WELCOME TO KAZAKHSTAN

Kazakh ballet is increasingly recognizable on leading world stages, demonstrating the high level of its national culture and performing skills. Performances by Kazakh artists abroad are becoming more than just tours, but part of a cultural dialogue in which classical tradition meets international recognition.           Astana Opera's leading soloist, Honored Worker of Kazakhstan Baktiyar Adamzhan, performed to great acclaim at the Teatro dell'Opera di Roma. He performed one of the key roles in Ludwig Minkus's ballet "La Bayadère," the warrior Solor, in three performances on February 4, 6, and 7. His interpretation of the role, combining technical virtuosity with profound dramatic expressiveness, was warmly received by the Italian audience.In an interview, Baktiyar Adamzhan discussed working on one of Europe's largest stages, professional challenges, collaborating with world-renowned ballet stars, and what it means to represent Kazakhstan on an international stage. You performed at the Teatro dell'Opera di Roma. What professional challenges did you face?I am sincerely grateful to the Italian audience for the warm welcome. It is a great honor for me to perform in Rome, one of the world's cultural centers, and to represent Kazakhstan on such a stage. The opportunity to work with the choreography of Benjamin Pescia, the Paris Opera's étoile, and to share the stage with Yana Salenko and the Roma Opera Company represents a high professional level and a great responsibility. At such venues, you have to constantly prove your skills—not everyone is invited. An additional challenge was the tight preparation time: I had to quickly learn the performance and seamlessly integrate it into the company's work. Furthermore, the Roma Opera stage has one of the largest skating rinks in the world, which significantly impacts performance technique—jumps, spins, and coordination are all different, and it's important for the artist to adapt quickly.My experience working on different stages and with different partners has shaped my resilience and professional flexibility. Despite all the difficulties, the performances were held at a high level, and for me, that's the most important result.– This is not the first time Italian audiences have welcomed you to the Teatro dell'Opera di Roma. Do you feel a special connection with the audience in Rome?– The Roman audience knows me very well – I was fortunate to perform here in the ballets Notre Dame de Paris and Spartacus. Each time, I sense the audience's genuine interest and deep attention to what's happening on stage. This time, the audience's reaction was once again very warm – they gave me a standing ovation. It's especially gratifying to see the response not only within the theater but also on social media. For example, Gianfranco Giordano wrote that it was "a breathtaking power," and a correspondent for RadioDanza called my performance "magnetic and flawless."Such words are, above all, recognition of the work and responsibility with which you step onto the stage. It's important to me that the audience feels the energy and meaning invested in the role.You worked on Benjamin Pesce's new version of La Bayadère for the Rome Opera. What makes this production so special?This version is distinguished by its subtle style and attention to detail. Benjamin Pesce retained the academic foundations of Marius Petipa, but introduced his own accents and original choreographic solutions. I found the new adagio in Act I particularly interesting – it demands not only technical precision but also a special inner composure.In general, working with new versions of classic productions always enriches an artist. It broadens one's repertoire, allows one to approach familiar material differently, and develops professional flexibility.Preparation was tight: due to weather conditions, I arrived in Rome a day later than planned, so I had to master everything as quickly as possible. Nevertheless, despite the limited time, we managed to create a coherent stage production and achieve a high artistic result. What impressions did you leave after the performances, and what is most important to you when working on international projects?My impressions were very warm. It was especially valuable to receive high praise from the choreographer for my ability to professionally assemble all the material within such a short timeframe and seamlessly integrate it into the production.I try to work so that the director doesn't have to repeat comments. I believe that the ability to grasp the material the first time is a sign of respect both for the choreographer and for myself as an artist.When you live and work in Kazakhstan and perform abroad, you always feel a special responsibility. You represent not only yourself, but also the Astana Opera and the country as a whole. Perhaps many artists working under international contracts don't have this feeling. But for me, it's crucial to go on stage with the understanding that I represent Kazakhstan—and I have no right to do so mediocrely. Participating in a performance at the Rome Opera—one of the most prestigious and historically significant theaters in Europe—confirms my high professional level and continued demand on the international ballet scene.—What are your future creative plans, and how is your tour schedule shaping up for the near future?—My tour schedule for this year is already set: performances in Japan, the UAE, Australia, and several other countries are ahead. The expanding geography of my projects demonstrates the recognition of the Kazakh ballet school and its strengthening position in the global cultural scene.