WELCOME TO KAZAKHSTAN

On November 14, on the stage of the Alisher Navoi State Academic Bolshoi Theatre in Tashkent, the Abay Kazakh National Opera and Ballet Theatre presented a large-scale production by Khamit Shangaliyev, directed by Davide Livermore — one of the most prominent figures in contemporary European opera.This work transports the audience into the world of the Golden Horde — a space where the destinies of rulers intertwine with the voices of the steppe, where power becomes a trial, and traditions enter into a tense dialogue with change. Through powerful music, striking visual direction, and a deeply layered dramaturgical concept, the opera reveals the story of a woman whose strength and wisdom became a driving force of her era.The premiere was attended by the Minister of Culture and Information of Kazakhstan Aida Balayeva, as well as the heads of cultural institutions of Central Asian countries and the Minister of Culture of Azerbaijan, further underscoring the scale and international significance of the event.Speaking with Qazaq Culture, Aynur Kopbasarova, Director of the Abay Kazakh National Opera and Ballet Theatre, noted that the production has become one of the most notable cultural initiatives strengthening humanitarian ties among Central Asian countries.She shared how the idea for the project was born, why the story of Khan Sultan remains relevant today, and how an international team managed to create a multilayered artistic space in which the past comes alive before modern audiences.How did the idea to create an opera about Khan Sultan — a woman who became a symbol of strength, intellect, and power during the Golden Horde era — first emerge?- In recent years, much has been said in Kazakhstan about the role of women in society. But if we look deeper, it's clear that women have always been at the center of our people's life. She is the guardian of the family line, a symbol of resilience, a bridge between generations. When it comes to great men, we have chronicles, documents, archives. Female figures, however, often dissolve somewhere between myths and societal expectations, as if the pinnacle of a woman's destiny is to be flawless. I wanted to show a different woman — alive, sensitive, complex, and at the same time incredibly strong.I discovered Khan Sultan while studying the history of the Genghisids, particularly the lineage of Jochi Khan. Immersing myself in chronicles and consulting historians revealed an extraordinary image: a woman who went from being a noble hostage to Jochi’s wife and ally, and later a regent for her sons. In her, strength and vulnerability, fragility and power intertwine in remarkable ways.I already envisioned the stage scenes: the light, the costumes, the musical accents. The project lived in me as a producer’s vision. Once the idea was approved, the most inspiring stage began — finding like-minded collaborators. This is how dramatist Almas Nusip, director Davide Livermore, composer Khamit Shangaliyev, librettist Maraltai Ybyrayev, scenographer Eleonora Peronetti, and costume designer Aynur Yerimbetova joined the project. Historical accuracy was overseen by leading Golden Horde scholars — Professor Nurlan Atygayev, historian Ilnur Mirgaliyev, and Professor Ilyas Kemaloglu. In the end, more than 300 people rehearsed under the guidance of the assistant director, and Livermore’s arrival a month before the premiere became the final breakthrough.Your idea connects history with contemporary art. How did you find a balance between reconstructing the past and artistic interpretation?- Our goal was not simply to bring past events to the stage, but to revive them so they resonate with the modern viewer. History is not a museum display — it is a living organism that demands understanding, emotion, dialogue.We created a production in which every chord, every visual image, every movement reveals the multilayered nature of the era. Yes, we rely on historical facts, but at the same time we ask questions that have no simple answers.What can Khan Sultan tell us today? What wisdom does she bring to the people of the 21st century? What mistakes of the past should we recognize to avoid repeating them?The line between reconstruction and artistic vision lies where the viewer begins to seek personal meaning. At that point, it is no longer just history — it becomes an experience born here and now. At the heart of the opera is the fate of a woman standing at the origins of a great empire.Is it fair to say that this production is about feminine strength, motherhood, and responsibility for the future?- Absolutely. Khan Sultan is not only about power and politics. It is the story of a woman who managed to preserve her home, withstand extraordinary hardships, and rise to become one of the most influential figures of her time. She is a mother, a wife, a leader — a woman whose decisions shaped the destinies of nations.The opera raises important questions:What is the strength of a woman in history?Why is her contribution so often overshadowed?How does the world change when power is held by a woman who thinks not only in political terms, but in terms of motherhood, care, and the future?We wanted to present feminine strength not as an opposition to masculine strength, but as an independent, profound, creative force.The production blends elements of Kazakh and Uzbek cultures. How do you see this cultural bridge?- This is one of the core meanings of the project. The Golden Horde was originally a space where the cultures of many peoples were intertwined. Kazakhstan and Uzbekistan are historically connected by shared heritage, mental codes, spiritual traditions. Our opera reflects this connection through music, movement, costumes, and symbols. We wanted to show that culture is not a boundary, but a bridge — and today, this bridge is especially important.The symbolism of the karagach tree and the eagle plays an important role in the production’s visual language. How do you interpret it?- The karagach symbolizes roots — Jochi's connection to his ancestors, the continuity of the lineage, the spiritual heritage that lives on in descendants. The eagle represents height, freedom, and movement forward. Together, they form an image of stability and inner strength that prevents a person from dissolving in time. It is a symbol not only of the past, but of a spirit oriented toward the future.The project brought together outstanding composers, dramatists, scholars, and a world-class director. What was the greatest challenge — convincing, inspiring, or preserving the integrity of the idea?- The most difficult part was synchronizing different creative worlds. When a team of such vibrant individuals gathers, each brings their own artistic vision. The challenge is to find the point where these visions converge into a unified direction.But that is the essence of creativity — dialogue, exploration, mutual respect. We managed to create a space where each master revealed their talents without compromising the integrity of the concept.What impressed you most about working with Davide Livermore?- When Livermore entered the hall, the atmosphere changed instantly. He is not just a director — he is a mentor, an artist, a psychologist. He sees each performer as a unique personality, unlocks their individuality, and works not only with the voice and movement but also with the inner state. With him, the troupe began to breathe differently: deeper, freer, bolder.Which scene in the opera is the most emotional for you?- There is one scene that always makes my heart tremble. It is the moment when Khan Sultan sends her son to Batu. She is a mother, a ruler, a woman who knows that this step will change the fate of her child and the entire dynasty.In the second act, the widowed Khan Sultan appears in majestic attire, endures the struggle for power, and seeks guidance from the spirit of Genghis Khan. Her son Berke matures, wins victory, and returns to her at the very moment when her earthly journey ends and her spirit reunites with Jochi. This scene contains everything — tragedy, grandeur, pain, love, responsibility, and the fate of a state.What would you like to say to the audience before the performance begins?- I would say: ‘Today you will witness the story of a woman whose tenderness, strength, and wisdom left a mark on history. May her path remind us of the profound role of women in culture, society, and the destinies of nations. May this production inspire you and help you notice those women whose names often remain unseen, yet whose energy and love pave the way for future generations.