Residents and guests of the capital are invited on February 20 and 21 to the Grand Hall of Astana Opera, where one of the most large-scale and spectacular works of the world opera repertoire — Giacomo Puccini’s Turandot — will be presented.
This is the last opera of the outstanding Italian composer Giacomo Puccini. Among his other works, the composer especially valued this one. The libretto is based on a poem by the 12th-century classic of Azerbaijani poetry Nizami, which was included in 18th-century European collections of Oriental tales and later adapted by the Italian playwright Carlo Gozzi. The work combines grand symphonic scope, Eastern exoticism, and profound psychological drama.
The world premiere took place after the composer’s death, on April 25, 1926, in Milan. At Astana Opera, it was first staged in 2018. The production, created through the collaboration of conductor Alan Buribayev and stage director Davide Livermore, highlights the philosophical depth of the work and explores eternal themes such as power and fear, cruelty and mercy, and true love capable of transforming a person. The set design was created by Sofya Tasmagambetova and Pavel Dragunov.
Leading soloists of the opera company will perform during the show dates. The role of Turandot will be performed by Bibigul Zhanuzak and Zhubar Gabdullina. Calaf will be portrayed by Medet Chotabayev and Sayan Isin. Liu will be performed by Madina Islamova and Elena Ganzha (debut). Altoum will be sung by Talgat Allabirinov, Timur by Sargis Bazhbeuk-Melikyan and Bolat Yesimkhanov. Ping — Rasul Zharmagambetov and Erzhan Saipov; Pang — Artur Gabdiev; Pong — Beimbet Tanarykov and Ramzat Balakishiyev; Mandarin — Shyngys Rasylkhan and Dinmukhamed Koshkinbayev. The symphony orchestra will be conducted by Italian maestro Giuseppe Acquaviva.
Ahead of her long-awaited debut, soloist Elena Ganzha spoke about preparing the role of the slave Liu — one of the most important roles in the soprano repertoire. She emphasized the vocal difficulty of the part, requiring impeccable technique, beautiful cantilena, legato, sustained breath, and deep emotional involvement.
“It is not enough to sing well; you must live through the role and convey all the heroine’s emotions. The main challenge is to show sincere, pure, unrequited, and all-consuming love,” the singer explains.
She prepared the role four years ago but notes that her perception has evolved over time: “There is no limit to perfection. We grow, our voices change, life experience deepens, and we begin to see new colors in familiar music. You constantly rethink the role.”
According to her, Liu is the most human character in this fairy-tale, mythical opera. Preparation includes emotional immersion and technical endurance work. She studies various productions on YouTube to understand the heroine from different perspectives.
Smiling, she admits: “I am not meek; I am more strong-willed. But perhaps Liu lives somewhere within me as well. To sacrifice oneself for a loved one is not weakness — it is immense courage.”
In the context of the opera, it is Liu’s sacrifice that allows Turandot to awaken and discover love. Without this act of self-sacrifice, the finale would not be possible.
The opera captivates audiences with its scale, fairy-tale сюжет, luxurious sets, and magnificent music. Although Liu’s story is tragic, the opera ends with a happy finale.
Performance times:
February 20 at 7:00 PM
February 21 at 5:00 PM
