Astana Opera Goes High-Tech as Digital Innovation Transforms the Classical Stage
Digital reality is no longer a distant prospect—it is actively reshaping even the most traditional art forms, including theatre. In Kazakhstan, where 2026 has been designated the Year of Digitalisation and Artificial Intelligence, Astana Opera stands out as a vivid example of this transformation.
According to Victor Carare, deputy director of Astana Opera, the institution has undergone a profound internal technological overhaul. Nearly all operational processes are now digitised, from lighting scores and video content to the daily work of sound engineers, prop masters, and costume departments, The Caspian Post reports via Kazakh media.
Central to this system is a main stage computer that synchronises complex productions with frequent scene and act changes. “It is one large mechanism that is exceptionally well organised thanks to digitalisation,” Carare said. This integrated digital network also extends to engineering systems, including precise climate control in the auditorium.
Digital tools have significantly improved logistics and planning as well. Unified information systems now coordinate every stage of production—from set assembly to rehearsals and live performances—boosting efficiency and accuracy across departments.
The impact is especially visible in stage effects. Traditional techniques, such as using fabric to simulate fire, have given way to advanced digital solutions. Smoke and pyrotechnic effects can now be activated remotely from a control console located dozens of metres from the stage, enhancing both safety and precision.
One of the first productions to embrace these innovations was The Fountain of Bakhchisarai. Since then, Astana Opera’s technical capacity has expanded to include 3D projections, frontal video mapping, LED screens, sophisticated lifting mechanisms, and pneumatic systems—all digitally managed. Among the most technologically advanced productions today is Turandot, featuring real rain effects, performers rising from beneath the stage, and dramatic appearances by a dragon’s head.
“Digital technologies fundamentally change both what the audience sees and the invisible backstage work,” Carare noted. Automation of routine processes allows creative teams to focus more fully on artistic expression while maintaining an intensive repertoire.
The shift is also evident in production design, where concepts once drawn on paper are now created entirely in digital formats, reflecting how the Year of Digitalisation and AI is driving tangible change rather than symbolic initiatives.
Audiences can experience this blend of classical art and cutting-edge technology during upcoming performances of The Fountain of Bakhchisarai on February 4 at Astana Opera. Earlier in January, on the 16th, 17th, and 18th, the theatre also staged one of its most celebrated works, Swan Lake, produced by ballet artistic director Altynai Asylmuratova.
Astana Opera’s evolution shows that digitalisation is not replacing classical art but enhancing it—allowing tradition and innovation to share the spotlight on one of Kazakhstan’s most prestigious stages.
