Accepted as a turning point in the artistic life of the Republican era, Özsoy Opera is one of the symbolic products of Türkiye’s effort toward modernization in the field of culture. Written upon the direct order of Mustafa Kemal Atatürk on the occasion of the 1934 visit of the Shah of Iran, Reza Pahlavi, this work is recognized as the first lyrical stage piece laying the foundations of Turkish opera. Composed by Ahmet Adnan Saygun with a libretto by Münir Hayri Egeli, the opera gained importance not only as an artistic creation but also as an ideological and diplomatic tool.
Historical Background
The historical significance of Özsoy Opera lies not only in being the first national opera in Turkish art history but also in being a symbolic cornerstone of the Republic’s cultural revolution. In the Ottoman Empire, the art of opera was mostly performed in major cities like Istanbul by Italian opera troupes during the 19th century, though these performances remained limited to palace circles and the elite. From the era of Mahmud II onward, interest in Western music styles increased, and with the contributions of foreign musicians like Giuseppe Donizetti, palace bands and early orchestral attempts emerged. However, the rooting of polyphonic music in the general population and its adoption as part of a national identity became possible only through the comprehensive cultural reforms of the Republican period.
Following the proclamation of the Republic, Gazi Mustafa Kemal Atatürk viewed culture and the arts as fundamental components of the new Türkiye and provided direct state support for fields such as polyphonic music, conservatory education, theater, and opera. The establishment of the Mûsikî Muallim Mektebi in Ankara in 1924 and the State Conservatory in 1936 laid the institutional foundations of this cultural transformation. With the return of young Turkish musicians (Ahmet Adnan Saygun, Necil Kâzım Akses, Ulvi Cemal Erkin, etc.) from Europe, where they had been sent for education, significant qualitative advancements were made in both artistic and educational domains.
At precisely this time, as part of Türkiye’s regional diplomacy strategy, when Shah Reza Pahlavi’s 1934 visit to Türkiye was being planned, it was desired to crown this important diplomatic event with an artistic presentation. Atatürk commissioned an opera to showcase the young Republic’s artistic and cultural development. This opera was expected to reflect an East-West synthesis in both content and form, and to emphasize the historical brotherhood between Iran and Türkiye. In this context, Özsoy Opera is not only an artistic production but also a diplomatic gesture, an ideological message, and a cultural showcase.
Ankara People's House (Ankara State Museum of Painting and Sculpture)
Plot and Theme
The plot of Özsoy Opera, although based directly on a mythological foundation, carries the ideological objectives of modern Türkiye and Atatürk’s cultural vision through this mythological ground. The libretto, written by Münir Hayri Egeli, was inspired by the Shahnameh, an epic by the Iranian poet Ferdowsi. The story revolves around the legendary khan Feridun and his two sons, Tur and Iraj. According to the myth, Tur represents the Turks while Iraj represents the Iranians; the character Selm is omitted from the libretto, with the narrative structure built upon these two figures. This choice directly emphasizes the historical and cultural brotherhood between Türkiye and Iran.
The central narrative progresses along a timeline that begins in mythological ages and continues into the early years of the Republic. In the first act, an epic introduction is presented through the character of the bard, describing a land of justice and unity under Feridun’s rule. However, this order is threatened by the arrival of the dark force Ahriman. This mythological contrast symbolically represents the struggle between old and new, ignorance and enlightenment, evil and good. The second act takes place in a village in Anatolia and includes scenes representing the Republic’s emphasis on education, equality, and populism. The character Ayşim becomes a symbol of women's rights and freedom; Köse Ağa represents feudal and traditional structures. The teacher Mehmet and his father Tur are portrayed as progressive, modern individuals aiming to raise public awareness.
The third act includes scenes written in reference to the 10th anniversary of the Republic. It depicts themes such as the establishment of factories, the active role of women in society, and the return of educated youth to contribute to the country. Thus, the work transitions from themes of personal love and family to the collective construction of a nation. In the finale, Tur and Iraj reconcile as brothers, and their ancestors descend from the heavens to bless this unity, creating both a mythological and symbolic conclusion. As such, the opera becomes not only an artistic work but also a bearer of Republican ideology centered on peace, modernization, populism, women’s emancipation, and national unity.
Mustafa Kemal Atatürk at the People’s House (Ankara State Museum of Painting and Sculpture)
Production Process
Özsoy Opera was prepared in an exceptionally short time (approximately one month). During this period, composer Saygun and librettist Egeli worked with extraordinary dedication and completed the piece under Atatürk’s guidance. For the performance, a string orchestra was brought from Istanbul and combined with the Presidential Harmonica Band, while the choir members were selected from Gazi Education Institute and girls' high schools. Despite financial and logistical difficulties during rehearsals, the opera was staged for the first time on the night of June 19, 1934, at the Ankara People’s House, in the presence of Atatürk and Reza Pahlavi.
Ahmet Adnan Saygun (Anadolu Agency)
Human and Political Impact in the Opera
Özsoy is not merely a musical composition; it is also a political message from Atatürk to both the Turkish people and the world. Through this opera, Atatürk demonstrated that the Turkish nation could express itself through art and sought to establish diplomatic closeness with Iran. The unity of Feridun’s sons in the work symbolically refers to the brotherhood between the Turkish and Iranian peoples. Additionally, themes such as public education, the position of women, and the role of youth reinforce the discourse of modernization.
Musical and Dramatic Structure
Musically, Özsoy Opera is a typical example of Ahmet Adnan Saygun’s early compositional style. Pentatonic scales and Anatolian melodies are used alongside Western harmony, creating a unique synthesis. Dramatically, the opera is divided into three acts: the first act begins with a mythological narrative, the second takes place in a village setting portraying the Republic's reforms among the people, and the third projects the idealized future of modern Türkiye onto the stage. In terms of staging, choreography, costume, and set design were meticulously crafted.
