What can be more thrilling than watching a masterpiece opera or ballet on a stage
that was constructed 20 centuries ago?
By Erol Güler
The 15th International Istanbul Opera and Ballet Festival started on June 1 with the opera “The Flying Dutchman,” staged by the Istanbul State Opera and Ballet at the Atatürk Cultural Center—Atatürk Kültür Merkezi (AKM). The Flying Dutchman is Richard Wagner’s masterpiece. The work was staged by the famous German Director Sebastian Welker. Dutch baritone Martijn Sanders stars in the leading role as Der Holländer.
If you are not a fan of classical opera and ballet but will be in Antalya in September, there is a wonderful opportunity to combine a visit to the splendid and famous Aspendos Amphitheater (a Roman theater built in the 2nd century and is one of the best preserved ancient theaters of the Greco-Roman world) and watch one of the wonders of classical entertainment. Music experts say that not all operas are suitable for starting an interest in opera. Of course, there may be love at first sight even when listening to the most complex opera in the world, but surely there are more suitable operas that could help novices who want to enter this genre to get used to new sounds. Luckily, in this year’s Aspendos Opera and Ballet festival, there are two operas that experts count as the 5 top operas suggested for newcomers. 1) Giacomo Puccini’s Tosca. Tosca has everything: powerful music, an exciting story, and a tragic ending. 2) Aida by Giuseppe Verdi, whose triumphal march is known by everyone. Also the ballet Swan Lake is in the memories of everyone, when not from live performance, then definitely from movies. Having said this, all the scheduled performances are such masterpieces that I enjoy watching and listening time after time.
AIDA
On the 13th of September, Aida will be performed by the Ankara – Antalya State Opera and Ballet. The director will be Vincenzo Grisostomi Travaglini and the conductor will be Lorenzo Castriota. Aida is a tragic opera in four acts by Giuseppe Verdi telling the story of eternal love. Set in the Old Kingdom of Egypt, it was commissioned by Ismail Paşa, the Ottoman Hidiv of Egypt. It was commissioned to celebrate the opening of the Suez Canal and had its premiere there on 24 December 1871. Today the work holds a central place in the operatic canon, receiving performances every year around the world. At New York’s Metropolitan Opera alone, Aida has been sung more than 1,100 times since 1886.
The story is about the love between Aida and Radames. Radames is a young warrior and is chosen as the Egyptian commander to fight the Ethiopians. Radames dreams both of gaining victory on the battlefield and of Aida, an Ethiopian slave with whom he is secretly in love. Aida, who is also secretly in love with Radames, is the captured daughter of the Ethiopian King Amonasro, but her Egyptian captors are unaware of her true identity. Her father has invaded Egypt to deliver her from servitude.
Amneris, the daughter of the Egyptian King loves Radames, but fears that his heart belongs to someone else. She suspects that Aida could be her rival. Aida feels torn between her love for her father, her country, and Radames.
Radames returns victoriously. However, Amneris still doubts Radames love and wonders whether Aida is in love with him. Amneris falsely tells Aida that Radames has died in the battle. In grief, shocked by the news, Aida confesses that her heart belongs to Radames eternally. This confession fires Amneris with rage, and she plans on taking revenge on Aida.
The Ethiopian captives are led in chains, the King and Aida’s father, Amonasro, among them. Aida immediately rushes to her father, who whispers to her to conceal his true identity as King of Ethiopia from the Egyptians. Aida, Amonasro, and the captured Ethiopians plead with the Egyptian King for mercy, but the Egyptian priests calls for their death
Also Radames pleads to spare the lives of the prisoners and to set them free. The King grants Radames his wish, and declares that Radames will marry Amneris and be his successor. At the priest’s suggestion to the King, Aida and Amonasro remain as hostages to ensure that the Ethiopians do not avenge their defeat.
Amonasro orders Aida to find out the location of the Egyptian army from Radames. Aida, torn between her love for Radames and her loyalty to her native land and to her father, reluctantly agrees. Radames affirms that he will marry Aida and Aida convinces him to flee to the desert with her.
To make their escape easier, Radames proposes that they use a safe route without any fear of discovery and reveals the location where his army has chosen to attack. Upon hearing this, Amonasro comes out of hiding and reveals his identity. Radames realizes, to his extreme dismay, that he has unwittingly revealed a crucial military secret to the enemy. At the same time, Amneris sees Radames with the enemy and calls for the guards. Amonasro draws a dagger, intending to kill Amneris, but Radames disarms him, quickly orders him to flee with Aida, and surrenders himself to the guards as Aida and Amonasro run off. The guards arrest him as a traitor.
Amneris desires to save Radames. She asks Radames to deny the accusations, but Radames, who does not wish to live without Aida, refuses. He is relieved to know Aida is still alive and hopes she has reached her own country.
Radames is condemned to death as a traitor. The priests sentence him to be buried alive. Radames is taken into a dark vault, where he thinks that he is alone. As he hopes that Aida is in a safer place, he hears a sigh and then sees Aida. She has hidden herself in the vault in order to die with Radames.
Prince Igor
Prince Igor will be performed the evening of 16th September by the Ankara State Opera and Ballet. It will be directed by İlya İlyin and the orchestra will be conducted by Rustam Rahmedov. The opera was composed by Aleksandr Borodin. Borodin was born in 1833 in St. Petersburg, Russia, and died in 1887. He was a major Russian composer of the 19th century. He was also a notable scientist for his research on aldehydes. Borodin’s father was a Georgian prince and he was raised in comfortable circumstances. His gift for languages and music was evident early on but he studied at the Medico-Surgical Academy, specializing in chemistry, and received a doctorate. He later became full professor at the Medico-Surgical Academy. In addition to his research and teaching, he helped found medical courses for women. Throughout his life, he continued composing music pieces like the Symphony No. 1 in E-flat Major; Symphony No. 2 in B Minor; the unfinished Symphony No. 3 in A Minor, and his tone poem In the Steppes of Central Asia. In 1869, he began work on his operatic masterpiece, Prince Igor (completed posthumously by Rimsky-Korsakov and Aleksandr Glazunov).
Prince Igor gathers his army for a campaign against the Cumans/Polovtsy (known in Türkiye as Kıpçak Türkleri) and their Khans who have previously attacked the Russian lands. A solar eclipse takes place and although Yaroslavna, Igor’s wife, takes the eclipse for a bad omen, Igor insists that honor demands that he go to war. He leaves her to the care of her brother, Prince Galitsky, who tells of his gratitude to Igor for sheltering him after he was banished from his own home by his father and brothers.
Galitsky and his men abduct a young woman who pleaded to be allowed to return to her father without being dishonored. Galitsky says that if he were Prince of Putivl, he would drink and feast all day while dispensing judgment and have the prettiest maidens with him all night. A group of young women beg the prince to restore their abducted friend. He threatens them and drives them away. People wonder what might happen if Yaroslavna hears of what happens, but then realize she would be helpless with all her men gone to war. They sing of how they are all drunkards and are supported by Galitsky. The men decide to go to the town square to declare Galitsky the Prince of Putivl
Yaroslavna is alone worrying about why she has not heard from Igor and his companions. The nurse brings in the young women who tell Yaroslavna of their abducted friend. They are reluctant at first to reveal the culprit but eventually name Galitsky and talk of how he and his drunken followers cause trouble around Putivl. Galitsky enters and the women run away. Yaroslavna questions him as to the truth of their story and he mocks her saying she should treat him as a guest in her house. She threatens him with what Igor will do on his return, but Galitsky replies that he can seize the throne whenever he wants. Yaroslavna accuses him of repeating the betrayal that he carried out against their father, but he replies that he was only joking and asks if she has a lover now her husband is away. She threatens him with sending him back to their father. He replies that he will return the girl but will take another later and leaves. The council of boyars arrive to inform Yaroslavna that the Polovtsy under Khan Gzak are about to attack Putivl. Igor’s army has been utterly destroyed and he has been wounded and captured with his son and brother. After a moment of faintness, Yaroslavna orders messengers sent to the city’s allies, but the Boyars report that the roads are cut, some towns are in revolt, and their princes will be captured. The Boyars say that they will organize the defense but Galitsky returns with his followers to demand that a new Prince be chosen. The boyars refuse. The argument is interrupted by the sight of flames and the sound of crying women. Some of the boyars flee; some join the battle, others guard the Princess. They call the attack God’s judgment.
The Russian prisoners arrive from their day’s work and express their gratitude when fed by Konchakovna and the maidens. Vladimir, son of Igor, sings of his hope that his love will soon join him now that the day is fading. His love is Konchakovna. She comes and the two sing of their love and their desire to marry. While her father will consent to the marriage, they know that his will not. They part when they hear Igor coming. He sings of his disgrace and torment at being captured with his followers dead. Only his wife, he feels, will be loyal. He hopes for the chance to regain his honor. Ovlur urges Igor to escape and the prince agrees to think about it. Khan Konchak asks him if all is well and he replies that the falcon cannot live in captivity. Konchak says that as Igor did not ask for mercy he is not a prisoner but an honored guest equal to a Khan. Konchak offers Igor freedom if he will promise not to wage war on him again, but he refuses saying he cannot lie. Konchak regrets that they were not born to be allies. They would then have captured all of Russia. The Polovtsian army returns in triumph singing the praise of Khan Gzak. Igor and his son Vladimir have their worst fears confirmed by the new captives. Vladimir and the other prisoners urge Igor to escape, but he is at first reluctant, singing of his shame and saying that it is the duty of the other Russian princes to save the homeland. Ovlur now arrives to say that he has prepared horses for Igor and Vladimir and Igor now agrees to escape. The distressed Konchakovna comes, challenging Vladimir to show his love by either taking her with him or by staying. Igor urges his son to come, but Vladimir feels unable to leave Konchakovna who threatens to wake the camp. Eventually Igor flees alone and Konchakovna sounds the alarm. She and her father refuse to let the Polovtsy kill Vladimir. Instead Konchak orders the death of the guards and marries Vladimir to his daughter. As for Igor, Konchak thinks more of him for his escape.
Yaroslavna sees two riders in the distance who turn out to be Igor and Ovlur. The two lovers sing of their joy of being reunited and of the expectation that Igor will lead the Russians to victory against the Khan. The crowd learns that Igor has returned and the boyars are loyal followers of the true prince and not Galitsky. All joyously celebrate Igor’s return.
Swan Lake
The Swan Lake Ballet will be performed on the 20th of September. The conductor will be Tolga Taviş and the choreography will be done after M. Petiva – L. Ivanov by Volkan Ersoy and armağan Davran. The guest artists, Maria Khoreva and Philip Stepin will be accompanied by the Izmır State Opera and Ballet and the orchestra of the Antalya State Opera and Ballet. Composed by Pyotr Ilyiç Çaykovski in 1876, Swan Lake is by far the most famous ballet, featuring one of the art form’s most iconic roles and music. In popular culture, swans and ballet have become nearly synonymous in the imagination.
Princess Odette is taking a walk alone by a lake when the evil black magician Von Rothbart appears and, before Odette can escape, transforms her into a swan.
Prince Siegfried is turning twenty-one and his mother tells him it is time to get married. He goes hunting and the swan he sees turns out to be Odette, who transforms back into a woman right as he is about to shoot. He is fascinated. She tells him her whole sad story: swan during the day, woman at night. But there is a way out—if a man promises his love and remains faithful, the curse will be broken, and Odette and all her friends will be free. Siegfried jumps on the opportunity and declares his love. At daybreak, Odette returns to her swan form and Siegfried heads off to his mom’s party with a secret of his own. At his mother’s ball, he is introduced to five prospective brides for him to meet. But he is still thinking about Odette and tells his mother he can not marry any of these women. At that moment, two new guests arrive: Von Rothbart and his daughter Odile, transformed to resemble Odette. Siegfried is drawn to her and they dance together. At the end of their dance, he declares his love for Odile and, with his mother’s approval and Von Rothbart’s encouragement, he swears his formal oath.
Odile and Von Rothbart take that opportunity to reveal their true identities, but it is too late. Siegfried sees Odette through the window. Realizing that he has fallen for this trick, he chases after her.
Siegfried’s betrayal has solidified the curse and Odette will stay a swan forever. He begs her forgiveness and she grants it, but there is nothing to be done. She decides she can not live this way any longer and throws herself off a cliff. Siegfried follows. This act of pure love breaks the spell and kills Von Rothbart. With the spell broken, Odette and Siegfried’s spirits are reunited eternally.
Carmen and Fuego Lento
On the 22nd of September Aspendos Theatre will host the Astana Ballet Theatre of Kazakhstan. They will perform two exceptional dance performances where the Astana Ballet will bring Spanish passions on the stage.
In the first part of the evening the “Carmen Suite” ballet will be presented. The legendary “Carmen Suite” ballet by Alberto Alonso, themed on Georges Bizet’s “Carmen” opera, is recognized as a masterpiece of choreography, created by the legendary ballerina Maya Plisetskaya. Nurlan Kanetov, the artistic director of the Astana Ballet theatre states: “Carmen Suite is a brilliant ballet, which has a worldwide success. At the same time, it is anti-classical, as it has always been called: there is angularity, uncharacteristic for classical ballet, positions are not turned out, and angles are sharp. I formerly danced this performance myself and I understand perfectly well what professional growth a role from it can provide. The image of Carmen is the personification of passion, female irresistibility, and independence.”
The plot of the ballet focuses on tragic fate of a gypsy woman Carmen and the soldier Jose who loved her, and whom Carmen leaves for the young Torero.
The second part of the evening will feature the neoclassical ballet “A Fuego Lento” by Ricardo Amarante. According to the Astana Ballet Theatre, this is a bright dynamic performance with expressive plastique staged to the original music by composers Lalo Schifrin, Astor Piazzolla, Carlos Gardel, and Sayo Kosugi. This ballet is equally loved by both performers and the audience for its unstoppable energy and charisma. “A Fuego Lento” is included in the program of each tour of the theatre: it was presented on the stage of the Theatre Royal in Covent Garden (London), Lincoln Center (New York), Grimaldi Forum Monaco (Monte Carlo), etc. Temperamental and exciting tango melodies sharpen all emotions and forever remain in the hearts of the audience.
TOSCA
Giacomo Puccini’s masterpiece opera “Tosca” will be performed on the 26th of September. It will be staged by the Antalya State Opera and Ballet, where the director will be Yiğit Yavuz Günsoy and the orchestra will be conducted by Lorenzo Castriota. Tosca is a political thriller, set in Rome in 1800 during the Napoleonic wars and a time of great political unrest. The plot centers around three main characters—Rome’s diva Floria Tosca, her lover Mario Cavaradossi and the corrupt Chief of Police, Baron Scarpia. Scarpia has long lusted after Tosca, and when he finds out that Cavaradossi assists an escaped political prisoner he captures Cavaradossi. Scarpia offers Tosca a horrific bargain—she must give herself to Scarpia, or her lover is killed.
Tosca insists that Scarpia must provide safe-conduct out of Rome for herself and Cavaradossi. He easily agrees to this and heads to his desk. While he is drafting the document, she quietly takes a knife from the supper table. When he begins to embrace her, she stabs him, crying “this is Tosca’s kiss!” Once she is certain he is dead, she removes the safe-conduct from his pocket. Tosca later shows Cavaradossi the safe-conduct pass she has obtained, adding that she has killed Scarpia and that the imminent execution is a sham. Cavaradossi must feign death, after which they can flee together before Scarpia’s body is discovered. The pair imagine the life they will share, far from Rome. Tosca then anxiously coaches Cavaradossi on how to play dead when the firing squad shoots at him with blanks. He promises he will fall “like Tosca in the theatre.” Cavaradossi is led away, and Tosca watches with increasing impatience as the firing squad prepares. The men fire, and Tosca praises the realism of his fall. Once the soldiers have left, she hurries toward Cavaradossi, urging him to get up, only to find that Scarpia betrayed her: the bullets were real. Tosca runs to the parapet crying “We meet before God!” and jumps over the edge to her death.
The Festival will adjourn with the Gala Concert on the 30th of September.
