Sayan was born into a musical family. One day, the young man saw a concert of the Three Tenors on television, which took place in Paris in 1998. It was then that he told himself, "I want to sing just like that!" Luciano Pavarotti, José Carreras, and Plácido Domingo impressed Sayan, and that same day he went to the Karaganda College. He read and listened a lot, fell asleep with music playing in his player, confidently moving toward his dream.
The day before, we witnessed another brilliant performance by the tenor at the first open-air classical music festival in our country's history, "TENGRI music." We decided to meet with the famous performer after the event to learn about his impressions of the concert and to ask a few questions.
- For me, it is very important to participate in such events, and it is simply wonderful that they are held in this format, outdoors. Classical music is reaching the masses, and it is very right to elevate the culture of the population. There is an introduction to high art and classical performance. Nowadays, there is a lot of modern pop music, which is very accessible, primarily for understanding. But still, classical art is the cultural face of the country and an integral part of any capital. In this case, the presence of an opera theater in the city is very significant. For performers, it is important to give themselves and their voice to the audience. For every singer, going on stage feels like an exam. So every time you stand before the audience, you are very nervous about how you will be received. If you manage to plant a seed of beauty in the heart of the viewer – that is wonderful. It is great that such an event took place, that people are trying, but I would really like to see support from the state at the highest level.
- Recently, a musicologist mentioned that opera art in Kyrgyzstan is not thriving, but it still exists. What is your opinion on this?
- I think that things are not as bad as experts say. Yes, of course, there are problems, as everywhere, but look, this year the opera and ballet theater is holding a festival in memory of the outstanding singer Bulat Minzhilkiev, which starts on October 4. And this is the merit of the theater's management. I am confident that in a country that has given the world such names as Bulat Minzhilkiev, Toktonaly Seitaliyev, and Kairgul Sartbaeva, everything will come to norm. Of course, we classical performers are not as popular as pop singers; we are not recognized on the streets. I would like to note that the development of opera art and the classical genre cannot be one-sided. After all, we, artists, vocalists, conductors, and musicians do everything possible and bring new programs to the audience! But when there is no support from the viewers – it is very difficult. It is a one-sided game, and at that, it is in our own favor.
- So, opera artists are greeted by an empty hall?
- I cannot say that it is empty. Of course, there are audiences. They especially attend premiere performances well, as these are fresh productions where everything is beautiful and wonderful. It is like a breath of fresh air. I have attended these performances and observed how a full hall applauded the artists. And it is these moments that give energy to the artists and replenish what they have expended during the performance. We draw energy from the audience.
- Recently, there was a Sicilian evening in the capital featuring the best opera artists; it seems to me that such concerts accustom the audience to art...
- Indeed, it was a wonderful project, and similar events are needed because it is essential to open new sides of classical art for the townspeople. And let it be a small chamber orchestra; what matters is how it is presented, and a lot depends on the performers. The ensemble was just excellent, and I am very grateful to the director Nailya Rakhmadieva, who conceived this concert, and we were also supported by Gulnara Kalikova. Such projects are simply necessary for both the townspeople and the performers themselves. After all, it gives the opportunity to do something new.
- You have an extraordinary voice; tell me, which contemporary performers have you tried to sing for yourself, whom do you admire?
- I have the most ordinary lyric spinto tenor. In my youth, when I just started to get acquainted with classical vocal art, I must admit, I really liked the work of Nikolai Baskov. He sang wonderful pop songs: "Natalie," "Seven Notes," songs from Igor Krutoy's cycle, but then I cooled to his art. Earlier, I loved performing these compositions, and even close ones noted that it was somewhat similar to Nikolai (laughs).
- You are originally from Kazakhstan; how did it happen that you now live and work in our country?
- This story is quite long and interesting. I graduated from a music college in Karaganda and decided to apply to the Almaty Conservatory or the Astana Academy of Music, but at the moment when I needed to submit my documents, I had the desire to participate in the International competition within the framework of the Delphi Games. At that time, I received a gold award and impressed the jury, possibly because at the age of 22, I performed the most difficult monologue of Otello, which people try to sing at around forty. I was late for admission, but I heard that I could enroll in correspondence studies in Bishkek and started studying here. One day, entering the office of the wonderful teacher Nestan Alisherova, I saw a girl at the piano. I was struck by her beauty and sophistication. I began to pay attention to the accompanist, then started courting her, and eventually, Gulshan Konusheva became my wife. It has already been five years since I have been living in Kyrgyzstan, teaching a little at the conservatory, and working at the National Academic Theater of Opera and Ballet named after Maldybaev.
- What roles do you perform?
- Currently, I am working under contract with the theater, and I am mainly invited for the European repertoire; I perform the roles of Alfredo in "La Traviata," the Duke of Mantua in "Rigoletto," Turiddu in "Cavalleria Rusticana," Canio in "Pagliacci," and also Lensky in the opera "Eugene Onegin."
- Opera performers must lead a healthy lifestyle; are there any restrictions for them?
- Of course, there is a small regimen. We cannot consume seeds and nuts not only before performances but in general. It is categorically forbidden to get sick, as we can be invited to perform at any moment. I really love spicy food, but that is also not allowed. Cold food must also be excluded. But sometimes during vacations, I can allow myself to drink cold cola. Alcohol dries the vocal cords, just like cigarettes. I do not drink or smoke even during holidays and special occasions. After all, you can be called to the stage at any time.
- On which stage would you like to sing again?
- In London, there is the "Royal Opera House," and I would very much like to perform there. I would also love to sing at the Mariinsky Theater in St. Petersburg. Only a few get to perform there.
Sayan Isin's favorite role is the character Mario Cavaradossi in Puccini's opera "Tosca." At 27, he performed the challenging role of Turiddu from "Cavalleria Rusticana." Sayan Isin has a burning desire that gives him the strength to go on stage and create. This means that opera art in Kyrgyzstan will live on, thanks to such remarkable performers!