2023-10-08 18:10:20
Source: Kataeb.org
Writer: Pierre Al-Bayeh
It is a night, to say the least, that it comes from the heart and goes directly to hearts thirsty for true art and beautiful times.
It may be one of the few times that I am unable to describe the joy that filled the Ambassadors Hall at the Casino du Liban, which was ignited by the star and icon of the Lebanese popular song, Zein Al-Omar, first with his sincere love and affection, which was evident through his spontaneous communication with his fans, something that we have begun to miss with artists who lack a lot. To deserve the title of stardom.
Yesterday, we laughed and took a long walk along the paths of beautiful memories. We returned to the school desks when he sang “Zati Anak hal-Mariul” and we applauded for a long and very long time for Aayel, who tickled in us the longing for first love.
Because loyalty is one of Zein Al-Omar’s traits, the tribute was to the late musician Melhem Barakat, as he performed his songs with great feeling, especially the song “Oh My Silence,” in which he conveyed with his voice the pain of an aching nation and the pain of a people who had spent a long night.
Zain Al-Omar, as usual, did not forget our heroic army spread over the entire territory of 10,452 km, and he performed the most wonderful patriotic songs. His diamond voice flowed with a strange magic while he performed the Rahbani brothers’ masterpiece, “It Surprises the World.” The hall erupted with applause mixed with that patriotic feeling, especially since this song had been composed specifically for the Lebanese army in the late fifties and early sixties of the year. last century as a tribute to our heroic army after the failed coup attempt carried out by Syrian nationalists at the time, in which the army paid seven of its members as martyrs.
What made our night even more joyful was the dabke band that accompanied Zein Al-Omar’s throat, bringing to mind the scenes of Lebanese dabke bands on the steps of Baalbek. What a beautiful moment it was when Zain Al-Omar shouted to the dabke band, “Where are the Baalbeks?”
In short, many factors contributed to the dazzle that the Casino Du Liban witnessed yesterday, firstly the distinguished presence of the artist Zein Al Omar and the Lebanese song in particular, in addition to the great longing after the long absence.
The decoration that decorated the screens changed with each song according to its color and content, which added a lot of romance to the concert.
The precision of the organization and the good reception of the attendees, who included many political, media and social activities, indicates that the artist Zain Al-Omar brings together all societal groups, and this is rarely found in Lebanese artists today, even among those who call themselves first class.
Behind all this work, there is the other half of Zain Al-Omar, his lifelong companion, and the wing without whom one cannot fly, Elie Hadchiti, who did not lose sight of every stray and incoming thing throughout the evening for a moment, as he followed the smallest details until things proceeded with the perfection that characterized the ceremony.
After yesterday’s concert, it is obvious that the question should be directed to the organizers of large festivals and parties in Lebanon: Why is this high level of Lebanese arts being absent and the low-level arts being lured from abroad?
Why exclude those who are entrusted with the Lebanese folk song and heritage and bring in artistic identities that do not resemble our Lebanon?
In conclusion, the Lebanese song and the Lebanese identity received a large amount of oxygen yesterday and life returned to it, even if only for a few hours.
Pierre Al-Bayeh
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