{"id":37617,"date":"2023-09-25T08:00:35","date_gmt":"2023-09-25T06:00:35","guid":{"rendered":"https:\/\/www.auxsons.com\/?post_type=focus&#038;p=37617"},"modified":"2023-09-25T10:47:45","modified_gmt":"2023-09-25T08:47:45","slug":"fayrouz-six-facettes-pour-le-joyau-du-liban","status":"publish","type":"focus","link":"https:\/\/www.auxsons.com\/en\/focus\/fayrouz-six-facettes-pour-le-joyau-du-liban\/","title":{"rendered":"Fayrouz : Six facettes pour le joyau du&nbsp;Liban"},"content":{"rendered":"<p><span class=\"dquo\">\u00ab<\/span>&nbsp;\u00c9meraude&nbsp;\u00bb (traduction litt\u00e9rale de son nom de sc\u00e8ne) de la musique arabe depuis les ann\u00e9es 1950, Fayrouz a acquis rapidement dans la r\u00e9gion un statut d\u2019ic\u00f4ne qui perdure, continuant de faire vibrer un public autant touch\u00e9 par la puret\u00e9 de sa voix que par le monde r\u00e9volu qu\u2019elle semble incarner. N\u00e9e Nouhad Haddad en 1934, la chanteuse libanaise a sign\u00e9 cinquante albums entre 1957 et 2017 comprenant bandes originales de com\u00e9dies musicales et d\u2019op\u00e9rettes, enregistrements live et studios et compilations \u00e0 travers une \u0153uvre prot\u00e9iforme m\u00ealant th\u00e9\u00e2tre, cin\u00e9ma, t\u00e9l\u00e9vision et musique. Petit tour d\u2019horizon au fil du temps et des genres.<\/p>\n<p>Tout commence pour Fayrouz au lendemain de l\u2019ind\u00e9pendance du Liban. Halim El Roumi \u2014 p\u00e8re de la chanteuse Majida El Roumi \u2014, r\u00e9cemment nomm\u00e9 directeur de la radio libanaise, rep\u00e8re parmi les membres de son choeur cette jeune femme au timbre d\u2019or p\u00e9trie de chants liturgiques maronites qui ne tarde pas \u00e0 collaborer avec les fr\u00e8res Assi (qui deviendra son mari) et Mansour Rahbani. Compositeurs, paroliers et arrangeurs, auteurs de programmes pour la radio, ces derniers font partie d\u2019un groupe informel \u2014&nbsp;comprenant entre autres Philemon Wehbe, Zaki Nassif et Rom\u00e9o Lahoud \u2014 qui vise, par le biais notamment du th\u00e9\u00e2tre chant\u00e9, \u00e0 d\u00e9velopper une identit\u00e9 musicale nationale cruciale pour un jeune pays longtemps noy\u00e9 dans de grands ensembles politiques r\u00e9gionaux. Point d\u2019orgue de cette dynamique, la cr\u00e9ation en 1957 des Nuits libanaises (Layali lebnanieh) au festival de Baalbek, critiqu\u00e9 par certains pour privil\u00e9gier jusque-l\u00e0 un r\u00e9pertoire principalement occidental convenant \u00e0 l\u2019image de \u00ab&nbsp;Suisse du Moyen-Orient&nbsp;\u00bb promue alors au pays du&nbsp;C\u00e8dre.<\/p>\n<p><strong>Fayrouz - <em>Raja\u2019in ya hawa<\/em> (1974 pour la version 45&nbsp;tours)<\/strong><\/p>\n<iframe title=\"Fairuz \u0641\u064a\u0631\u0648\u0632  \u0631\u0627\u062c\u0639\u064a\u0646 \u064a\u0627 \u0647\u0648\u0649\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/1LsDQ-5SM5o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>&nbsp;<\/p>\n<p>De Ayyam Alhasad \u00e0 Qasidet Houb, les op\u00e9rettes et com\u00e9dies musicales des fr\u00e8res Rahbani, men\u00e9es invariablement par Fayrouz aux c\u00f4t\u00e9s des g\u00e9ants que sont Nasri Chamseddine et Wadih Safi r\u00e9inventent ainsi l\u2019identit\u00e9 musicale du Liban par le biais d\u2019un r\u00e9pertoire exaltant la vie simple et id\u00e9alis\u00e9e de la montagne, celle qui n\u2019existe plus vraiment \u00e0 l\u2019heure de l\u2019exode rural et de la modernisation \u00e0 grands pas de la soci\u00e9t\u00e9\u2026 ou qui n\u2019a jamais v\u00e9ritablement exist\u00e9. Un paradis perdu mis en sc\u00e8ne tel un prolongement naturel du th\u00e9\u00e2tre dans deux films musicaux du r\u00e9alisateur \u00e9gyptien Henri Barakat, <em><strong><a href=\"http:\/\/www.youtube.com\/watch?v=pDpjRCwuzqI\" target=\"_blank\" rel=\"noopener\">Safar barlek<\/a><\/strong> <\/em>(1966, sur les pers\u00e9cutions ottomanes dans le Mont-Liban pendant la Premi\u00e8re guerre mondiale) et <em><strong><a href=\"http:\/\/www.youtube.com\/watch?v=WDmaVnrEN5k\" target=\"_blank\" rel=\"noopener\">Bint el hares<\/a><\/strong> <\/em>(1968, au ton plus l\u00e9ger), qui font suite \u00e0 <em><strong><a href=\"https:\/\/www.youtube.com\/watch?v=Vyh0LUIZdNs\" target=\"_blank\" rel=\"noopener\">Ya beya\u2019 al khawatim<\/a><\/strong> <\/em>de Youssef Chahine (1964) dans lequel la chanteuse fait ses premiers pas devant la cam\u00e9ra.<\/p>\n<p><strong>Fayrouz - <em>Ya ahl al dar<\/em> (<em>Safar barlek<\/em>, 1966)&nbsp;<\/strong><\/p>\n<iframe title=\"Fairouz - Ya Ahl el Dar - \u0641\u064a\u0631\u0648\u0632- \u064a\u0627 \u0627\u0647\u0644 \u0627\u0644\u062f\u0627\u0631\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/1DHcq4Fe690?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>&nbsp;<\/p>\n<p>C\u2019est ainsi un genre hybride que d\u00e9veloppent les fr\u00e8res Rahbani et interpr\u00e8te Fayrouz, m\u00e2tin\u00e9 initialement d\u2019influences traditionnelles, aux m\u00e9lodies relativement simples, hautement modernis\u00e9 par des formats courts o\u00f9 se retrouve une alternance couplet\/refrain loin des canons de la chanson arabe classique, et empruntant r\u00e9guli\u00e8rement au r\u00e9pertoire europ\u00e9en (Rodrigo et son Concerto de Aranjuez pour Li Beyrouth, Mozart et sa Symphonie n\u00b040 pour Ya Ana ya Ana) comme \u00e0 la musique latino-am\u00e9ricaine. Des morceaux \u00e0 la crois\u00e9e des univers qui contribuent \u00e0 la popularit\u00e9 de la chanteuse aupr\u00e8s d\u2019un large public, dans le monde arabe comme dans la diaspora levantine aux quatre coins du&nbsp;globe.<\/p>\n<p><strong>Fayrouz - <em>Li Beyrouth<\/em> (<em>Maarefti Feel<\/em>, 1987) <\/strong><\/p>\n<iframe title=\"Fairouz Li Beirut\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/7HlxqursgjU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>&nbsp;<\/p>\n<p>Parce qu\u2019elle glorifie un monde disparu, Fayrouz appara\u00eet encore aujourd\u2019hui comme le symbole d\u2019une utopie faisant fi des consid\u00e9rations politiques qui minent le Liban et la r\u00e9gion. \u00ab <em>L\u2019ambassadrice aupr\u00e8s des \u00e9toiles<\/em> \u00bb n\u2019en reste pas moins l\u2019interpr\u00e8te de chansons nationalistes \u00ab soft \u00bb c\u00e9l\u00e9brant son pays (<em>Bahebak ya Lubnan<\/em>, <em>Watani<\/em>) et surtout la Palestine avec l\u2019album<em> Al-Quds fi al bal <\/em>(<em>J\u00e9rusalem dans mon coeur<\/em>) sorti l\u2019ann\u00e9e de la d\u00e9b\u00e2cle de 1967, et dont<em> Zahrat al-mada\u2019in<\/em> et <em>Al-Quds al-atiqa<\/em> ont marqu\u00e9 des g\u00e9n\u00e9rations de sympathisants. Sans compter le tournant plus engag\u00e9 pris par les pi\u00e8ces de th\u00e9\u00e2tre chant\u00e9es pr\u00e9sent\u00e9es \u00e0 la m\u00eame \u00e9poque au festival de Baalbek et \u00e0 la Foire internationale de Damas \u2014 rendez-vous annuel qui contribuera grandement, par le biais de radiodiffusions de ces derni\u00e8res, \u00e0 la popularit\u00e9 de Fayrouz \u00e0 ses d\u00e9buts \u2014, un triptyque mettant \u00e0 mal le despotisme dans les pays arabes (<em>Ach-chakhs, Yaiche yaiche, Sah en-noum<\/em>). Plus \u00e9tonnant, c\u2019est avec <em>Lettre \u00e0 Jamila Bouhired<\/em> (<strong><em><a href=\"https:\/\/www.youtube.com\/watch?v=JEwV8tDr6sw\" target=\"_blank\" rel=\"noopener\">Rissala ila Jamila Bouhired<\/a><\/em><\/strong>, 1959), que la chanteuse libanaise rend hommage \u00e0 la r\u00e9sistante alg\u00e9rienne tortur\u00e9e par l\u2019arm\u00e9e fran\u00e7aise.<\/p>\n<p><strong>Fayrouz - <em>Zahrat al-mada\u2019in<\/em> (<em>Al-Quds fi al bal<\/em>, 1967)&nbsp;<\/strong><\/p>\n<iframe title=\"Fairouz - Flower among Cities \/ Zahrat al-Mada'in (English subtitles)\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/Nu2qxiFRJrQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>&nbsp;<\/p>\n<p>L\u2019effacement progressif de son \u00e9poux Assi, victime d\u2019un accident c\u00e9r\u00e9bral en 1972, coupl\u00e9 \u00e0 une collaboration croissante avec leur fils Ziad Rahbani, oriente Fayrouz vers un tournant jazz, comme en t\u00e9moigne l\u2019album <em>Wahdon<\/em> (1979), o\u00f9 figurent le <strong><a href=\"https:\/\/www.youtube.com\/watch?v=ZBVG7qDRfws\" target=\"_blank\" rel=\"noopener\">bijou \u00e9ponyme<\/a><\/strong> mais aussi l\u2019\u00e9pique <em>El Bosta<\/em>, (sampl\u00e9 quelques d\u00e9cennies plus tard par <strong><a href=\"https:\/\/www.youtube.com\/watch?v=coYMq0ILHIs\" target=\"_blank\" rel=\"noopener\">Abdelmalik sur <em>12 septembre 2001<\/em><\/a><\/strong>).<\/p>\n<p><strong>Fayrouz - <em>El Bosta<\/em> (<em>Wahdon<\/em>, 1979)&nbsp;<\/strong><\/p>\n<iframe title=\"Fairuz - Al Bosta\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/-wbLBZmL43Q?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>&nbsp;<\/p>\n<p>Le temps passant, la voix de Fayrouz se fait plus grave alors que la chanteuse s\u2019essaie \u00e0 des interpr\u00e9tations moins convenues que de coutume dans l\u2019album <em>Wala Kif<\/em> (2002) \u2014 toujours pilot\u00e9 par Ziad Rahbani \u2014 qui contient n\u00e9anmoins son lot de reprises de classiques latino-am\u00e9ricains comme <em>Shu Bkaf<\/em> (<em>Manha De Carnaval<\/em>) ou fran\u00e7ais avec <strong><em><a href=\"https:\/\/www.youtube.com\/watch?v=cRVgoacwqIE\" target=\"_blank\" rel=\"noopener\">Bizakker Bil Kharif<\/a><\/em><\/strong> (<em>Les feuilles mortes<\/em>).<\/p>\n<p><strong>Fayrouz - <em>Sabah w massa\u2019<\/em> (<em>Wala kif<\/em>, 2002)<\/strong><\/p>\n<iframe title=\"\u0641\u064a\u0631\u0648\u0632 - \u0635\u0628\u0627\u062d \u0648\u0645\u0633\u0627 | Fairouz - Sabah w massa\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/OScQsvBlOfQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>&nbsp;<\/p>\n<p>Si la r\u00e9putation d\u2019impartialit\u00e9 observ\u00e9e pendant la guerre civile libanaise rel\u00e8ve davantage d\u2019une l\u00e9gende soigneusement entretenue (on aime dire que Fayrouz cessa de chanter pendant le conflit : en r\u00e9alit\u00e9 elle se produisit \u00e0 l\u2019\u00e9tranger ainsi qu\u2019au Liban en priv\u00e9), plusieurs \u00e9l\u00e9ments lui conf\u00e8rent un statut de mythe : la douce nostalgie de ses paroles, qui touche bien au-del\u00e0 du public libanais ; sa tr\u00e8s grande discr\u00e9tion personnelle qui ne la fait exister dans la culture populaire que par le biais de sa voix cristalline et des captations de ses concerts ; et enfin sa long\u00e9vit\u00e9 qui fait d\u2019elle la derni\u00e8re des ic\u00f4nes de la chanson arabe du <span class=\"caps\">XX<\/span><sup>e<\/sup> si\u00e8cle.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p><span class=\"dquo\">\u00ab<\/span>&nbsp;\u00c9meraude&nbsp;\u00bb (traduction litt\u00e9rale de son nom de sc\u00e8ne) de la musique arabe depuis les ann\u00e9es 1950, Fayrouz a acquis rapidement dans la r\u00e9gion un statut d\u2019ic\u00f4ne qui perdure, continuant de faire vibrer un public autant touch\u00e9 par la puret\u00e9 de sa voix que par le monde r\u00e9volu qu\u2019elle semble incarner. N\u00e9e Nouhad Haddad en&nbsp;1934,<\/p>\n","protected":false},"author":271,"featured_media":39508,"menu_order":0,"template":"","format":"standard","meta":{"_acf_changed":false,"wp_typography_post_enhancements_disabled":false,"footnotes":""},"class_list":["post-37617","focus","type-focus","status-publish","format-standard","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Fayrouz : Six facettes pour le joyau du Liban - #AuxSons<\/title>\n<meta name=\"description\" content=\"\u00ab\u00a0\u00c9meraude\u00a0\u00bb (traduction litt\u00e9rale de son nom de sc\u00e8ne) de la musique arabe depuis les ann\u00e9es 1950, Fayrouz a acquis rapidement dans la r\u00e9gion un statut\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.auxsons.com\/en\/focus\/fayrouz-six-facettes-pour-le-joyau-du-liban\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fayrouz : Six facettes pour le joyau du Liban - 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