04.10.2023, 14:47 65821

Air Spirits Enchanted the Capital’s Audience

Images | astanaopera.kz

The premiere of Løvenskiold’s ballet La Sylphide at the Astana Opera was a resounding success. The production became a return of sorts to the era of old-style ballet, which for two centuries preserved its unique history and the spirit of romantic aesthetics. For four evenings - September 29, 30, October 1 and 3, a magnificent and mesmerizing story unfolded onstage, Astana Opera press office reports.

The artistic director of the Astana Opera Ballet Company, world ballet star Altynai Asylmuratova staged the production. The premiere attracted about four thousand viewers, who had an opportunity to see different lineups of performers.

The plot of the ballet was based on a Scottish legend about forest spirits, known as sylphs, who led away and killed young men. In 1832, French choreographer Filippo Taglioni staged this ballet for his daughter Maria to demonstrate her exceptional dancing skills. Although Maria did not have a particularly alluring appearance, she was a magnificent dancer, and her choreographer father turned her disadvantages into advantages. Thanks to her technique and charisma, she transformed the Sylph into an airy, ethereal creature, and created a portrayal that inspired many generations of dancers.

Another remarkable aspect of La Sylphide is that it became the first ballet where the dance pattern of the corps de ballet in some fragments completely repeated the ballerina’s steps. This mirror aspect placed additional emphasis on the soloist’s dance and enhanced the viewing experience of her performance.

For Madina Unerbayeva, the part of the Sylph was not new. The principal dancer portrayed the air maiden at various Kazakh opera houses. At the Astana Opera, she once again amazed the audience with her technique. Her movements were so perfect that they created the feeling that she was really floating in the air. Madina’s dancing and acting skills firmly established her among the impeccable Kazakh primas. However, the three other soloists, Shugyla Adepkhan, Anastasia Zaklinskaya and Sofia Adilkhanova, took the stage as the Sylph for the first time. Their interpretations turned out emotionally inspired, and every glace, every movement was exact and beautifully precise. The performers flawlessly followed the choreographic pattern that was filled with many different technical nuances. The dancers emphasized the main thing: the idea of airy lightness.

At all times, James’ part was considered very difficult. Here the dancers have to demonstrate endurance, because they do not leave the stage for almost the entire first act. Thanks to such outstanding dancers as Rudolf Nureyev, this role left an unforgettable mark on the history of ballet. After his virtuoso performance, this part became one of the most beloved for many dancers in the world. The Astana Opera’s soloists did an excellent job with their task, showing not only excellent performance technique, but also conveying a multifaceted palette of feelings and emotions of their character. Thus, principal dancer Yerkin Rakhmatullayev, soloists Serik Nakyspekov, Dias Kurmangazy and Daniyar Zhumatayev made the audience feel the complexity of the situation: the hero’s confusion before choosing between earthly and phantom relationships. Their flying leaps, fine foot technique, and ability to hold the body frame correctly spoke of the soloists’ high professionalism.

And, of course, the witch Madge performed by soloist Sultanbek Gumar and ballet dancers Kuat Karibayev, Sunggat Kydyrbai added magic and enchantment to the performance.

Without any doubt, the dancers were able to convey a deep storyline, which, incidentally, was the focus of the entire performance. The audience was not distracted by set design, because the designer Vyacheslav Okunev decided not to turn to modern video and 3D solutions, but to the historical design of the production using painted canvas sets that rendered nature views of Scotland and hard scenery that showed the house of the peasant Anna in order to preserve the olden times atmosphere. Thanks to lighting designer Sergai Shevchenko, lighting effects complimented the overall perception of the ballet, emphasizing the mysterious and fantastic nature of the whole story.

The magnificent performance of the Astana Opera Symphony Orchestra should not be left unmentioned. It was rich, expressive and accurately conveyed the mood of each scene. Under the baton of the music director and conductor of the production Arman Urazgaliyev, the musicians created an incredible atmosphere, conveying the beauty and subtle nuances of the score.

The Astana Opera’s production was not just a recreation of La Sylphide, but also a journey into the history of ballet. It was an opportunity to see an incredible Scottish legend come to life on the modern stage through the talent of the dancers, musicians and the production team. The premiere that took place under the auspices of the Ministry of Culture and Information of the Republic of Kazakhstan was a resounding success. The production not only lived up to expectations, but also gave the audience magical emotions that will live on in their hearts for a long time.

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Air Spirits Enchanted the Capital’s Audience

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