L’Italiana in Algeri Staged for the First Time in Kazakhstan
The production will be an exam of sorts for the opera academy attendees, who have been studying the intricacies of vocal skills from the best teachers from all over the world for two years. The stage director of the production, Yerenbak Toikenov, offered his vision of the well-known classic, modernizing the plot. The only thing that has remained unchanged in the production is the brilliant composer’s timeless music.
As the music director and conductor of the production Ruslan Baimurzin notes, preparations for the opera are in full swing.
«Rossini’s monumental opera is a test for every professional vocalist, and even more so for our academicians. Rossini’s style requires very fine quick-moving technique, impeccable pronunciation and understanding of the Italian text, as well as high acting skills. Our young talented vocalists have all the qualities to interpret this score,» the Maestro emphasizes.
Ala Simonishvili, a specialist in vocal and musical training of performers, also emphasized the complexity of the work.
«Rossini’s operas have a distinct and rather unique style, which came into existence based on the Classical Baroque and Romantic styles. To perform Rossini well, one needs to know both Baroque, Classical and Romantic music, must have a fairly wide range of vocal abilities and, of course, virtuoso singing,» the teacher says. «This music is very difficult to perform, while the audience is not even aware of the difficulties that the singer experienced during the preparation of the part. This is all its charm. When difficulties are not heard, this is true artistry.»
According to Ala Simonishvili, Gioachino Rossini’s musical heritage did not receive the recognition it deserves for many years after his death
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«He was considered a minor composer for a long time and was appreciated only with the opening of the Rossini Opera Festival in Pesaro (Italy) more than 40 years ago. I am very happy for the academy soloists, who are in the process of preparation, and I think that they will successfully perform this both complex and interesting opera,» the teacher reflects. «Last year I enjoyed working with the academy attendees on Mozart’s Don Giovanni. They are excellent singers and will grow into even better ones. Over the years of study, they had an opportunity to do tremendous work. All this was for their benefit, as the singers study in the classroom, but grow onstage. One stage appearance gives them as much as half a year of classes. I see that the young vocalists have grown up and become more responsible in relation to the text and their classes. I think that in the future they will have successful vocal careers.»
On June 29, the Italian singer Laura Verrecchia will perform the main female part of Isabella. On June 30, Elmira Shpekpayeva will portray this character. Also, the opera house’s soloists Aizada Kaponova and Tatiana Vitsinskaya, as well as vocalist Narul Toikenov and academy attendees Guldana Aldadossova, Aigerim Amanzholova, Yerzhan Saipov, Shyngys Rassylkhan, Zhandarbek Yerkinbayev, Alikhan Zeinolla, Azat Malik, Dinmukhamed Koshkinbayev are preparing to present their parts.
«Before starting the musical material, I got acquainted with the libretto of the opera, made an interlinear translation in order to accurately convey the meaning of each word,» Elmira Shpekpayeva, the Astana Opera Academy attendee, says. «The next step was a long-term joint work with concertmaster Dina Mirmanova and vocal coach Zhupar Gabdullina. With them we worked on nuances, vocal technique and character interpretation.»
As Elmira Shpekpayeva notes, Isabella is a freedom-loving, independent, fearless and intelligent woman, for whom there are no hopeless situations. She eliminates any obstacle in her path with ease, brilliantly and wittily. Her heroine is very attractive and capable of seducing any man, which is exactly what happens in the opera L’Italiana in Algeri.
«I am grateful to the academy’s general management, teachers, accompanists, for the chance to improve in vocal art, given to young performers. During the two years of study, I gained vast experience, grew in vocal and technical terms, performed the parts of Zerlina in Mozart’s Don Giovanni, Olga in Tchaikovsky’s Eugene Onegin, Berta in Rossini’s Il Barbiere di Siviglia.
Zhandarbek Yerkinbayev, performer of the main male part, also speaks about the opportunities provided by the Astana Opera International Opera Academy to up-and-coming performers during the years of study.
«Two years at the academy became an invaluable experience for us and a great time when we could learn from the best Kazakh and world teachers, perform masterpieces of world classical music on the main stage of the country,» the singer shares. «The opera L’Italiana in Algeri is one of Rossini’s best works. I am very glad that this opera is staged at the Astana Opera and I have the honor to perform the part of Mustafà.»
An important component of the production is the costumes, thanks to which the viewers understand that the action of the performance takes place in our days. Costume designer Manana Gunia emphasizes that the characters are very close in spirit and mentality to the modern audience.
«The genius of Rossini is an inexhaustible source of inspiration for any theatrical designer, and L’Italiana in Algeri in particular. The opera exposes human weaknesses, jokes about stereotypes, emphasizes the incorrectness of thinking with standard clichés, the contrast between Western and Eastern cultures, and gives ground for reflection for production team members and viewers,» the designer said. «It is the contrast of cultures that is the basis of the visual concept of our production. In costumes, I tried to convey not only the personalities and social status of our heroes, but also the development of their state of mind.»
The designer says that the costumes are not of an ethnographic nature.
«In particular, I want to note the costumes of the main heroine, who has several onstage costume changes, transforming from a business lady to a high society beauty and even an aggressive Mistress. Having costume changes right onstage gives dynamics and playfulness to the entire production,» Manana Gunia says. «The choir plays an important role in creating the visual imagery of the performance. I strived to bring its participants closer to the modern mentality, so I transformed eunuchs into guards, slaves into tourists, and pappataci into strippers. I think all this will add zest and modernity to our production and will be interesting to the viewers.»
The lighting designer Karim Ramash, video projections designer Azamat Kuttyguzhin, technical director of the project Victor Carare and the opera company director Azamat Zheltyrguzov also worked on the production.
It should be especially noted that the premiere of the opera L’Italiana in Algeri, as well as the Operaliya International Festival are held under the auspices of the Ministry of Culture and Sports of the Republic of Kazakhstan. Its program will also feature operas: Verdi’s Aida, Puccini’s Turandot, as well as concerts, like Serpin of the Folk Music Ensemble of the Presidential Orchestra of the Republic of Kazakhstan, as well as concerts of violin and symphonic music.
