The Call of the Steppe: Past Greatness and Illustrious Present
If we could choose exactly three words to describe this ballet, we can safely say that it is spectacular, large-scale and mesmerizing. Before the premiere, the opera house ambitiously announced that The Call of the Steppe would become Astana Opera’s hallmark. These were not empty words. The ballet not only tells about the history and traditions of the Kazakh people, it talks about universal values, gives an opportunity to think about the meaning of life, motivates to realize a dream. This makes it not only relatable for everyone anywhere in the world, but also absolutely unique due to the original music and national zest.
The author of the libretto Bakhyt Kairbekov harmoniously shifts the events taking place in the ballet from historical to modern ones. Through the prism of the heroes’ fate, the audience can see the past, present and future of Kazakhstan. The Great Steppe lives by its own customs. Ancestors are honoured and respected here. In turn, they give strength to the young generation to go forward. On the threshold of the celebration of Independence Day, the plot of the ballet was also perceived with a share of patriotism, especially in the second act. The city growing before the audience’s eyes – a steppe giant – with stunning architecture, its own soul, impressed everyone in the hall.
The choreography in this ballet was very interesting. It is amazing how the choreographer Patrick de Bana managed to find a fine line and uncover the soul of the Kazakh people through the modern language of dance with elements of traditional national movements. This made the performance look relevant and beautiful at the same time. The dance compositions include duet episodes of the Son/The Master and Muse, Father and Mother, as well as the heroines’ solo variations and sensual adagios.
A huge pressure in this production fell on the corps de ballet: the geometry of the ballet lines was created clear and precise and it is very difficult to imagine what a herculean task was behind this impeccable synchronicity. The architects’ dance preformed by the male corps de ballet deserves special attention. Stylish black briefcases gave it a distinct urban flair. In the same part of the performance, the viewers could see the main development of the events: the confrontation between two heroes – the Son/The Master and his ill-wisher – the Man in Black (Bekzat Orynbayev). Figuratively speaking, the forces of good and evil meet here. It is worth noting that different, but equal in performing skills, casts danced on two premiere days. Incidentally, the choreographer selected a young cast of dancers, which added certain energy to the ballet: men demonstrated power and charisma, women – tenderness, fluidity, spirituality.
Throughout the ballet, the performers of the Son/The Master’s part – Galymzhan Nurmukhamet and Daler Zaparov – gradually brought their character portrayals to light. The dancers were able to convey the unfaltering character of their hero. Daler Zaparov has great musicality. It was evident from everything that he knows how to listen to and interpret music. The opera house’s prima ballerina Aigerim Beketayeva created the perfect portrayal of the Muse. Her long harmonic arms, beautifully proportioned body allowed her to make the part poignant and touching.
Anastasia Zaklinskaya’s muse turned out to be charming. The soloist managed to present her heroine in a talented and organic way. Adelina Tulepova and Assel Kenzhebekova performed the Mother’s role on different days. The most difficult part for them was to show the transformation of the heroine from a suffering woman who has no children, into a happy mother who received a gift from heaven – the Son. Both of them handled this task perfectly. Zhanibek Akhmediyev and Olzhas Tarlanov performed the role of Father. In addition to the fact that the dancers demonstrated excellent performing skills, they also presented themselves brilliantly in terms of acting. The part of the Shaman is one of the main ones in this ballet.
Sultanbek Gumar’s plastique and incredible flexibility in this role, perhaps, can only be envied. Serik Nakyspekov also presented it quite distinctively.
Contemporary ballet art lives largely on the powerful impulse of talented choreographers, librettists, theatrical designers, conductors and performers. In the case of The Call of the Steppe premiere performance, we can say that all the stars have come together here. It is known that the practice of revival has touched every area in culture and art fields, because there is a shortage of original creative works. However, this ballet can rightfully be considered an exclusive product. This applies to music, choreography, and design.
The musical basis of the ballet is rather original. The composer and arranger Carlos Pino-Quintana has created a compilation of a sound picture, built from his own music, as well as the music by Kazakh authors. The heroes’ portrayals were conveyed through the vivid and distinctive music of the famous composers Kuat Shildebayev, Renat Gaisin, Tolegen Mombekov and the unique compositions of the folklore and ethnographic ensembles Turan, Hassak, Steppe Sons. The dance merged so harmoniously with this amazing music, the dancers’ actions onstage seemed to be driven by melodies familiar to many.
In terms of the design of the production, the minimalist aesthetic remained constant, with the aim of making the ballet itself the protagonist.
Set designer Ricardo Sánchez Cuerda captured the national style. He was inspired by the vastness of the Kazakh steppe and designed the sets in the first act realistically with snow-covered images of nature, a mausoleum. In the second act, the stage looked relatively futuristic. The new steppe city growing out of the skies certainly became an interesting find of the set designer. His colleague, costume designer Stephanie Bäeuerle, created associative costumes for animal heroes and a shaman, original costumes for girls who personified blank sheets of paper in the scene where sketches for the city were created. She also designed rather singular national costumes.
It is obvious that a real celebration of high art took place at Astana Opera. It is clear that in many respects such events during the period of Independence are due to the attention given to art by the state, the Ministry of Culture and Sports of the Republic of Kazakhstan.