Re: 31 مايو 1968 تونس قصر المنتزة الحفلة الأولى :* الأطلال* فكروني *
It is always nice to listen to the excited and emotional reaction of the audience to Umm Kulthum's singing, but there is a fine line between a refined, genuine reaction that emanates out of tarab and a hysterical reaction that seems pushed. As much as I like her Tunis's, especially Morocco's performances, the public was too extreme, as in Paris. A similar, but to a lesser extent behaviour happens in her concerts in Lebanon, although back in the 1950s and early 60s, her performances were very intense from a tarabic perspective, which could justify the audience reaction. On the other hand, the Kuwaiti and Syrian audiences are much more paused. In my opinion, the Syrian audience is the best: the people know exactly when and how to react. No wonder Umm Kulthum's best performances for many of her songs were in Syria, including Ya Dhalemni (the Aley is the also amazing), Ruba3iyat el Khayam, and dalili i7tar. What a loss to us all that Umm Kulthum stopped performing in Syria after 1959 for political reasons. I am sure that we could have listened to the most wonderful performances of the following songs had she continued singing there: "houwa sahih", lessa faker", 'hayyart qalbi", and "Al atlal". If we draw a comparison, Fairuz ignored the political upheaval that surrounded her performances of "Sah ennaoum" in Damascus these days, and I'm glad she did, cause she is a singer for all the people, and not for regimes.
SALAM!
Alfred
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