NUR-SULTAN. KAZINFORM – A correspondent from MIA "Kazinform" spoke with the legendary ballerina Altynai Asylmuratova about the potential of the Kazakh ballet school and the sense of patriotism among artists. Our guest also shared valuable advice for those just beginning to explore the world of ballet.
Behind every ballet dancer’s success lie endless rehearsals, dedication, and a deep love for the craft. One must not forget the invaluable contribution of teachers, who nurture young talents and introduce them to a new world – the world of high art.
For six years now, the world ballet star and People's Artist of Russia, Altynai Asylmuratova, has been leading the ballet company of "Astana Opera." The dancers have repeatedly expressed their gratitude for the opportunity to work under her guidance. Indeed, the theater’s repertoire continues to grow, featuring world-class classical, contemporary, and national productions, while the company’s artists frequently receive invitations to perform on international stages.
- When you received an invitation from Astana Opera, you wanted to turn the theater into a "jewel box" that gathers all the precious gems – the best productions of the world’s classical and contemporary repertoire. How is this work progressing now?
- It’s a gradual process. Indeed, we take great care in curating our repertoire, selecting the finest productions created over the 300-year history of ballet. That’s why every year, we enrich our repertoire with both classical and contemporary performances.
- Is the capital’s audience discerning? How do you manage to surprise a public that has seen world premieres and performances by regional creative ensembles?
- The world of ballet is a unique realm. Even while being here, we stay informed about global ballet developments and emerging trends. At the same time, we take into account the specific preferences of the local audience. Every country has its own cultural nuances, and what resonates in the West may not always be perceived the same way here. This is part of the audience’s artistic maturation, their journey of discovery and preparation for different productions. We strive to diversify our repertoire to appeal to various audiences, including children, as they represent our future viewers. That’s why our collection continues to expand with classical, contemporary, children's, and national performances—productions that remain accessible even to those less familiar with ballet. As for national productions, we approach them with particular sensitivity. There is always a deep, personal connection to one’s own cultural heritage. That’s why we handle this aspect with great reverence and aim to develop it further, ensuring that new ballets meet contemporary artistic standards.
- We often see our artists conquering international stages. How is collaboration with foreign choreographers established?
- We are eager to promote our artists and are grateful to those who invite us. They are already familiar with our company. Recently, Bakhtiyar Adamzhan performed in a premiere at the Rome Opera House. We owe thanks to Luigi Bonino, who once staged Roland Petit’s productions at our theater. He knows our artists well, as well as the level of our troupe. However, for more invitations to come our way, we likely need greater recognition worldwide.
- How are our artists received abroad?
- Based on past tours, I can say that before the pandemic, up until 2019, we had the opportunity to perform in different countries, and the feedback was very positive. This is incredibly gratifying for us. And it’s something we need—to be more widely recognized, for our artists to be known internationally. We are open to collaboration, eager to grow, and actively invite renowned Western choreographers and teachers to conduct masterclasses, which is essential for the development of our ballet company.
- When you accepted the invitation to work at Astana Opera, did you see the potential of Kazakh ballet at the time?
- Everything happened very quickly. When I was invited here, my journey of getting to know the ballet company and its capabilities began from that point. That’s how I immersed myself in the work. My first impression was positive—the troupe was young, but the potential and opportunities were evident. The most important thing I felt was the dancers’ eagerness to work, grow, and learn. And that is what truly matters.
- How would you assess the current level of Kazakh ballet?
- Today, Kazakhstan has two ballet schools. The first is the renowned A.V. Seleznev Almaty Choreographic School, which has its own history and established reputation. The second is the young Kazakh National Academy of Choreography, which celebrates its fifth anniversary this year. We are just beginning, but we are making every effort to meet the status of the best school in Kazakhstan and beyond. To achieve this, we have assembled a strong team of teachers, as they form the foundation of any school. Without a doubt, we have unique conditions and an outstanding academy that we can be proud of. When guests visit, we always showcase special landmarks in the capital—naturally, the Astana Opera theater and the Kazakh National Academy of Choreography, which currently offers some of the best facilities available.
- Can you tell us about the potential of the Kazakh National Academy of Choreography? Do students have opportunities for internships and international experience?
- Absolutely. We offer internships and receive invitations from different countries. We have signed memorandums with many Russian and Western academies, ensuring a continuous exchange of experience at various levels. Our academy not only trains ballet dancers but also provides higher professional education in different fields. Communication and collaboration are key because only through interaction can schools and theaters truly develop.
- What is Astana Opera’s repertoire policy, and what upcoming productions will surprise audiences?
- The repertoire policy is a tool that allows the theater’s management to balance the interests of the creative team, the audience, and the economic aspect, all of which must be considered. As I mentioned earlier, we must cater to diverse audiences: theater enthusiasts, connoisseurs, newcomers, teenagers, and children. Of course, we also focus on productions with national themes.
From a creative perspective, the repertoire is equally important. The more diverse and high-quality our productions are, the more our artists will grow, gaining experience by learning new movement styles and developing both technically and mentally.
From an economic standpoint, the more commercially successful productions we have, the more revenue the theater generates.
- Drawing on international experience, we see that art is often supported by patrons—people who love the theater and its artists and are willing to invest in the arts. How do you think we can attract more patrons?
- Historically, this has always been the case. In principle, art has never been a commercial enterprise; people invested in it because its true value lies in its ability to enrich the soul. We bring culture to the masses and enhance the intellectual level of our audience. If we look at history, there have always been patrons who supported ballet—not just by providing financial assistance, but because they genuinely loved and understood the necessity of art. A more cultured nation is a more developed nation, and such a nation has a promising future. That’s why we need individuals who will not only support the arts financially but also appreciate and cherish them. Kazakhstan must promote itself not only in the technical and economic spheres but also in the cultural realm. We are working hard to establish our theater as a high-culture institution with great potential.
- How important are touring performances for the ballet company and the theater as a whole?
- It is, of course, crucial to cultivate a strong local audience. However, it is equally important to gain recognition on the global stage. To achieve international acclaim, we must be known worldwide, and that means showcasing our talents on foreign stages. Touring is essential for the theater and for the artists themselves—it serves as a motivation to reach higher levels of excellence.
Moreover, it fosters a profound sense of patriotism. When we travel abroad, our dancers develop a stronger connection to their homeland. Ballet is a career that begins in childhood and typically concludes at a young age. The average professional lifespan of a dancer is around 20–25 years, during which they must reach their full potential. That’s simply the nature of the profession. Naturally, audiences would not be interested in seeing a 60-year-old portraying a swan or a young girl on stage.
During these years, ballet artists dedicate an immense amount of energy to their craft—it is a physically demanding profession that requires extreme discipline, commitment, and hard work. They have little free time; their lives revolve around the theater. Mornings begin with classical training, followed by rehearsals, performances, and then another day of the same routine. They see very little outside the theater.
That’s why it is so important to broaden their horizons—to allow them to see the world and experience different cultures. This not only enriches them as artists but also gives them stories and experiences to share with their children. Many dancers do not have the means to travel independently, so touring provides a rare and invaluable opportunity for both personal and professional growth.
- People do not enter the world of art by force. Have you been able to recognize those among the younger generation who will carry on this craft at a high level?
- It’s a complex process. When children first enter ballet school at the age of nine or ten, it’s impossible to immediately determine who will become a great artist. Many factors come into play. The first thing we assess is their physical capabilities—whether they have the potential to master the demanding profession of a ballet dancer. Unfortunately, desire alone does not always guarantee success. Certain physical attributes are necessary to perform specific movements, such as flexible ligaments and strong joints.
Beyond physicality, other qualities matter just as much—appearance, artistry, musicality, and most importantly, dedication. Hard work, endurance, and discipline are crucial. A child may have excellent physical attributes but lack motivation. Another may be diligent but lack the required physique. And then there are those who, despite not having the best natural abilities, succeed through sheer determination and perseverance.
Some dancers absorb information quickly and continue refining their craft. A 90-minute rehearsal doesn’t mean their preparation ends there. Even at home, dedicated artists analyze details and practice independently. All of these factors contribute to success. Our job is to identify and nurture talent, helping each individual unlock their full potential.
- To conclude our conversation, could you share some valuable advice for young artists?
- Love what you do. Love it sincerely and selflessly, because ballet is not a career where you will earn a fortune. What you gain instead is something far more valuable—something that cannot be bought. If you truly love your art, if you love giving yourself to the audience and bringing them joy, then the applause you receive at the end of a performance will be worth more than any amount of money.
I’m not saying that artists shouldn’t be paid—they absolutely should. But what I mean is that the ultimate goal should not be material. All artists—whether painters, musicians, or dancers—don’t think about money when they create. Their work comes from the heart, from the soul. Without this passion, it is impossible to be a true artist. When you feel the urge to express yourself, to share your emotions with the audience—that is what defines an artist.
To young performers, I would also say: never stop pushing forward, because there is no limit to perfection. We cannot afford to stagnate. The moment you stop growing, you stop being an artist. Every day must be dedicated to self-improvement and to loving your craft. There is no greater happiness than truly loving what you do. And what could be better than feeling that your work resonates with others?
- Altinai Abduakhimovna, thank you for this conversation!
