Astana Opera has welcomed renowned performers such as Plácido Domingo, Anna Netrebko, Zubin Mehta, Valery Gergiev, José Carreras, Elena Obraztsova, and Denis Matsuev. Additionally, audiences had the opportunity to enjoy remarkable choreographic works, including Patrick de Bana’s Call of the Steppe and Boris Eifman’s Rodin.
Rodin: A Ballet of Passion and Emotion
Renowned choreographer Boris Eifman’s ballet Rodin left an unforgettable impression on audiences and performers alike. Gaukhar Usina, an Honored Artist of Kazakhstan, shared her deep emotional connection with the role of Camille Claudel: “The role of Camille is incredibly dear to me. It reveals an astonishing range of emotions—detachment, madness, pain, jealousy, love, and moments of absolute happiness. Watching how pure, innocent love transforms into passion, a storm of emotions, even rage, is mesmerizing. Every gesture, every step in Eifman’s intricate yet profoundly expressive choreography tells a story. His signature style is unmistakable, and dancing this role felt like living Camille’s journey through movement.” This production not only showcased Eifman’s masterful storytelling through dance but also became one of the most celebrated performances on the Astana Opera stage.
The Call of the Steppe: A Ballet That Speaks to the Soul
Choreographed by Patrick de Bana, the ballet The Call of the Steppe made a profound impact on both audiences and performers. Through the modern language of dance, it captured the very essence of the Kazakh spirit with striking precision. Every aspect—music, movement, lighting, and scenography—was imbued with deep meaning, creating a powerful artistic statement. The production was both grand and visually stunning, yet deeply intimate and soulful. It conveyed the strength of traditions, the connection between generations, and a genuine love for the homeland. For the dancers, this was more than just a performance—it was an opportunity to share their cultural roots with the world.
Operalia 2017: A Celebration of Operatic Excellence
In 2017, the world-renowned Operalia competition, founded by Plácido Domingo, took center stage at Astana Opera as part of the Expo program. This prestigious event brought together a distinguished panel of jurors from leading opera houses worldwide, including Teatro Carlo Felice (Italy), The Metropolitan Opera (USA), Vienna State Opera (Austria), Royal Opera House Covent Garden (UK), Paris National Opera (France), and Teatro Real (Spain), among others. What set this edition of Operalia apart was the opportunity for the audience to witness every stage of the competition, observing the evolution of the participants firsthand. Contestants performed arias from the greatest works of operatic heritage, accompanied by Operalia's concertmasters. The grand finale was a breathtaking culmination of the event, with ten finalists performing on the grand stage of Astana Opera, accompanied by its symphony orchestra under the baton of Plácido Domingo himself.
Plácido Domingo’s Triumphant Performance in Verdi’s La Traviata
The Operalia competition in 2017 reached its pinnacle with a breathtaking performance of Giuseppe Verdi’s La Traviata at Astana Opera. The event became even more historic as the legendary Plácido Domingo graced the stage, embodying the role of Giorgio Germont.
This momentous occasion was not just a performance but a testament to Domingo’s deep connection with the Kazakh opera scene. Conductor Abzal Mukhitdin, a People’s Artist of Kazakhstan, recalled the honor of preparing the orchestral material for Operalia, which included pieces never before performed by the orchestra—among them, rare zarzuelas from the Spanish repertoire. The maestro personally expressed his gratitude to the musicians at a press conference.
With his powerful presence and profound artistry, Domingo’s interpretation of Germont captivated the audience, marking a dazzling conclusion to Operalia 2017. The performance was more than just a closing act—it was an unforgettable gift to Kazakhstani opera lovers and a milestone in Astana Opera’s international acclaim.
Plácido Domingo: A Guiding Light for Generations
Renowned for his versatility and depth, Plácido Domingo remains one of the few tenors to have recorded nearly the entire classical operatic repertoire—ranging from lyrical to dramatic roles. His legacy serves as an invaluable audio compendium for future generations of tenors. At the grand finale of the Operalia competition, Domingo took the stage for Verdi’s La Traviata, not merely as a performer but as a unifying force. "He was like the sun, bringing together soloists, the choir, and the orchestra in a shared artistic experience," recalled Abzal Mukhitdin. For the musicians and singers of Astana Opera, sharing the stage with Domingo was more than an honor—it was a transformative experience. "This was not just a performance; it was a blessing," Mukhitdin added. "He left behind something greater than just memories—he gave us confidence, a sense of purpose, and a creative beacon to follow."
Astana Opera’s Global Tour: A Milestone in Kazakhstan’s Cultural Journey
The 2014 world tour of Astana Opera was not only a defining moment for the theater itself but also a landmark event in Kazakhstan’s cultural history. The tour commenced in New York, where Kazakhstani musicians graced the stage of one of the world’s most prestigious venues—Carnegie Hall. From there, the company traveled to the Sony Centre in Canada, Opéra Bastille in Paris, and cities such as Rotterdam and Antwerp, showcasing a diverse program. The highlight was a concert performance of Verdi’s Attila, conducted by Alan Buribayev and Abzal Mukhitdin in Paris. The tour was a formidable challenge and an invaluable experience, particularly for young artists. Thanks to the organizational acumen of Tulegen Mukhamedzhanov, the theater’s first director, the company secured performances at iconic venues like Carnegie Hall—an extraordinary feat.
"The first world tour of the theater was truly life-changing for me," recalls Yerzhan Dautov. "In my career and in the life of our ensemble, nothing like this had ever happened before. In one trip, we performed in five countries—our first tour of such scale. It was an invaluable experience that propelled our professional growth. We stood on the world’s most renowned stages, and each performance left a profound impact. At that time, our company was still in its infancy, just finding its footing, and this tour united, strengthened, and inspired us to move forward."
Opera "Aida" Under the Open Sky: A Majestic Performance at the Palace of Peace and Reconciliation
In 2015, the grand opera "Aida" by Giuseppe Verdi was staged on an open-air platform in front of the Palace of Peace and Reconciliation. This large-scale production required 20 containers of stage decorations transported from the State Opera and Ballet Theatre. According to organizers, it took about ten days to set up the stage, audience seating, and scenery. Participants recall this as a truly monumental and immersive experience—one that deserves to be repeated.
"The production of 'Aida' in front of the pyramid was one of the most emotional and symbolic projects I have ever been a part of," shares conductor Abzal Mukhitdin. "There is one moment I will never forget. It happened during a rehearsal. Zhuphar Gabdullina was performing Aida's aria—a prayer. This is the emotional peak of the scene. Suddenly, from a nearby mosque, the call to prayer (azan) began to echo. It intertwined with the music, as if becoming a second voice, merging with Aida’s prayer. The surroundings fell into complete silence—no wind, no noise, a rarity in Astana. Only the aria and the azan—two prayers, resonating together. It was breathtaking. At that moment, the entire performance felt like a true invocation to the heavens. We were playing, but every one of us sensed that this was more than music—it was a revelation. A moment of absolute harmony between the stage and reality, between faith and art."
