Celebrating Arab women in music

On Thursday evening, the Royal Opera House Muscat celebrated the achievement of Arab women in music with a three-hour Gala Concert. It presented Omani musicians and guest artists from Tunisia and Morocco to a culturally diverse audience of women and men from the wider Arab world among others.

The opening item after a short delay was a refreshing surprise. Two young marimba players from the Muscat Royal Philharmonic Orchestra performed a contemporary minimalist composition (of repeating phrases) by Mexican-Indian/Latino, Alice Gomez from Alaska, “Fission for Marimba Duet”. In matching purple dresses and red scarves, Suad bint Amur al Shekailiya and Al Anoud bint Amur al Musallamiya preformed this gently hypnotic, diatonic melody in pin-drop silence.

The short percussion presentation was followed by six members of the ‘Ladies’ Chamber Ensemble’, dressed in ROSO’s signature red and green attire. First violinist Najla bint Nasser al Rahbiya selected Vivaldi’s extremely challenging, Violin Concerto No.10 in B minor, with Ilham bint Salim al Toqiya as Leader. Despite the tricky intonation, the ensemble settled into a fine performance of this substantial Baroque work. It was lovely to see Oman-born pianist, Jokha al Naabiya, venture onto Harpsichord in a Continuo role with ROSO’s superb Cellist, Hanan bint Sultan al Masrooriya. The audience lost some focus, but the fugato slow section allowed some commendable ensemble playing, leading to a warm swell of sound, together with violinists, Safiya al Busaidiya and Juhaina al Balushiya.

The stage was rearranged for the ‘Omaniyat Arab Music Group’ from SQU with a medley of Omani and international pieces arranged by pianist, Malouk al Nofliya. Everyone recognised the opening ‘Lambada’ which featured an impressive keyboard solo introduction, with two Oud players, Ekhlas al Yaqoubiya and Fatema al Balushiya. The popular, ‘Weleiah’ heard the full Quintet with lush Qanoon sweeps from Suaad bint Subiet al Alawiya. Most of the pieces featured flute melodies from Omayma al Yaqoubiya, who also arranged the final folk song in the set, ‘Saut Lil Nahdhati Nada’.

Like a breath of fresh air, the rousing ten-piece, ‘Almas Ladies’ Ensemble’ from Tunisia filed on stage to perform their set. Comprising three percussionists and two backing singers, they were dressed, mostly open-haired, in French Gendarme-inspired white and red costumes. The opening instrumental, ‘Otr al Ghajar’, by Anwar Ebrahim featured the prominent Qanoon playing of Hana Felhi, while keyboard player, Fatma Ben Hsan, had a dual role, playing walking bass lines in her left hand. Fiddle player Rim Belhedi had a stunning solo over Qanoon as the singer, Nadiya Khalees in golden gown, swept on stage. She addressed the audience, saying how happy they were to be in the Opera House. The second song, the popular, ‘Nisaya’ opened with a reflective Oud solo from Marwa Tayeb over pizzicato fiddles and backing singers, with Nadiya’s expressive, descriptive voice rising above the whole orchestra and captivating listeners.

It was followed by the more typically Arabian, ‘Marsoud al Hob’, opening with a long, evocative solo fiddle in Maqam Bayati, then a faster section with rhythmic Arabian percussion – and an increasingly booming bass.

The performance ended, but ‘Almas’ were so good they could have had a concert to themselves!

After the interval the very special guest star, Samira Said, performed for over an hour. Luckily she did have a concert to herself the following night with her 25 male musicians under conductor and ace keyboardist, Montassir Hmala. “Noted for the tonal beauty of her voice”, Samira in fact has huge personality, charisma and stage presence. There was a full orchestral intro, complete with Kit Drum (Hamid El Mrini), Bass Guitar (Abdellah Bissiouak) and five backing singers. Samira Said walked on stage, a fresh young Maid Marion wearing a tiara on her hair and sparkly black tunic with waistband, bringing greetings from Morocco and praising the lovely theatre. Her first song, the 2015 hit, “Hawa Hawa” was a very popular Arabian-Rock. It was followed by a French-influenced Jazz number from her album, “Khaifa”, performed with seductive gesture and some fine jazz piano, with the audience joining in the chorus. Evoking an Edith Piaf of the Arab World with Accordion sound and Electric Guitar break from Oussama Gazoulit, Samira had won over any sceptics still left in the House.

In a more traditional Arabian sound, “Bisalama El Salama” featured Adil Ech-Charfi on Nay and keyboard effects from Chakib El Bezzari. A surprise drum intro, “Ma Hasalshi Haga” had a veritable Reggae rhythm while “Weli” moved back into Arab-Rock vein with a long, intricate violin solo from Mohcin Nous. Throughout her programme, Ms Said demonstrated her wide emotional and dynamic range - sometimes with wordless vocalisations or pyrotechnics, and in her popular, award-winning hit song, “Lila Habibi” (One Night, My Love) she moved front of stage with her fast patter, closer to her fans. The penultimate number was exceptional: Following an improvised jazz introduction and applause for Maestro Hmala, Ms Said sang so tenderly and quietly, with intimate poignancy, that the hall fell silent — until the Final Curtain Call for the whole cast in a reprise of, “Hawa Hawa”. 2019 was a massive achievement for Omani women and the ROHM; one only dares wonder what 2020 will bring.