ASTANA— “Appaq, the Qypshaq Daughter” premiered at Astana Opera on May 21–22, reflecting a large-scale addition to the country’s modern operatic repertoire. Appaq, the Qypshaq Daughter premiered at Astana Opera on May 21–22. Photo Credit: Astana Opera Dedicated to the 35th anniversary of Kazakhstan’s independence, the production tells a story of war, memory and loss, and the human cost of violence.
Based on a drama by Gabit Musrepov, the opera follows Appaq, a woman from the medieval Qypshaq (Kipchak) Turkic tribe who is captured in war and becomes the muse of Azerbaijani poet Nizami Ganjavi. Beyond its historical frame, it explores how war reshapes individuals and nations, and how love can break cycles of revenge.
The creative team brings together leading figures of Kazakhstan’s theater scene and beyond. Music was composed by Serikzhan Abdinurov and Alibi Abdinurov, with a libretto by Tleugazy Beissembek. The production was directed by prominent artist of Tatarstan Mikhail Pandzhavidze, with Abzal Mukhitdin as musical director.
Appaq enclosed in a metal cage, symbolising captivity, resistance, and resilience. Photo Credit: Astana Opera Developed for more than a year, the score blends steppe musical traditions with classical opera. A brass ensemble creates a powerful sonic layer, while Kazakh and Azerbaijani instruments add distinctive colour.
Each character has a clear musical identity: Appaq’s line shifts from force to vulnerability, Nizami’s themes are reflective and philosophical. The production also introduces an unusual choice for Kazakh opera: two countertenors appear as court singers. Visually, the opera moves between nomadic camps, palace interiors and stormy seascapes.
Designed by Sofya Tasmagambetova and Pavel Dragunov, it uses striking symbolism, including a recurring image of Appaq in a metal cage, evoking captivity and resilience. Scene from the premiere. Photo Credit: Astana Opera The title role was performed by Bibigul Zhanuzak and Ulpan Aubakirova in alternating casts, while Zhan Tapin portrayed Nizami.
One of the production’s standout elements is the inclusion of a traditional warrior song, zheldirme, performed by Talgat Allabirinov. Rather than serving as folkloric decoration, it is fully integrated into the operatic structure as a dramatic battle hymn.