"Planet of the East" or "Neighbor of the Moon"... Who is first?
- Sulaiman Al-Diqan: The differences between them become more pronounced in the nature of the music and the style.
- Amani Al-Hajji: I lean toward Fairuz’s voice... Her songs are distinguished by their adaptability to multiple styles.
- Ammar Al-Bunni: Umm Kulthum represents the Eastern classical school... while Fairuz represents the “innovative” school.
- Tarek Al-Shanawi: In the Levant, people tend more to listen to Fairuz... while in the Arab Maghreb and North Africa, they prefer Umm Kulthum’s songs.
- Hassan Dunya: They are eternal musical pyramids that cannot fall into the circle of oblivion.
- Samar Kamouj: Fairuz relaxes me more... while Umm Kulthum is the choice if I want to learn music and difficult performance techniques.
- Eli Al-Ali: Umm Kulthum is unique and singular in the realm of musical charm... while Fairuz has a classical and versatile voice.
Between the “Star of the East” and the “Moon’s Companion,” a long journey by bus for more than “One Thousand and One Nights,” stopping at “The Ruins” and losing “our names” along the way.
And between those who find Fairuz to be the “morning coffee” and Umm Kulthum the “evening mood,” Al-Rai opened the floor to the question: “Which is better... and to whom does the Arab listener lean?” This comes after the voice of the late Umm Kulthum has been immortalized, and the “Fairuziyyat” remain alive, much like their singer.
Stations in Kuwait, Cairo, and Beirut stopped to survey the opinions of critics, academics, musicians, and artists, in an attempt to find an answer to this perplexing question.
We close this episode with a curtain call on a series of opinions that sailed in the worlds of two women who carved their names into the rock of glory in Arab musical charm, demonstrating that each has its own characteristics and unique musical school.
The musician Sulaiman Ghannam Al-Diqan began the final episode with his view that Umm Kulthum and Fairuz represent two different schools, each with its own specificity and musical identity, with the Arabic language as a common element between their experiences. He said: “Both are different schools in every respect; they may share the Arabic language, but the Lebanese dialect has its own way of presenting, and the Egyptian dialect has its own style as well.”
Al-Diqan clarified that the differences between them are more pronounced in the nature of the music and the style in which each presented her songs, noting that “Umm Kulthum’s music has a more Eastern character, while Fairuz is orchestral, symphonic, or harmonic, with a different character in her music.” He believes that this difference gave each experience its own identity, as Umm Kulthum maintained her Eastern character, while Fairuz’s experience moved toward a musical space more open to orchestral and harmonic styles.
He pointed out that this stylistic divergence does not necessarily allow for comparison between them, emphasizing, “They are two schools; each is a pyramid in itself, and it is difficult to say that one is better than the other.” He stressed that the value of both experiences lies in their differences and each one’s ability to achieve its presence and success, rather than viewing them from the perspective of who excels over the other.
For her part, Amani Al-Hajji, a vocal coach for solo and group singing and an opera singer, said she leans toward Fairuz’s voice, “because her voice is close to mine, and because she leans toward the Western color, and her songs are a mix of Western and Eastern.” She added that Fairuz’s songs are distinguished by their ability to be performed in more than one style, explaining: “Her songs can be sung in an operatic way, or a blend of opera and light music can be integrated.”
On the other hand, Al-Hajji emphasized that her preference for Fairuz does not diminish Umm Kulthum’s status, praising her voice and artistic abilities. She said: “Umm Kulthum is impeccable; she is one of the voices that, if I were to speak about her, I would not do her justice, as she is a powerful voice with a golden throat and an amazing vocal range.”
She noted the distinct musical style offered by Umm Kulthum, stating, “The type of singing she presents is purely Eastern, of the heaviest caliber, which reminds us of the good old days.” She also spoke about Umm Kulthum’s stage presence, adding, “Her presence on stage is intoxicating; therefore, Umm Kulthum is among the voices that, once heard, you do not wish to stop listening to.”
For his part, musical arranger Ammar Al-Bunni believes that comparing Umm Kulthum and Fairuz is essentially a comparison between two experiences that represent peaks in two different musical schools, each with its own characteristics and tools. He said, “The difference between the two schools is very great, and of course, this is a comparison between the peaks of the two schools.”
Al-Bunni clarified that Umm Kulthum represents the Eastern classical school, which relies on the Eastern takht (orchestra), tarab (musical ecstasy), sultana (a traditional vocal style), and improvisation, alongside the development of Arabic musical forms such as the dawr and the mawwal. Her experience was also linked to the extended song and interaction with the audience, which grants the performer and musician greater space for tarab, improvisation, and interaction during the performance.
In contrast, Al-Bunni views Fairuz as representing the modernist school, particularly through her experience with the Rahbani brothers, which was based on a mix of “Levantine folklore, Western classical music, and jazz.” He points out that this musical structure also relied on harmony and dimensions accompanying the main melody, along with discipline and adherence to the text and melody without improvisation, which gave her experience a different form in song construction and performance.
Al-Bunni adds that Fairuz’s songs are generally concise and not extended, with many of her examples lasting no more than five minutes, focusing clearly on meaning and directed melodic phrases, rather than long spaces that allow for repetition and improvisation. He believes that this difference in song duration, structure, and performance method reflects a fundamental difference between the two schools, emphasizing that each has its own tools for expression and reaching the listener.
Al-Bunni stresses that discussing the differences between the two experiences could be lengthy, noting that he is offering a summary of the most prominent features that distinguish each school in this comparison, considering that Umm Kulthum and Fairuz represent artistic peaks in two different musical paths.
In Egypt, critic Tarek Al-Shenawi said he is an enthusiast of listening to both icons, Umm Kulthum and Fairuz, as there are times when he loves to listen to the songs of the “Star of the East,” and at other times he listens to the “Neighbor of the Moon.”
He continued, “Regarding Umm Kulthum, I like certain songs from the 1930s and 1940s, such as ‘Raq al-Habib’ and ‘Madam Tahib Tinkar Leh.’ I also enjoy the journey of Baligh Hamdi and Abdel Wahab in the 1960s, and I believe that songs like ‘Alf Leila wa Leila’ and ‘Enta Omri,’ along with other songs from the 1960s by Umm Kulthum, are more modern. The new generation is more inclined toward this phase, which is characterized by playfulness. Meanwhile, older generations tend more toward the sultana songs from the early stages of Umm Kulthum’s career.”
Al-Shenawi then turned to discussing Fairuz, saying, “I love listening to Fairuz, whether she is singing for the Rahbani brothers or for her son Ziad, with the same passion. If we look at Fairuz’s history, we will find that she crafted her personality with Assi and Mansour Al-Rahbani, and vice versa. Then Ziad came, completed the journey, and created a different phenomenon for her.”
He noted that in the Levant, represented by Lebanon, Syria, Jordan, and Palestine, people tend more to listen to Fairuz, whereas in the Maghreb and North Africa, they lean more toward Umm Kulthum’s songs.
For his part, Egyptian composer Hassan Diab noted that, as a musician, he enjoys listening to Fairuz and Umm Kulthum, emphasizing that each has a distinct musical flavor. “They emerged during a difficult era, before significant technological advancements, relying solely on their voices and talents, which is what allowed them to endure,” he said.
Diab continued, “Umm Kulthum, for instance, began her career singing without a microphone. She was a memorizer of the Holy Quran, read collections of Arabic poetry, and educated herself. This undoubtedly influenced her career and artistic choices, enabling her to endure despite more than half a century having passed since her death.”
He added, “Fairuz trained with a church choir, and her collaboration with the Rahbani brothers significantly shaped her career. She sang in difficult musical genres, such as jazz, in her songs with Ziad Rahbani.”
Diab stressed that he sees both Umm Kulthum and Fairuz as united by “excellent management of their talent and the intelligence with which they handled it,” which positively impacted their careers. “Therefore, I consider them eternal musical pyramids that will never fade into oblivion.”
Turning to Beirut, singer Samar Kamouj spoke about her relationship with the two legendary voices. She said, “Fairuz is more soothing if I want to relax. But if I want to learn music, to study difficult and important performance techniques, then undoubtedly Umm Kulthum. If I want to become highly professional, I listen to Umm Kulthum, because I learn things from her that I cannot learn from anyone else. It is Umm Kulthum.”
She added, “But Fairuz is closer to my heart because her voice and songs are not affected by affectation. They reach the heart quickly. We feel the simplicity in her voice, her songs, her lyrics, and the melodies composed by the Rahbani brothers. This is what makes me adore Fairuz.”
For his part, Maestro Eli Alia began his remarks by discussing techniques in an accessible manner, avoiding excessive complexity. He said, “The voice of (the Star of the East) Umm Kulthum is quintessentially ‘tarab’ (musical enchantment). This means it possesses several qualities, the most important being that it is a pliable voice in terms of ‘i’rab’ (vocal ornamentation and precise articulation). We do not feel that she exerts effort to create i’rab in a musical phrase; rather, it comes fluidly.”
Continuing his discussion of Umm Kulthum, he added, “She also possesses the talent to deliver i’rab at the precise moment, compelling the audience to exclaim ‘Ah.’ Anyone who possesses all these qualities has a tarab-inducing voice. Furthermore, her voice is broad. A broad female voice has a permanent presence, and when a voice is broad and delivers i’rab without affectation, it inevitably elicits an ‘Ah’ from listeners because it enchants us.”
He continued, “Certainly, alongside this voice, it is essential for composers to know how to utilize it in musical phrases, thereby conveying its beauty and the strength of its owner to the audience. All these elements came together to make Umm Kulthum unique and unparalleled in the realm of tarab in the Arab world.”
He added, “As for Ms. Fairuz, her voice is classical and also pliable. In my opinion, despite the beauty of her vocal timbre and technique, and the way she transitions from chest voice to head voice (voix de tête, voix de gorge) without the listener noticing, this is also credited to her.”
He continued, “But there is another element, more important than all others, that cannot be taught to anyone. This is where her talent lies, and that element is nuance. Not everyone can master it. It is not limited to singing alone, but applies to our daily lives as well—knowing when to raise one’s voice and when to calm down. Whoever knows how to do these things is a talented person. Everything in life involves nuance. This is a gift from God. A person who knows when to run, when to walk, when to hurry, and when to slow down; Fairuz possesses this God-given talent, which He has not granted to many. She has the ability to ascend and descend with vocal precision and to shape musical phrases. All of this makes Fairuz exceptionally distinctive, thereby helping her convey the phrase within the broader artistic canvas of lyrics and melody.”
Al-Aliya added, “Furthermore, the collective presence of the Rahbani brothers—Wadih, Mansour, Elias, and Ziad—and their interaction with Fairuz’s voice enabled them to convey the images they sought, leveraging the unique talent Fairuz possessed.”
He continued, “In addition to the classical elegance Fairuz embodies, she managed to sing a folk song and make it resonate with people, without diminishing the value of her voice. She preserved the worth and technique of her voice in folk songs just as she did in classical ones. This is a merit credited to Fairuz, as well as to those who composed for her. I also do not want to forget Filmon Wahbi, who gave Fairuz some of her most beautiful songs.”
Sulaiman Al-Diqan pointed out that the overlapping careers of Umm Kulthum and Fairuz during a relatively close timeframe constituted an important aspect of Arabic singing history. He stated, “It is beautiful that they were roughly contemporaneous, each achieving her own success. Moreover, their enduring presence to this day confirms the status of each as an independent artistic school, making comparisons between them closer to comparing two distinct experiences in identity and style, rather than searching for one artist who is superior to the other.”
Amani Al-Hajj clarified that her affinity with Fairuz is not limited to vocal timbre, but extends to various aspects of her artistic experience. She said, “Fairuz represents my ideal in singing in terms of melody, lyrics, performance style, and vocal coloring. She is also close to the operatic style as a singer, given my love for a clear, refined voice.”
Critics Tariq Al-Shanawi considered that “Fairuz created a phenomenon among Egyptians and holds a special place in their hearts, despite her singing in the Lebanese dialect. Even her renditions of some of Sayed Darwish’s songs were delivered in her own distinctive manner.”
Eli Al-Aliya said, “I often hear people say that Fairuz is best heard in the morning, and that Fairuz is beautiful in the morning. However, I want to assert something I am certain of, based on a study I conducted and personal experience: Fairuz is the only artist one can listen to for twenty-four hours straight.”
He added, “In my view, the value of Umm Kulthum does not rest solely on the power of her voice, but extends to her ability to express human emotions in their various forms.”
For her part, artist Entesar stated that she regards Umm Kulthum as one of the most significant icons of Arabic art. She believes that the secret to her enduring presence in the public consciousness lies in her rare ability to transform a song into a narrative that listeners experience in all its details.
Singer Nasma Mahgoub holds a special appreciation for Umm Kulthum’s experience, particularly from musical and vocal perspectives. She believes that “the ‘Star of the East’ was a complete school of performance, and approaching her songs requires a high level of awareness regarding details, starting from the articulation of words and extending to emotional sensitivity and vocal control.”
For his part, artist Mohamed Farag said that his connection to Umm Kulthum’s songs is rooted in memory and emotion above all else. “There are voices that don’t require a special occasion for us to listen to them, because over time they become part of our personal lives,” he explained.
On another note, actress Yasmin Ra’afat expressed her particular love for Fairuz’s songs, noting that her voice possesses a unique ability to alter the listener’s mood. As soon as Fairuz begins to sing, the rhythm of the day shifts, bringing a sense of calm and comfort.
She added, “Fairuz’s beauty lies in her simplicity; she doesn’t need exaggeration to reach the heart. Her voice alone is enough to evoke nostalgia and a sense of tranquility.”
“I am devoted to Fairuz,” singer and actress Laya Suweidan declared, affirming her love for Fairuz’s music. She emphasized that she enjoys listening to her at all times, not only in the morning as is commonly believed, but whenever she seeks peace and serenity.
Suweidan also expressed deep admiration for Fairuz’s collaborations with the late Ziad Rahbani, considering that working with Ziad transformed her from purely classical Rahbani style into something infused with a modern spirit.
For her part, artist Nermine El-Fiky views Fairuz as one of the voices intertwined with the memories of entire generations. She stressed that Fairuz’s songs have a special power to transport listeners back to specific moments, as if the music itself can preserve memories within it.
Meanwhile, artist Kanda Aloush believes that Fairuz represents a rare artistic phenomenon that has transcended time and borders. Her voice is not tied to a particular age group or generation; rather, it remains capable of reaching listeners regardless of their musical tastes.
She added, “Fairuz’s songs carry a touch of nostalgia for simple things—old streets, homes, meetings, and memories—which gives them an exceptional ability to endure.”
