Opera in Kazakhstan: New Creative Works on the Musical Stage
It is known that interest in the musical art of Kazakhstan is growing unusually, artistic life is getting intensified in the Republic: festivals, art competitions of international significance are held, the achievements of Kazakhstani performers are recognized at the world level, numerous projects and programs that contribute to improving spiritual-educational and intellectual-cultural level of society, are being implemented. All these years, the program deliveries of the Country Development Strategy along with the political and economic ones, set the cultural heritage preserving tasks, create conditions for the formation of the present and future national culture, spiritual revival as a fundamental platform for the development and self-identification of the nation [1].
The opera in Kazakhstan at the present stage is experiencing a kind of crisis associated with the lack of works reflecting the historical picture of the past and successfully introduced into the audience's everyday life. The "Abylai Khan" opera by E.Rakhmadiev was the last opera work staged in the theatres of Kazakhstan. The need for innovative steps will give an impetus to a less actively developing area that can influence the integration of Kazakhstan into the world community.
The "Appak" opera by famous local composers, representatives of the middle-age and young generation Serikzhan Abdinurov and Alibi Abdinurov was the result of a fruitful symbiosis in the embodiment of the idea of the outstanding contemporary composer E.R.Rakhmadiev who repeatedly proposed to Serikzhan Abdinurov to write an opera based on the historical drama by G.Musrepov "Kipchak Kyzy - Appak" ("Appak, Kipchak’s daughter"). Erkegali Rakhmadievich that time did not succeed in realizing this idea due to his heaby schedule - we all know that he was a responsible person and fulfilled the duties of the Rector, then the Minister... Serikzhan Abdinurov himself on this occasion shared the following thoughts: “In 2010, the great composer E.Rakhmadiev, as a directive, as a mandate, assigned to me the idea of creating this work. Referring to his busyness, he offered me to fulfill this mission, believing in my strength and capabilities. He repeated more than once that I have enough talent and diligence and professionalism. It was a kind of exam, a worthy test, at the same time an interesting, exciting creative process. During 10 years, Alibi and I have been writing an opera based on the plot of G.Musrepov's historical drama "Kipchak Kyzy - Appak" ("Appak, Kipchak’s Daughter"). This hard work has finally been rewarded with a final result which, I hope, will be appreciated by professionals and connoisseurs of opera” [2].
The libretto was written by a member of the Union of Composers and Writers, Tleugazy Beysembek. In the process of creating this, Honored Workers of the Republic of Kazakhstan K.Omarov, D.Tlenshieva, A.Zhyltyrkozov, D.Khamzina, opera directors, theater veterans contributed their knowledge and experience as consultants.
The dramaturgy of the opera is an action consisting of 3 acts, 5 scenes. Duration is 1 hour, 50 minutes. Composers S.Abdinurov and A.Abdinurov referred to the work of the outstanding writer G.Musrepov - the historical drama "Appak, Kipchak’s daughter", written in verse in 1984. The content is based on the historical plot of the 12th century, which tells about a girl named Appak of the Kipchak clan, who was captured by the Akim of Derbent and presented to Nizami Genzhaui, the courtier poet. She became the Muse of the Great Nizami, the author of the outstanding lyric epics "Five Stars of the East", "Laili-Majnun", "Khamsa", "Khasrov-Shyryn", she was praised in the introduction to these masterpieces. The Great Abai also grew up on these famous poems.
The plot of this play is based on the meeting of the great Azerbaijani poet who went down in the history of world literature under Nizami name and the 17-year-old Kipchak girl Appak. From historical sources it is known that in the course of one of the wars, Appak was captured by the Persians, fell as a slave in the Sultan's harem and showed desperate courage in the struggle for her human dignity, after which she was presented by the Sultan to the then already well-known 30-year-old poet. Nizami and Appak deeply fell in love with each other and the Kipchak girl-captive became a faithful and devoted wife of the Great Nizami.
"Appak" is the first opera by S.Abdinurov and the appeal to this genre is a truly important event for the Kazakh musical stage genre. The choice of the historical context testifies to the necessity and importance of the appearance of such works in modern society, and the appeal of composers to the presented genre is justified by the revival and necessary promotion of the spiritual and cultural heritage of the Turkic area [3-4].
Famous composer, Minister of Culture and Sports of the Republic of Kazakhstan A.R.Raiymkulova, by supporting her colleague, expressed the initiative, proposing to the Arts Council of the Ministry to assess the new opera work. The work was especially appreciated due to the high-level professionalism of these composers and the popularity of their work in the domestic composer and audience environment is undeniable.
This opera work was highly appreciated within the walls of Kurmangazy Kazakh National Conservatory (Republic of Kazakhstan, Almaty). The Council meeting was held on November 12, 20 with the participation of Vice-Rector for Scientific and Creative and International Affairs of Kurmangazy KNC, G.Z.Begembetova; Vice-Rector for Academic and Methodical Work, G.B.Abdirakhman; Dean of the Faculty of Musicology, Art Management and Social and Humanitarian Disciplines, G.Zh.Musagulova; Dean of the Vocal, Conducting and Music Education Faculty, A.S.Nusupova; Head Department of Conducting, Professor (HAC), People's Artist of the Republic of Kazakhstan, B.A.Zhamanbaev; Associate Professor of the Department of Conducting, L.I.Yasonova; members of the Department of Musicology and Composition - Honored Worker of the Republic of Kazakhstan, Professor B.A.Daldenbai, Associate Professor, E.K.Umirov; Professor, Candidate of Pedagogical Sciences T.U.Ospanova, Senior Teacher, Master of Art Sciences Zh.Zh.Tulkubaeva.
The members of the commission expressed a desire to hold an audition-concert of individual opera scenes (vocal, choral, instrumental) as was customary in the traditional practice of Arts Councils.
In general, having positively assessed the presented opera by S.Abdinurov and A.Abdinurov, the highly competent commission noted the enormous work and creative approach of the authors to the creation of a historical opera canvas.
Well-known performers and musicologists of the Republic have noted many positive aspects of the creation. In particular, the vocal parts which were successful numbers of the opera, distinguished by their thoroughness, accuracy in terms of the use of tessitura, register, range, thoughtfulness in the use of keys and pitch position. According to their competent opinion, almost all vocal forms are represented - arias, arioso, cavatina, song, vocalise, duets, trio, quartet and chorus. In terms of orchestration, one can feel composers’ good command of the timbre coloring and tessitura. The organics of the opera's orchestral episodes should be emphasized, in particular, the dance numbers (for example, "Zhiyrma bes"), as well as the integrity and completeness of the general orchestral plan, where registers and timbres are well maintained as well as the degree of dynamization and coordination of orchestral parts. Maximum attention is drawn to culminating point. Noting such successful fragments as a beautiful slow Kyui in the rehearsal number 27 of the third act, where the capabilities of the altos are perfectly used, or the vocal numbers written in verse form, the male trio written with excellent knowledge of vocals, tessitures, ranges, one is convinced of the deepest knowledge of the vocal capabilities of male voices.
The thoughts of a researcher in the field of operatic art, PhD in Pedagogy, Professor T.U.Ospanova are interesting, she points out that in addition to interesting orchestration, she is impressed by the modern approach to harmonic functional relations, composers' reliance on various techniques (use of sequence chords, expected sequences in sequential methods development), colorful tonal shifts, juxtaposition and use of both Kazakh musical folklore and oriental flavor, which contributes to the movement of the entire texture and the opera development. The leitmotif system is sustained (the theme of the Kipchaks, the theme of love of Appak and Nizami), intonation arches that unite the entire opera. The harmonious language of individual vocal and choral parts is distinguished by modal variability, unexpected tonal relationships and polytonality [5].
Two vocal numbers (vocalization in act 1, scene 2 and an aria in act 2), not counting duets (Mahriban - Appak, Darij - Appak in acts 1 and 2, Nizami-Appak in act 3, where his aria sounds as one of the main characters), trio (Mahriban-Appak-Darij), quartets (Appak-Mehriban-Darij-Sharaf) are dedicated to the main character – Appak. The vocalise is distinguished by a beautiful, wide, cantilena melody, an organic relationship with the orchestral part is felt. The composers skillfully use a combination of polyphonic and homophonic-harmonic writing methods. Throughout the entire vocalization, the main rhythmic pattern in the melody is preserved - a combination of triplets with a subsequent movement to the basic tones. Despite the restrained inner expression and tension hidden in the external beautiful melody, the vocalization ends with an unexpected leap to a high note, like emphasizing inner feelings surge.
According to the Senior Lecturer of the Department of Musicology and Composition, Master of Art Sciences Zh.Zh. Tulkubaeva: “The opera reflects the features of Kazakh melody in the person of Appak and “Persian” musical intonation in the person of other characters. So, Appak's aria sounds in the act 2 and, in contrast to the numbers with the "oriental" flavor (Darij's arioso, oriental dance, etc.), the diatonicity of the vocal part, the combination of sequential movement of steps with ascending leaps in part 4, extended notes at the end of the phrases emphasizing the "Kypchak" origin of the main character. The wide melodious Kazakh melos organically merges with the techniques of the modern composer's language” [5].
In the oriental dance or arioso of Darij, the color of another culture is shown through the use of moves for an augumented second, a deviation in the tonality of the supertonic, the use of the supertonic, a harmonic minor in the upper tetrachord and the subdominant in the lower tetrachord. It is also interesting that in order to convey the character a certain role is played by the accompaniment in Darij's arioso, which in a way complements the characterization of the hero.
An important place in the opera is given to mass scenes, ensembles, where the vocal and choral style of the composer's writing is clearly manifested, characterized by emotional fullness, thoughtfulness in voice leading, dynamics and texture.
Thus, in the process of creating the opera, the authors chose numerous modern compositional techniques aimed at revealing the atmosphere of the East, and the image of the main character after whom the work is named, is replete with a palette of colors with the figurative characterization of a Turkic woman. Her features concentrate tenderness and grace, obedience and meekness as well as contrasting features - courage, loyalty in love and even heroism to some extent. It creates a linkage to some world masterpieces that come to mind. In this sense it is appropriate to mention such operatic works as "Yaroslavna" by B.Tishchenko, "La Traviata" by G.Verdi, "Manon" by G.Puccini and others.
The authors plan to time the staging of the new opera on the stage of the Astana Opera Theater (Nur-Sultan) to coincide with the 120th anniversary of the outstanding Kazakh writer G.Musrepov in 2022.
List of Sources:
1. N.А.Nazarbayev Speech at the XX session of the Assembly of the People of Kazakhstan "Strategy" Kazakhstan - 2050 ": One people - One country - One destiny", dated 24.04.2013.
2. Interview with the Art History PhD, Professor G.Zh.Musagulova with the domestic composer S.Abdinurov on 28/10/2020.
3. N.A.Nazarbayev ("Looking Into the Future: mModernization of Public Consciousness"). // Egemen Kazakhstan, dated 12/04/2017.
4. N.A.Nazarbayev Seven Facets of the Great Steppe. // Yegemen Kazakhstan November 21, 2018.
5. Meeting to discuss the opera by S.Abdinurov and A.Abdinurov "Appak - the Kipchak’s Daughter" at Kurmangazy Kazakh National Conservatory (Republic of Kazakhstan, Almaty) dated 12.11.20.
G.Zh. Musagulova
Art History PhD,
Professor
Kurmangazy Kazakh National Conservatory
Member of the Composersэ Union of the Republic of Kazakhstan
IIA Academician
The article was published on the website - sozvuchie.by