A world premiere is coming to Astana Opera on 25 March. The opera house’s ballet company will present Mangiliktin Tort Syry (Four Truths – One Eternity), a new production by company soloist and choreographer Sultanbek Gumar, set to music by Khamit Shangaliyev. Gumar is currently on a mission to forge a fresh choreographic language within Kazakhstan’s classical ballet.
Choreographer Sultanbek Gumar created Mangiliktin Tort Syry in just two weeks. The production explores the five stages of love: passionate yearning of two souls, gradual discovery of one another, emergence of conflict, unveiling of their true selves, and finally, a total, soulful acceptance that leads to eternal love.
The choreographer adopted a fluid and organic approach, blending classical elements with moments of high-tempo movement. The ballet features a mix of intimate duets and powerful ensemble pieces.
“The production features just four couples, each with its own distinct character and choreography. Throughout the piece, the style shifts, occasionally incorporating movements rooted in traditional Kazakh dance,” explains Gumar.
The ballet embraces a minimalist aesthetic: in place of cumbersome sets, four translucent fabric panels symbolise the memories of each couple. The production is rich with other symbolic details. In the second duet, for instance, delicate nuances of the relationship are represented by a fine thread. As misunderstandings arise, this thread transforms into a thick rope. In the opening duets, the dancers are blindfolded with ribbons, signifying their initial blindness to each other’s flaws. Only when the ribbons are removed do they discover the rope binding their waists, marking the beginning of their conflict.
“It is only once their anger dissipates that they realise they have crossed a line. I chose to convey this through a series of monologues for the young men and women in the Regret and Longing scene. Ultimately, as the couples accept one another’s flaws, the rope is drawn upwards and a translucent canvas lowers in its place,” says Gumar.
The company is currently preparing for the premiere with immense enthusiasm. Gumar cast the performers for each stage by carefully matching their individual personalities and technical strengths. On opening night, the Astana Opera Ballet principals will bring these characters to life: Kamilla Ormanova and Doskhan Zaidin will portray Infatuation, while Sofiya Adilkhanova and Islam Kaipbay present The Illusion of Love / Passion. Limara Aidarova and Galymzhan Nurmukhamet take on Struggle, and the final stage, Acceptance, will be performed by Honoured Worker of Kazakhstan Aigerim Beketayeva and Dias Kurmangazy.
A unique creative partnership developed during the staging of the ballet between choreographer Sultanbek Gumar, composer Khamit Shangaliyev, and his assistant, pianist Alibek Alpiyev. Gumar was inspired by a brief, three-note theme that became the leitmotif of the entire performance. Shangaliyev had written the motif previously and kept it in his archives; this minimalist melody served as the seed from which the entire work grew.
“These three notes serve as the ballet’s leitmotif,” says Shangaliyev. “The score incorporates the resonance of the dombyra and traditional-style melodies, which I have reimagined with a modern classical feel, specifically for the ballet. Sultanbek has staged this production beautifully; his vision aligns perfectly with the music. Despite his youth, I am struck by the depth of his perspective. He has meticulously considered every detail of the performance,” the composer added.
Light possesses the power to tell a story; it can convey character and give form to the empty space on stage. Gumar had a clear vision for the lighting from the outset, a concept brought to life by lighting designer Mikhail Yepanchin.
The lighting also works in harmony with another vital element: the costumes. To ensure the visual impact of each character, costume designer Dariga Taishikova developed her palette in close collaboration with the production’s lighting concept. “As integral elements of the production’s artistic world, costumes and lighting always complement one another. Our team had a clear vision of the final composition and how to establish an atmosphere that conveys the theme of true love. For instance, the shifting shades of the costumes reflect the transformation between the stages of love. We also sought to convey the changing moods and emotions, as well as the fragility or strength within the duets, through the specific qualities of the fabrics. This helps reveal each character’s personality, the depth of the plot, and the choreographer’s overall artistic vision,” she says.
Taishikova utilised a palette of organic, natural tones. The evolution of the characters and their interactions throughout the various stages of the performance are mirrored in the costume design.
“Our palette is inspired by burnt clay, creating a warm, natural effect that makes the dancers appear to glow on stage. The colours range from medium greys to earthy brown undertones, culminating in a striking terracotta – a reddish-orange hue specially developed by our wardrobe artisans. This colour is reserved exclusively for the young woman in the final duet and serves as a symbol of love’s triumph. The costumes are minimalist in spirit, with clean, simple silhouettes in solid tones. The sheerness and lightness of the fabrics allow the garments to blend seamlessly into the performance, ensuring the audience remains focused on the beauty and fluidity of the choreography and the music,” Taishikova concluded.
The central theme the choreographer seeks to reveal is that love is far more than a mere feeling; it is a demanding, mutual effort. Only those who embrace this truth can achieve a love that is truly eternal.
“The more we evade our problems, the more they intensify. Conversely, if we accept them and seek solutions, we begin to see the positive side of things. Pure love is like water; to reach it, one must understand its flow and its forms. Water retains its shape in a glass, yet if poured out, it will find its own path. Eternal love must be the same,” says Gumar.
In his statement, Gumar expressed his gratitude to the artistic director of the ballet company, Altynai Asylmuratova, for supporting his initiatives and allowing him to flourish not only as a soloist but also as a creative force. He also thanked all the opera house’s departments for their vital role in preparing the premiere.
Alongside the premiere of Mangiliktin Tort Syry, audiences will have the chance to enjoy the Nomad Ballet programme – the direct result of Gumar’s mission to forge a fresh choreographic language within Kazakhstan’s classical ballet. Residents and guests of the capital will be treated to a selection of Gumar’s other national and contemporary works, including Ruh, Toi Bastar, Aralym, Kemel Adam, and Ansau (to music by the HasSak ensemble), as well as Mankurt to the music by Aktoty Raimkulova, and Alem set to music by Shangaliyev. As such, the evening serves as a definitive choreographic profile of Sultanbek Gumar, one of Astana Opera’s most talented creative voices.
The performance begins at 5pm.
