Photo 24.kg Baktybek Ibykeev, a People's Artist of the Kyrgyz Republic and an outstanding opera singer, despite his significant experience and talent, exhibits modesty when speaking about himself. However, as soon as Russian romances come up in conversation, especially those related to the war years, his eyes fill with fire, and his soul begins to resonate in unison with the songs, demonstrating a deep attachment to his craft.
Yulia Babich, a Honored Artist and concertmaster, has been collaborating with Baktybek for over two decades. She emphasizes that his passion for Russian romance knows no bounds. He has held numerous solo concerts dedicated exclusively to this genre and eagerly participates in Russian romance evenings at the Abdykalyq Mal'dybaev Kyrgyz National Academic Theater of Opera and Ballet, approaching rehearsals with great care.
The Russian romance evenings held in Bishkek become a true gateway to the world of refined musical culture. A visitor attending such an event for the first time experiences a sense of aristocracy, elegance, and inner peace.
The Malachite Hall creates an atmosphere for deep reflections on the Russian soul, especially noticeable when Baktybek, adjusting his tailcoat, begins to perform "I met you — and all that was..." which touches the hearts of those present.
Yulia Babich notes that Baktybek listens to many other performers and absorbs their experiences. Despite his status as one of the leading baritones of Kyrgyz opera, he actively shares his knowledge with young singers and continues to improve, taking advice and working on his craft. If a romance is written for a tenor or baritone and deeply moves the singer, Baktybek requests to adapt the notes to his voice, allowing him to create performances that captivate the audience. "Baktybek performs the most complex parts on stage, without forgetting about concert programs. He also enjoys giving concerts dedicated to Victory Day," Yulia shares.
She adds that Baktybek respects the memory of the Great Patriotic War and the Victory over fascism. In the lead-up to May 9, his repertoire always includes a solo concert of war songs.
"Victory Day" and "Let us bow to those great years" are his exclusive pieces, entrusted only to him for performance, as he lives each word he utters on stage," she notes.
Yulia Babich
Despite his busy rehearsal schedule, Baktybek found time for an interview with 24.kg, where he shared his creative journey and dreams common to every opera performer.
— How did you come to love singing?
— Since childhood. Singing was an inseparable part of gatherings in our family. I'll let you in on a secret: some of my relatives sing even better than I do.
— What songs do you love to perform at home with your loved ones?
— Mainly Kyrgyz folk songs that many are familiar with.
— How did opera enter your life?
— I always dreamed of making singing my profession. I participated in school competitions, and teachers often saved me for the end of the program. I couldn't perform for three years until in the tenth grade I asked to go first and performed well, accompanying myself on the accordion. After that, the jury members were surprised why I had been kept off stage for so long.
— After winning competitions, did you fully commit your life to singing?
— I didn't go to college; I went straight to the Institute of Arts, but before that, I had to take preparatory courses since I had no musical education. At that time, I didn't understand what classical singing meant. During the entrance exams, everyone sang from sheet music, while I sang by ear.
— Were you accepted?
— Honestly, I had my doubts, as many of my classmates had musical education, but I was given a chance. I studied for two years in preparatory courses, then five years at the institute, and two years in graduate school.
— Who had the most influence on your development as an opera artist?
— I fondly remember Raisa Dedova; she taught me a lot during the two years of preparation. After the collapse of the Soviet Union, she moved to Israel. I also received a lot of help from the People's Artist of Kyrgyzstan, Toktonaly Seitaliev; his portrait still hangs in my classroom. It was an honor for me to perform on the same stage with him after graduating.
— Have your professional plans come to fruition?
— As soon as I became an opera singer, I decided: "I will sing as long as I can. If not, I will change professions." After the collapse of the Union, it was difficult to find my place in the arts. I graduated from the conservatory in 1994 and got married. In graduate school, I had a son, and then another. It was very challenging; some of my colleagues left the arts and went to work in the market.
— Did you ever feel the urge to follow them?
— No, I remained true to my calling, although it was very hard.
Only true fans of the stage do not leave it, seeing no life without it. I knew that there were no unsolvable problems. I endured, and everything worked out.
Baktybek Ibykeev
I had to work in several places to support my family, but I did not abandon my calling.
— When did Russian romance enter your life?
— From the very beginning of my studies. I loved listening to recordings of professionals during breaks. The institute and conservatory had a phonotheque where we listened to the music we needed.
— What repertoire do you enjoy performing the most?
— I have three idols: Bulat Minzhilkiev, Dmitry Hvorostovsky, and Muslim Magomaev. I particularly love performing their pieces, such as "Burn, burn, my star" and "Have you forgotten?" Sometimes, when I rehearse a romance, I think, maybe in a past life I was Russian? This genre is so close to me that it feels like I have always known it.
— You are the main performer of songs on Victory Day...
— We are all children of the Komsomol. In school, I started singing about love, but teachers said I was too young for that. So I sing patriotic songs. I started performing "Victory Day" from the third grade and sing it several times a day; once, I sang it nine times on May 9. Now I have a version of "Victory Day" in Kyrgyz.
I try to hold solo concerts for May 9, with the first part featuring songs from the war years with a symphony orchestra, and the second with the wind orchestra of the Ministry of Defense.
Baktybek Ibykeev
In 2025, I planned a concert for the 80th anniversary of Victory, but all dates were booked. A week before May 9, I received a call informing me that a date had opened up — May 8. I prepared the program in just seven days, but the orchestras were busy. I couldn't refuse to perform, so I prepared songs with a backing track and made the entrance free — the hall was full.
— Do you have songs about Victory in Kyrgyz?
— Yes, besides "Victory Day," there are a few others. One of my favorites is "Estelik" ("Memory"), written by People's Artist Tugelbay Kazakov. I also perform the ballad "Cholponbay" by composer Nasyr Davlesov. I always prepare for this day with excitement.
— What dreams do you have that have yet to come true?
— I really want to perform the role of Eugene Onegin before I lose my voice (laughs). Ten years ago, I asked the director to give me this part, but he said, "You have enough roles; let the young ones sing Onegin." This is my unfulfilled dream, which I hope to realize next year.
— How does the youth view opera today?
— Young people come and want to work. But there are not always positions for soloists in our theater. There is a demand for opera art, and I am pleased that the government has begun to pay more attention to culture. Many graduates of the conservatory and the University of Arts plan to go abroad. The profession and the theater have a future.
— What would you say to the future generation of opera performers as a professional?
— As they say, 1% is talent, and 99% is hard work. Vladimir Lenin advised "to learn, learn, and learn again," and I would add: "To work, work, and work again!" If you rehearse a lot and do not slack off, you can achieve a lot.
Photo 24.kg — What does opera mean to you?
— It is the foundation of my life. When I first started dating my future wife, I told her: "If we have no bread and I have to choose between opera and a higher-paying job, I will choose opera. Do you agree?" She agreed. And that's how we live.
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