There was a distinctly jazzy vein running through Military Music: Oman and the World 2026 last weekend. With its jaunty syncopated rhythms, the military spectacle inspired a sense of national pride and patriotism in all who attended. The Maidan of the Royal Opera House
Muscat had been transformed into a stunning arena, with meticulous attention paid to details of safety and security for everyone’s comfort and enjoyment.
The tiered seating enabled 2,500 people to share and enjoy the military splendour of His Majesty’s combined forces bands, with all the pomp and ceremony expected of a state occasion!
The Steel Band, under an energetic Lennox Jordan, played an hour before the opening of the tattoo to entertain the early birds, while laser beams danced in the night sky.
Omani compères introduced the programme in Arabic and English, opening with the Royal Guard of Oman to herald the ‘Arrival of the Guest of Honour’, Gen. Sultan bin Mohammed Al Nu’amani, with a bugle call. Following the Omani National Anthem, the Combined Military Band and Fanfare kicked off the performance to Leif’s rousing, ‘Oman Vision’.
No one expected ‘The Teddy Bears Picnic’ and ‘76 Trombones’ to provide a note of levity in Saif al Jamoudi’s selection for the Military Band Display, but they did, before some reels and jigs in the Scottish tradition. A highlight of the programme followed: twelve women from the Combined Military Drum Corps demonstrated precision-marching at its best in a concise, perfectly executed routine to Victor Lopez’ ‘Mr. Papi’, played splendidly by the Jazz Band.
A return to the Scottish theme hailed the Combined Pipes and Drums Display in a kaleidoscope of coloured uniforms with tartan plaid draped over pipers’ shoulders.
The first guests of the extravaganza were The Music Ensemble and Klinka Folk Ensemble from the Slovak Republic. They marched on to a resounding ‘Generations Fanfare’ in a Slavic folk-music style. It continued with ‘Roll out the Barrel’ chromatic Polka as sixteen girls danced on in multi-coloured costumes and black boots, performing authentic Klinka footwork. Seven teenage boys hopscotched on, slapping heels and thighs to a regional Slovak March. Seven colourful couples were sent spinning, twirling, shrieking and yelping
their way to a frenzied conclusion which would do them proud in any international Folk Festival.
The Drum Corps Band Display marched to syncopated rhythms in carefully choreographed formations to Hill’s A T.P. before eight metallophones and xylophones were rolled on for melodic input in, ‘Teach Me How To Dougie’ by Jaxyn Fini Poor. The Jazz Band, Choir Team and Arabic instrumental band joined the ensemble in Hill’s, ‘True to the Covenant’.
Twelve Omanis performed to an especially composed, lively and rhythmic, ‘Estabshara Al Shaab’ (Good news from Allah) by Jamal Matran in a repetitive heritage style - to the delight and approval of the local audience!
The indubitable stars of the evening were second guests, the Brass Band and Sardarapat State Dance Ensemble from the Republic of Armenia. Appearing in sharp navy uniforms, the brass sported two euphoniums and created a chromatic, Superhero filmic soundworld in ‘Artashat’. Male dancers appeared in ‘Friendship’ slow march, leaping like gymnasts, to a shawm-like woodwind melody. Dressed in dark blue velvet and dazzling white, they showed off intricate balletic legwork. Sixteen perfectly synchronised pairs of legs leapt precariously atop shoulders, followed by a stylised sword dance in 11/8 time. Charles Aznavour’s jazzy, ‘Je M’voyais déjà’ featured a haunting trumpet solo to conclude a compelling, engaging performance which transfixed onlookers with its mesmerising athleticism and speed.
Massed Bands entered the arena to commence the Grand Finale. Assembled forces weaved complex patterns and shapes on the arena floor, projected onto a huge screen behind. They marched in formation to Leif’s ‘Greenwood Side’ and late composer Darrol Barry’s ‘Esprit’ as the entire company assembled. The premiere of Hoobais’ ‘Fairytale of Love’ played by all musicians, ended with an ethereal solo air on bagpipes. Barry’s, ‘Sands of Time’, including ceremonial trumpets aloft the Opera House roof, accompanied the massive march-out.
There was only one way to round off such a memorable spectacle, and that’s with the same joyful music of the Caribbean with which it began (rumour has it that on subsequent nights they alternated with the Jazz Band). Lennox selected some less well-thumbed numbers, and the Steel Band played the audience out into the night, dancing and swaying to the sounds of another, distant paradise.
Photo credit: Khalid al Busaidi
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