La ya habibi oum kalthoum biography

At a young age, she showed exceptional singing talent. Her father, an Imam, taught her to recite the Qur'an, and she is said to have memorised the entire book. W… read more.

La ya habibi oum kalthoum biography: Umm Kulthum was an Egyptian singer,

Oum Kalthoum was born in Tama… read more. Similar Artists Play all. Trending Tracks 1. Loading player…. Play Next. Scrobble from Spotify? Archived from the original on 16 January Arab News. Retrieved 8 August Retrieved 8 September Retrieved 29 June Archived from the original on 24 December Retrieved 23 December The Independent.

La ya habibi oum kalthoum biography: Kalthoum, Oum Kalsoum, Oum Kalthum, Omm

Retrieved 30 August Retrieved 23 October For me, through Umm, Egypt became more than a country, it is a concept of meeting, of sharing what we have in common. Retrieved 18 March Retrieved 6 January Asharq al-Awsat. Archived from the original on 21 November Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved 28 April Sources [ edit ].

Danielson, Virginia Chicago: University of Chicago Press. Virginia Danielson. Halfaouine: Boy of the Terraces film, This DVD contains an extra feature short film that documents Arab film history, and it contains several minutes of an Umm Kulthum public performance. Al-Ahram Weekly. Archived from the original on 29 August Retrieved 22 October Great Lives.

BBC Radio 4. Witness Podcast. Archived from the original on 8 September Retrieved 13 July Arabic Song Lyrics. Archived from the original on 8 February Retrieved 27 August External links [ edit ]. Wikimedia Commons has media related to Umm Kulthum. Portals : Egypt Biography Music. Authority control databases. Trove DDB. Hidden categories: Articles containing Egyptian Arabic-language text Pages with Egyptian Arabic IPA Wikipedia articles incorporating the Cite Grove template Wikipedia articles incorporating the Cite Grove template without a link parameter CS1 maint: bot: original URL status unknown CS1 Arabic-language sources ar Webarchive template wayback links Articles with short description Short description is different from Wikidata Use dmy dates from October Articles containing Arabic-language text Articles with hCards Pages using infobox musical artist with associated acts All articles with unsourced statements Articles with unsourced statements from October Commons category link is on Wikidata.

Toggle the table of contents. Umm Kulthum. Egyptian musicclassical. Umm Kulthum was also known for her continuous contributions to works supporting the Egyptian military efforts. Untilfor about half a century she gave at least one monthly concert. Umm Kulthum's monthly concerts were renowned for their ability to clear the streets of some of the world's most populous cities as people rushed home to tune in.

Her songs deal mostly with the universal themes of love, longing and loss. A typical Umm Kulthum concert consisted of the performance of two or three songs over a period of three to four hours. These performances are in some ways reminiscent of the structure of Western opera, consisting of long vocal passages linked by shorter orchestral interludes.

However, Umm Kulthum was not stylistically influenced by opera, and she sang solo most of her career. During the s her repertoire took the first of several specific stylistic directions. Her songs were virtuosic, as befitted her newly trained and very capable voice, and romantic and modern in musical style, feeding the prevailing currents in Egyptian popular culture of the time.

She worked extensively with texts by romance poet Ahmad Rami and composer Mohammad El-Qasabgi, whose songs incorporated European instruments such as the violoncello and double bass, as well as harmony. In she made her la ya habibi oum kalthoum biography as an actress in the movie Weddad by Fritz Kramp. During her career, she would act in five more movies, of which four would be directed by Ahmad Badrakhan while Sallama and Fatma would be the most acclaimed.

Umm Kulthum's musical directions in the s and early s and her mature performing style led this period to becoming popularly known as "the golden age" of Umm Kulthum. In keeping with changing popular taste as well as her own artistic inclinations, in the early s, she requested songs from composer Zakariya Ahmad and colloquial poet Mahmud Bayram el-Tunsi cast in styles considered to be indigenously Egyptian.

This represented a dramatic departure from the modernist romantic songs of the s, mainly led by Mohammad El-Qasabgi. Umm Kulthum had abstained from singing Qasabgi's music since the early s. Their last stage song collaboration in was "Raq el Habib" "The lover's heart softens"one of her most popular, intricate, and high-caliber songs. The reason for the separation is not clear.

It is speculated that this was due in part to the popular failure of the movie Aidain which Umm Kulthum sings mostly Qasabgi's compositions, including the first part of the opera. Qasabgi was experimenting with Arabic music, under the influence of classical European music, and was composing a lot for Asmahan, a singer who immigrated to Egypt from Syria and was the only serious competitor for Umm Kulthum before Asmahan's death in a car accident in Simultaneously, Umm Kulthum started to rely heavily on a younger composer who joined her artistic team a few years earlier: Riad Al-Sunbati.

La ya habibi oum kalthoum biography: Oum Kalthoum was born in

While Sonbati was evidently influenced by Qasabgi in those early years, the melodic lines he composed were more lyrical and more acceptable to Umm Kulthum's audience. InUmm Kulthum defied all odds by presenting a religious poem in classical Arabic. The success was immediate and it reconnected Umm Kulthum with her early singing years.

Similar poems written by Shawqi were subsequently composed by Sonbati and sung by Umm Kulthum, including Woulida el Houda ["The Prophet is Born"]in which she surprised royalists by singing a verse that describes Muhammad as "the Imam of Socialists ". The song included quatrains that deal with both epicurianism and redemption. Ibrahim Nagi's poem "Al-Atlal" ["The Ruins"] was sung by Umm Kalthum in a personal version and in a melody composed by Sonbati and premiered inis considered a signature song of hers.

As Umm Kulthum's vocal abilities had regressed considerably by then, the song can be viewed as the last example of genuine Arabic music at a time when even Umm Kulthum had started to compromise by singing Western-influenced pieces composed by her old rival Mohammed Abdel Wahab. Her subsequent radio performances were to catapult her to the pinnacle of Egyptian stardom.

In the late s, she began broadcasting a weekly Thursday-night concert over the radio, a tradition that she maintained until As her popularity increased, Kalthum began commissioning songs from Egypt's best composers that were based on poems she selected. She appeared in five films between andand was named a member of the Listening Committee, a group that chose the music played on Egyptian radio.

She was elected president of the Egyptian musician's union in the s. Following Egypt's defeat by Israel in the war, Kalthum conducted an international tour beginning in Paris, France, to raise funds for Egypt. During the s, Kalthum's health began to deteriorate. She postponed concerts in andand retired from performing after she felt faint during a December of concert.

She subsequently sought medical help for a kidney condition in Europe and the United States, and, inplanned to premiere a new musical piece entitled "Hakam Alayna al-Hawa. After suffering from such physical ailments as kidney and gall bladder problems and light-sensitive eyes for much of her life, Kalthum finally succumbed to a kidney attack in February of Her funeral was a national event, which was attended by more than three million mourners.

While her remains were carried along a three-hour route to the mosque of al-Sayyid Husayn, mourners took her body from the official pallbearers and passed it from one to another for the duration of the journey. Kalthum's musical legacy continues to thrive in the Middle East, largely due to Egyptian radio's continued broadcasts of her music on the first Thursday of every month, as well as continuous airplay on Israeli radio broadcasts for Palestinian audiences.