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Her birth date is unconfirmed, as birth registration was not enforced throughout the Arab world. The Egyptian Ministry of Information seems to have given either December 31, , or December 31, 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 memorized the entire book. When she was 12 years old, her father disguised her as a young boy and entered her in a small performing troupe that he directed.

At the age of 16, she was noticed by Mohamed Aboul Ela , a modestly famous singer, who taught her the old classical repertoire. A few years later, she met the famous composer and oudist Zakariyya Ahmad , who invited her to come to Cairo. Although she made several visits to Cairo in the early s, she waited until before permanently moving there.

She was invited on several occasions to the house of Amin Beh Al Mahdy, who taught her how to play the oud, a type of lute. She developed a very close relationship to Rawheya Al Mahdi, daughter of Amin, and became her closest friend.

Kulthum even attended Rawheya's daughter's wedding, although she always tried to avoid public appearances. Amin Al Mahdi introduced her to the cultural circles in Cairo. In Cairo, she carefully avoided succumbing to the attractions of the bohemian lifestyle, and indeed, throughout her life, stressed her pride in her humble origins and espousal of conservative values. She also maintained a tightly managed public image, which undoubtedly added to her allure.

At this point in her career, she was introduced to the famous poet Ahmad Rami , who wrote songs for her. Rami also introduced her to French literature , which he greatly admired from his studies at the Sorbonne , Paris , and eventually became her head mentor in Arabic literature and literary analysis.

Furthermore, she was introduced to the renowned oud virtuoso and composer Mohamed El Qasabgi. El Qasabgi introduced Umm Kulthum to the Arabic Theatre Palace, where she would experience her first real public success. In , her fame increased to the point where she embarked upon a large tour of the Middle East , touring such cities as Damascus , Syria; Baghdad , Iraq; Beirut and Tripoli, Lebanon.

Fame This unreferenced section requires citations to ensure verifiability. This section may contain wording that merely promotes the subject without imparting verifiable information. Please remove or replace such wording, unless you can cite independent sources that support the characterization. During her early career years, she faced staunch competition from two prominent singers: Mounira El Mahdeya and Fathiyya Ahmad, who had equally beautiful and powerful voices.

However, Mounira had poor control over her voice, and Fathiyya lacked the emotive vocal impact that Umm Kulthum's voice had. The presence of all these enabling vocal characteristics attracted the most famous composers, musicians, and lyricists to work with Umm Kulthum. In the mids, Mohammad el Qasabgi, who was the most virtuosic oud player and one of the most accomplished yet understated Arab composers of the 20th century, formed her small orchestra takht , composed of the most virtuosic instrumentalists.

Furthermore, unlike most of her contemporary artists who held private concerts, Umm Kulthum's performances were open to the general public, which contributed to the transition from classical, and often elitist, to popular Arabic music.

By , Umm Kulthum must have been one of the most famous singers in Egypt to be chosen as the artist to inaugurate Radio Cairo with her voice on May Over the second half of the s, two initiatives sealed the fate of Umm Kulthum as the most popular and famous Arab singer: her appearances in musical movies and the live broadcasting of her concerts performed on the first Thursday of each month of her musical season from October to June.

Her influence kept growing and expanding beyond the artistic scene: the reigning royal family would request private concerts and even attend her public performances. In , King Farouk I of Egypt decorated her with the highest level of orders nishan el kamal , a decoration reserved exclusively to members of the royal family and politicians.

Despite this recognition, the royal family rigidly opposed her potential marriage to the King's uncle, a rejection that deeply wounded her pride and led her to distance herself from the royal family and embrace grassroots causes, such as her answering the request of the Egyptian legion trapped in Falujah during the Arab-Israeli conflict to sing a particular song. Among the army men trapped were the figures who were going to lead the bloodless revolution of July 23, , prominently Gamal Abdel Nasser , who arguably was a fan of Umm Kulthum and who would later become the president of Egypt.

Early after the revolution, the Egyptian musicians guild of which she became a member and eventually president rejected her because she had sung for the then-deposed King Farouk of Egypt.

When Nasser discovered that her songs were forbidden from being aired on the radio, he reportedly said something to the effect of "What are they, crazy? Do you want Egypt to turn against us?

Some claim that Umm Kulthum's popularity helped Nasser's political agenda. For example, Nasser's speeches and other government messages were frequently broadcast immediately after Umm Kulthum's monthly radio concerts.

Umm Kulthum was also known for her continuous contributions to charity works for the Egyptian military efforts. Umm Kulthum's monthly concerts took place on the first Thursday of every month and 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. They are nothing short of epic in scale, with durations measured in hours rather than minutes. A typical Umm Kulthum concert consisted of the performance of two or three songs over a period of three to four hours.

In the late s, due to her age and weakened vocal abilities, she began to shorten her performances to two songs over a period of two-and-a-half to three 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 befit 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 romantic poet Ahmad Rami and composer Mohammad El-Qasabgi, whose songs incorporated European instruments such as the violoncello and double bass , as well as harmony.

Golden age 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 Aida, in 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 Lebanon and was the only serious competitor for Umm Kulthum before Asmahan's tragic 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 El-Sombati.

While Sombati 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. Umm Kulthum singing around In , Umm Kulthum defied all odds by presenting a religious poem in classical Arabic during one of her monthly concerts, "Salou Qalbi" "Ask My Heart" , written by Ahmad Shawqi and composed by Sombati. The success was immediate. It reconnected Umm Kulthum with her early singing years, defined Sombati's unique style in composing and established him as the best composer of music for poems in classical Arabic, toppling Mohammed Abdel Wahab.

Similar poems written by Shawqi were subsequently composed by Sombati and sung by Umm Kulthum, including "Woulida el Houda" "The Prophet is Born"; , in which she raised eyebrows of royalists by singing a verse that describes the Prophet Mohammad as "the Imam of Socialists ".

The song included quartets that dealt with both epicurism and redemption. While this is debatable, 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.

The duration of Umm Kulthum's songs in performance was not fixed, but varied based on the level of emotive interaction between the singer and her audience and Umm Kulthum's own mood for creativity. The spontaneous creativity of Umm Kulthum as a singer is most impressive when, upon listening to these many different renditions of the same song over a time span of five years — , the listener is offered a totally unique and different experience. This intense, highly personalized relationship was undoubtedly one of the reasons for Umm Kulthum's tremendous success as an artist.

Worth noting though that the length of a performance did not necessarily reflect either its quality or the improvisatory creativity of Umm Kulthum. Some of her best performances were minutes in duration, such as the three available renditions, including the commercial version of El Awwila Fi'l Gharam "First in Love" , and Ana Fi Intizarak "I am waiting for you" , commercial and performance. On the other hand, her songs as of the mids would extend sometimes over a duration of two hours premiere of Enta Omri, Enta el Hobb, etc.

It is located on the site of the former house of the singer. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. February Umm Kulthum has been a significant influence on a number of musicians, both in the Arab World and beyond.

Among others, Jah Wobble has claimed her as a significant influence on his work. Bob Dylan has been quoted as saying, "She's great. She really is.

Really great. Umm Kulthum is remembered in Egypt, the Middle East, and the Arab world as one of the greatest singers and musicians to have ever lived. It is difficult to accurately measure her vocal range at its peak, as most of her songs were recorded live, and she was careful not to strain her voice due to the extended length of her songs.

Even today, she has retained a near-mythical status among young Egyptians. Housed in a pavilion on the grounds of Cairo's Manesterly Palace, the collection includes a range of Umm Kulthum's personal possessions, including her trademark sunglasses and scarves, along with photographs, recordings, and other archival material.

Aghadan alqak "Shall I see you tomorrow? Come on!

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oum kalthoum sirat el hob mp3 gratuit

Oum Kalsoum se produit dans les petits théâtres de la capitale et sa destinée finit par croiser celle du poète Ahmed Rami, à qui elle doit son initiation à la littérature française ainsi que pas moins de chansons, et du joueur de luth Mohamed El Qasabji qui ouvre à Oum Kalsoum les portes du Palais du Théâtre Arabe au milieu des années Le fait que les concerts de Oum Kalsoum soient gratuits au grand public a beaucoup contribué à la renommée de la chanteuse. Sa consécration est telle que la famille royale lui réclame des concerts privés mais assiste également à ses scènes publiques. Profondément blessée et humiliée par ce rejet, Oum Kalsoum se distance de la famille royale dès lors. Le succès de ce poème religieux attendu est immense.

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