Inside Ziad Rahbani's family: Generations of musical talent
The first generation: Feyrouz and the Rahbani Brothers
Ziad's mother: the Lebanese icon Fairuz (born in 1934)
Iconic singer and actress, one of the most celebrated Arab singers of the 20th century.
His Father: Assi Rahbani (1923-1986)
Composer, producer and conductor. Along with his brother Mansour Rahbani (Ziad's uncle), known together as the Rahbani Brothers, they wrote and composed lots of the songs and plays that Fairouz performed.
His uncles on his father's side:
Mansour Rahbani (1925-2009)
Composer, philosopher, poet and producer, known as one of the Rahbani Brothers.
Elias Rahbani (1938 - 2021)
Composer, songwriter, orchestra conductor, and reality television personality. Younger brother of Assi and Mansour.
Singer and actress, known for her songs and for her work with the Rahbani Brothers and Fairuz, among others.
The second generation
Ziad's sister: Reema Rahbani (born in 1965)
Lebanese film director and writer. Ziad and Rima have two other siblings: Layal (1960-1988) and Hali (born in 1958).
His cousins
Elias' sons: Ghassan Rahbani (born in 1964)
Lyricist, composer, producer, orchestra conductor, singer and pianist.
Jad Rahbani (born in 1968)
Composer, writer, musical arranger.
Mansour's sons: Oussama Rahbani (born in 1965)
Composer and producer.
Ghady Rahbani (born in 1960)
Composer, poet, writer, conductor, and producer. He contributed to several musical plays.
Marwan Rahbani (born in 1958)
Composer, writer, director, and film and theater producer.
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L'Orient-Le Jour
18 hours ago
- L'Orient-Le Jour
Death of Ziad Rahbani: How the Arab and international press reacted
BEIRUT — The death of Ziad Rahbani has plunged Lebanon and the region into mourning, with international media hailing his artistic genius, sharp social critique, and lifelong support for the Palestinian cause. The eldest son of diva Fairuz and Assi Rahbani, icons of the Lebanese music scene, died on Saturday, July 26 in Beirut, at the age of 69, after years of illness. His funeral was held Monday afternoon at the Church of the Dormition in Mhaydsé-Bickfaya, attended by political leaders and figures from the country's artistic scene. From al-Jazeera to Libération, and through to the Washington Post and the New York Times, L'Orient-Le Jour looks back at the main headlines from the media outlets that paid tribute to Rahbani's genius and saluted a man who left his mark on contemporary Arab music and fought for the Palestinian cause. 'Lebanon and the Arab world lose one of the most important pillars of art and music' The Qatari channel al-Jazeera lamented the passing of 'the rebellious and melancholic voice of Beirut, (...) after a long career in which [Rahbani] developed a particular artistic style combining irony and depth, rebellion and love.' According to the channel, Fairuz's son was 'one of the most outstanding figures of contemporary Arab music' who 'introduced elements of jazz and Western styles into Eastern music' and 'succeeded in developing his own style blending experimentation and identity.' 'With his departure, Lebanon and the Arab world lose one of the most important pillars of art and music.' The Palestine Chronicle, a Palestinian publication dedicated to raising awareness of human rights, paid tribute to the 'unyielding voice of resistance and revolution' of Rahbani, calling him a 'pillar of radical music.' Describing the artist as 'a committed communist who had rallied to the Palestinian cause,' it praised 'Ziad's compassion for the poor and the oppressed, which was quickly expressed through music.' 'His works broke social taboos, violently attacking discrimination and highlighting characters from the working class,' the media outlet recalled. 'Ziad unsettled the rich, embarrassed the conservatives, and irritated the liberals, to the point where some even wished for his downfall.' Syria and Rahbani While Rahbani's silence on the Syrian revolution troubled some of his admirers, the Syrian site Enab Baladi, known for its opposition to ousted President Bashar al-Assad, still paid tribute to the Lebanese figure. 'He was known for his outspokenness and the vehemence of his statements, regularly criticizing Lebanese and Arab politicians and artists,' wrote the platform. More about the artist However, Enab Baladi criticized the artist's 'ambiguous political positions' and his 'explicit support for Hezbollah' which was fighting alongside the Assad dictatorship. But the site acknowledges that Rahbani's works 'continued to arouse interest and to be disseminated, which reflects the depth of his influence and the diversity of his audience.' 'Multi-talented artist, genius of the cultural scene' In France, the major daily Le Monde paid tribute to the 'multi-talented artist, genius of the Lebanese and Arab cultural scene.' 'He had become immensely popular by portraying Lebanese society in plays with biting humor,' the newspaper wrote, referring to Rahbani's 'provocative spirit' and 'leftist commitment.' 'A fervent supporter of the Palestinian cause, he championed resistance against Israel and expressed his admiration for Hassan Nasrallah,' the Hezbollah leader assassinated in September 2024 in an 'Israeli' strike, it noted. While Le Monde reminded that the great artist had 'sided with the Damascus regime,' which earned him significant criticism, it observed that this 'in no way diminished the almost heritage-like status of his work.' Le Monde then discusses the secularism of the late artist, 'a scourge of sectarianism (…)', explaining that 'it is also for this reason that his work has transcended generations. (…) For a large part of today's youth, notably those who participated in the anti-system demonstrations of autumn 2019, he embodied the hope of a country freed from communal shackles.' 'To say that Lebanon is mourning him is an understatement. Yet, despite being iconic, Ziad Rahbani (…) was not the consensual type, a Communist Party member always quick to highlight the clan-based excesses of a country subject to deals among the well-connected,' wrote the left-leaning French daily Libération, referring to the passing of a 'legend of Lebanese music who placed his art of musical hybridization and staging at the service of political satire in his country.' In 1998, the artist was interviewed by Libération on the occasion of a concert in Paris. 'He didn't bother with circumlocution: This country does not exist. It produces nothing, people aren't used to working. It's like a bad photocopy. Like Taiwan, they copy everything: movies, sex. Lebanon is a Third World country,' Ziad Rahbani replied. RFI (Radio France Internationale) in turn paid tribute to 'one of the greatest artists' of Lebanon, known 'for his plays that have become cult classics,' 'for inventing oriental jazz,' and 'revolutionizing the world of Lebanese song and theater.' ' A rebellious figure on the Lebanese cultural scene, he leaves behind a profoundly engaged body of work,' notes the French media outlet, whose news bulletins are broadcast on Radio Liban. 'A Lebanon at war with itself' Across the Atlantic, the New York Times recalled that Rahbani's songs 'forged a new sound for the Arab world and his plays sharply criticized the political corruption of his country.' 'Lebanese who attained adulthood during the war, like Rahbani, saw in his melancholic and sarcastic lyrics the brutality and contradictions of their small eastern Mediterranean country as it was tearing itself apart. He remained much loved by later generations of Lebanese, who grew up in the shadow of the war as sectarian divides, corruption, and economic stagnation took over Lebanese life,' the NYT recalled. The Washington Post in turn praised Rahbani's 'irreverent satire, uncompromising political critique, and jazz-influenced compositions that reflected the chaos and contradictions of a Lebanon at war with itself.' The daily described the artist's musical work as 'deeply rooted in the traumatic events of sectarian conflict, bloody street fighting between rival militias, and three years of violent Israeli occupation after the 1982 invasion.'
L'Orient-Le Jour
18 hours ago
- L'Orient-Le Jour
'Ziad changed the way I see things': Singer Salma al-Musfi
As Lebanon mourns the loss of Ziad Rahbani, who passed away on Saturday morning at age 69, Lebanese singer Salma al-Musfi shares with L'Orient-Le Jour her first encounter with the Lebanese artistic genius. The album 'Monodose,' fruit of a 'real collaboration' The two artists met for the first time in 1986. At the time, Musfi, who was 18 years old, was performing in a concert, covering songs by the American artist Madonna. "Ziad came to listen to me at that concert and, apparently, my voice interested him," she says, reached by telephone from Paris. "A few months later, he called me, and that's when we started working together," she adds, crediting Madonna for their meeting and collaboration. "I was living in France, but I often returned to Lebanon," Musfi recalls. "During one of these trips, Ziad suggested making a CD, telling me that we would do it 'for us, just for fun,' and it was in that spirit that 'Monodose' came to life," she continues. "It was a wonderful experience, a true collaboration, and I am proud of it," the artist adds. During Ziad Rahbani's last tour in Europe, the two artists performed together twice: once in Paris at the New Morning jazz club and again in London. 'Collaborating with Ziad changed the way I see things' "Collaborating with Ziad changed the way I see things," the Lebanese artist confides. "We grow up with certain ideas in mind, ready-made visions… But Ziad opens new perspectives," she continues. "All those years spent with him left a deep impression on me," adds Musfi. "He accomplished a great deal and, above all, did so with accuracy. He deeply touched entire generations and continues to do so today. There are young people, aged 16 or 18, who listen to him and are moved by his songs, while people in their 90s still listen to him. Ziad crosses generations; he speaks to all ages." Recalling Ziad Rahbani's "unique" way of putting words together, the Lebanese artist concludes by addressing him with a message: "Farewell, Ziad, you are no longer here, but you will always remain among us. We are saying goodbye to an iconic figure, for all of Lebanon, which is in mourning today, but also for the entire Arab world, which grew up with his voice, his words, his ideas."
L'Orient-Le Jour
20 hours ago
- L'Orient-Le Jour
At 'Ehdeniyat,' Abeer Nehme reaches 'saltana'
While the temples of Baalbeck drew festival-goers to the spectacular "Carmen" staged by Jorge Takla, Ehden offered its wooded cocoon to Abeer Nehme, arguably one of the most beautiful voices in the Arab world. A "specialist in all styles," the Lebanese diva once again showcased her vocal and cultural cosmopolitanism. From Egyptian classical to tarab, through Asmahan, the Rahbanis, French songs and Anglo-Saxon pop, she integrated into her repertoire personal songs that speak of love, culminating with a song in Syriac as a tribute to Ehden, which retains a dialect accent of this extinct language, preserved only in the Maronite liturgy. Pure joy, tenderness in song To sing about love in front of a spirited audience at the Ehdeniyat festival, where the stage is set amidst a majestic fir forest, Nehmeh is supported by a choir and her orchestra led by Marc Abou Naoum. In a simple black sheath that is subtly low-cut, contrasting with the deep red of her lips, her appearance is brightened by the unique smile she offers her audience — a blend of childlike joy and tenderness. Behind her, her name shines in golden letters against a backdrop of blue lights. Throughout the show, stunning projections added to the hypnotic magic of the moment. With the first notes of "Inta," the great classic by Mohammed Abdel Wahab, the audience is already captivated, connecting with the lyrics on a personal level. She continues with a long program that is both impressive for her audience and almost acrobatic for her voice, which spans all registers. Her soulful notes in English on "Simple Things" evoke Stevie Nicks of Fleetwood Mac. She confidently uses her agile soprano on the tarab of " Lamma bada" and Piaf's " Hymne à l'amour," generating enthusiasm whose echo resonates in the surrounding mountains. At times, especially during a mashup, dancers from the Carel Wardini Dance Academy performed a contemporary choreography on stage. On the giant screen that makes her tiny silhouette appear larger, one can sometimes see her reach the saltana — that nearly altered state of total mastery and fusion with the sound that also infects the audience, especially during the trance of "Chou Bhessellak." One of the highlights of the concert was a love song in Syriac, set to the popular tune of " Tallou hbabna tallou" in operatic style. It was dedicated to Ehden, the last village with the characteristic Zghorti accent of its people, whose "a" and "e" sounds are similar to the "o" sound — a reflection of the Aramaic roots of this dialect, which preceded Arabic as the region's common language. She would have liked to add Armenian to Syriac Backstage, she told L'Orient-Le Jour that she never rehearses her voice except on the day of a concert. "It's the worst thing to do, but I don't find the time. In this job, we run and travel nonstop," she says, expressing her gratitude to the large team around her, without whom nothing would have been possible. One might expect her to be exhausted and drained after an hour and a half of nonstop singing, which is physically demanding, but she leaves as fresh and smiling as when she first stepped on stage. "It's the audience that carries me, feeds me, gives me the energy to give again and again," she says. Discussing her Syriac song, this musicologist — an expert in ancient ethnic music and a kanun master trained at USEK — mentioned she wanted to include an Armenian song in the program that evening. However, the director objected, citing the program's length, so it was postponed. Abeer assures it will be included later. Krikor Jabotian's stage outfit We were joined by designer Krikor Jabotian, who explained his stylistic choices for this particular concert. "Everything started from the necklace," the creator detailed, who is also known for his baroque jewelry. The gold necklace features pearl shapes with irregular outlines and varying sizes. Jabotian paired it with earrings, and the diva's pearlescent nails completed the look. "Abeer doesn't need a dress to make her shine," the designer said. "She shines with her own light." Hence, the radical simplicity seen in the black dress is the result of long, collaborative conversations between the creator and the singer. "We then acknowledged the vastness of the stage and the large crowd that would be coming. That's why I decided to add a black satin cape with just the right volume to accompany her movements and amplify her silhouette from a distance," he added, admitting he was inspired by something Maria Callas-like when designing the ensemble. Since we were in Ehden, the diva gently bid farewell to her audience amidst heartfelt ululations, softly continuing to sing between goodbyes and gratitude. She turned towards the peaceful forest surrounding her and finally stepped down from the stage, almost with a hint of reluctance.
