
Be Inspired This February at Royal Opera House Muscat with Music Classics
February is set to feature an eclectic array of performances at Royal Opera House Muscat that blend classic artistry and education. The exciting lineup will feature A Thousand and One Nights, a beautiful classical ballet by Fikret Amirov, from the prestigious Primorsky Stage of the Mariinsky Theatre in Vladivostok. Adding to the standard of excellence which is the stamp of the season, ROHM presents the annual concert featuring ROHM's very own regal pipe organ, with renowned organist Claudio Astronio, and, a series of events and two concerts paying homage to the prominent Arab composer and singer Mohammed Abdul Wahab. As a cultural beacon in the Middle East, ROHM's commitment to a packed and engaging programme of outreach events is also prominent over the next month.
Upcoming Performances
Beginning with A Thousand and One Nights on February 6 and 7, ROHM showcases a ballet to enchant a global audience, set to evocative Middle Eastern-inspired music, the ballet explores iconic tales such as Sinbad the Sailor and Ali Baba and the Forty Thieves.
Experience the grand explosion of sound at the Pipe Organ Concert on February 13. ROHM's unique pipe organ stars in the annual concert with organist Claudio Astronio, the Piccoli Cantori di Torino (children's choir), and the Royal Oman Symphony Orchestra conducted by Gianluca Marciano. Two children's choirs from Muscat schools will join the children's choir on stage in an exciting connection between cultures and a young generation of voices, enabling lasting memories for participants and audiences. This concert celebrates the legacy and grandeur of Oman's pipe organ, in sweet contrast to the exquisite sounds of a celebrated children's choir.
Homage to Mohammed Abdul Wahab on February 15 & 20 will honour Arab music legend Mohammed Abdul Wahab with two concerts featuring prominent singers Ali El Haggar, Mohammed Mohsen, Reham Abdul Hakim, and Jahida Wehbe. The event is part of a week-long tribute celebration for music lovers, including an exhibition, several discussion sessions and a rare screening of his much loved musical film 'A Bullet in the Heart'.
ROHM's Exceptional Educational and Outreach Initiatives
The rich educational and outreach programme at ROHM aims to inspire and cultivate a passion for arts and music in Oman. In February, a special array of activities delve into the inner workings of the opera house.
ROHM's Open House aims to nurture the next generation of musical technicians and artists. ROHM is offering children of different ages an invaluable exploration of each department of the opera house, a chance to meet the experts who 'keep the show on the road'. Workshops will be presented on make-up, costumes, lighting, props, sound, photography, storytelling, and design on February 1, from 10:00 AM to 3:00 PM.
As part of the opera house's Emerging Talents initiative, join us on 9th February for a special night with Thomas Hampson, a Grammy Award winning international baritone. He will star in a concert joined by Muscat Royal Philharmonic Orchestra and Omani Opera Choir Group, conducted by Lubnan Balbaaki. 7pm at ROHMA.
Yet another Emerging Talents initiative on February 24 brings together a concert by Simon Zhu, winner of the 2023 Paganini Prize. Zhu recently performed on Paganini's legendary Cannone violin in London before His Majesty King Charles III. His performance is accompanied by pianist Gile Bae, under the artistic direction of Nicola Bruzzo. Registration is free and open to everyone.
The initiative extends to educational sessions consisting of a masterclass by Simon Zhu in collaboration with pianist Gile Bae, open to violin students in addition to a talk by Paganini Prize President on the history of the prize. Both initiatives on February 23rd.
Inspired by a season full of fairy tales, Let's Read is a monthly event throughout the season welcome to all ages experience and explore the stories with expression and imagination, reading aloud from the pages of Robin Hood. The readings will be in the Music Library at Royal Opera House of Musical Arts on February 22.
As part of the programme to honour the late Mohammed Abdul Wahab, Royal Opera House Muscat will be holding educational and outreach activities daily from 12th – 18th February.
February 12: A discussion by Dr. Shereen Badr on Abdul Wahab's collaboration with Umm Kulthum, examining their impact on Arab music.
February 14 & 19: A casual session, Coffee and Dates, with leading singers of the concert at 5:00 PM.
February 17: Spirit of the Orient, a quintet concert of instrumental pieces from Abdul Wahab's repertoire at 7pm.
February 18: Screening of 'A Bullet in the Heart' (1944) with a pre-screening discussion led by Ameer Ramsis, Nahla Mattar, and Mohammed Nabil.
With diverse performances and hands-on educational experiences, ROHM offers something for everyone this February.
For tickets and further details on the February programme, please visit rohmuscat.org.om
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Al-Ahram Weekly
7 hours ago
- Al-Ahram Weekly
Sonallah Ibrahim (1937-2025): The sixties seer - Culture - Al-Ahram Weekly
Once, an artist from Jerusalem who was staying with me insisted that we go and see him. I called his home number. That may have changed more recently but, till the last time I saw him, Sonallah never owned a mobile phone. His hallowed answering machine came on and once I gave my name, I could hear his own perky, welcoming voice as he picked up… That must've been 2006. Sonallah was already a recipient of the prestigious Al-Owais Award (in 1993), a major literary figure by any count, but he was still—always—eminently approachable. A few months shy of seventy, he was so energetic he came across as much younger. I remember being lost, driving from Maadi to Sonallah's sixth-floor apartment in Heliopolis. I had been there before, but my state of mind was wrecking navigational havoc. This was a difficult time for me, with anxiety attacks and premonitions of doom marring almost every interaction. I remember Sonallah noticing how jittery I was, advising me against self-medicating. He was a reticent, measured, drily humorous interlocutor, but he managed to be among the warmest, most deeply empathetic people I knew. Above all I remember the awe with which my artist friend regarded the small, spiky figure as he bustled about, serving us hot drinks. What drew Palestinians to his work so much? Even among other paragons of the Generation of the Sixties—the literary movement that followed Naguib Mahfouz and others whose careers had started in the first half of the 20th century, and included many celebrated figures—Palestinians found no one as compelling as Sonallah. In 2007, the late novelist Gamal Al-Ghitani (1945-2015) told me there were only two original achievements in the Generation of the Sixties: his own return to canonical storytelling; and Sonallah's hyperrealism. Both novelists believed in the Sixties ethos, that mixture of socialism, Arab nationalism, and secularism that emerged out of Gamal Abdel-Nasser's revolutionary dictatorship (1954-1970). Both had been imprisoned for political activities. Sonallah had it harder, though: while a law student at Cairo University, in 1959, the Nasser regime arrested him for belonging to a communist organisation. He was barely 20, and he spent what would've been his university years in prison, five years in total. Still, Sonallah remained loyal, if not to the regime's repressive practices, then to Nasser's vision for national liberation: pan-Arab, anti-colonial, and devoted to the most dispossessed sectors of the population… Ghitani fought for these values from within the establishment. In 1993, under Nasser's neoliberal heir Hosni Mubarak, he founded the state's most successful cultural publication, Akhbar Al-Adab, a weekly. He not only edited Akhbar Al-Adab but, through this and other roles, gathered enough influence and visibility to function as a kind shadow culture minister. For his part Sonallah never accepted an official—or indeed any—position in his life. He never worked with private-sector publishers, either, preferring the independent Dar Al- Mustaqbal Al-Arabi for the most part. In retrospect I can see he was not just fiercely guarding his independence, since his work often dealt explicitly with political issues, but also living out the Sixties ethos as faithfully as possible. After his release in 1964, Sonallah was badly off and isolated, unsure how to proceed. As he later avowed, a diary in which he noted down what was happening to him in short, terse, verb-driven sentences helped to keep him sane. He was working on short stories at the time, more involved narratives in the vein of socialist realism. But it was this straightforward record of everyday suffering—freed not just of the strictures of socialist realism, which as a young, committed communist he felt he had to follow, but of any conscious attempt at artifice at all—that eventually commanded his attention. The diary gradually morphed into That Smell, a novella that—along with the Moroccan writer Mohamed Choukri's 1972 For Bread Alone—would form the core of my own literary aesthetic and sense of modern Arabic. By general consensus it is a seminal work, evidencing the kind of quiet, spare, first-person lyricism that would not resurface in Sonallah's writing until 2007 (in Stealth). That Smell exposed the horrors and hypocrisies of a world headed for resounding collapse: within a few years, indeed, the 1967 defeat to Israel would serve as a rude awakening from the Nasserist dream of dignity and development, arguably debilitating the young republic long-term. Completed in 1964, That Smell first appeared in 1966, enthusiastically introduced by the great short story writer Youssef Idris (1927-1991), a household name at the time. Several small editions followed, some appeared cut, others were banned on publication, not because the text contained political polemic but because its minute descriptions of masturbation, for example, were deemed offensive. Here was a narrator for the times, however: a figure who was neither hero nor antihero but simply frugal witness, able to evoke the full gamut of reality by sticking with the most basic, physical information, entertaining no emotional or intellectual flights. That Smell turned Sonallah into the voice of an era. And, like any writer who produces a truly original first book, he wasn't sure what to do next. In reality he wouldn't write anything like That Smell until Stealth, when he felt compelled to return to his childhood at the age of seventy. If Sonallah marked the end of Nasser's world with a whimper in That Smell, for some three decades after that he delivered a series of bangs: long, complex, inventive satires on specific topics. Sonallah had managed to get a job at the state Middle East News Agency, but by 1968 he was in Beirut dabbling in literary translation and editing. He worked as a journalist in the German Democratic Republic for three years, studying screenwriting at the Gerasimov Institute of Cinematography (VGIK) in Moscow as of 1971. There he met the famed Syrian filmmaker Mohamed Malas, appearing in Malas' VGIK graduation project. Sonallah never worked in film, however, and by 1975—back in Cairo—he had freed himself of all journalistic commitments too. Soon his hyperrealist bangs, novels that incorporated found material—newspaper archives, personal letters, official documents—and experimented with structure, had already begun to appear: August Star (about the building of the High Dam, which he also documented in the 1967 book High Dam Human) in 1974, The Committee (a Kafkaesque critique of the ideological about-face Nasser's successor Anwar Al-Sadat undertook, allying himself with Washington and introducing 'open-door' economics) in 1981, and Beirut Beirut (an early reckoning with the Lebanese Civil War of 1975-1990 and its regional implications, drawing on Sonallah's earlier stay in the country) in 1984. Through this, even when there was no direct mention of Palestine, Sonallah dramatised and satirised the reality of Arab helplessness: not only occupation and ethnic cleansing without but Civil War, repression, and corruption within. In 2004, he became a founding member of Kefaya, the Egyptian movement for Change, which brought dissidents together in protest of the Mubarak regime. The previous year, he had spectacularly turned down the 2003 Award of the Conference on the Novel, an initiative of the government's Higher Council of Culture. For weeks after being notified he had won the EGP 100,000 honour, he kept his decision to decline it secret so that he could appear at the awards ceremony and read out a deeply moving speech turning down 'the honour of a government that does not have the credibility to bestow it.' In his statement, often remembered during the 2011 January Revolution, Sonallah made some points that have sounded truly prophetic since October 2023. 'At this moment, while we gather here, the Israeli forces are invading what remains of Palestinian territory, killing pregnant women and children and making thousands homeless, carrying out with obvious systematic precision the genocide of the Palestinian people and their displacement out of their land. Yet Arab capitals receive Israeli leaders with open arms, and only steps away from here,' that is, the Opera House grounds, where the ceremony was taking place, 'the Israeli ambassador resides, secure. And only steps away in another direction, the American ambassador occupies an entire neighbourhood while his troops spread into every corner of a homeland that was once Arab.' After Beirut Beirut, Sonallah published Zaat (1992) and Sharaf (1997)—about women and LGBTQ people in Egypt, respectively—as well as Warda (2000), a reckoning with the 1963-1976 Marxist revolution of Dhofar, Oman. The year he declined the Novel Award, he published another topical satire, Amri-kan-li (the title is a pun on 'American' and 'I am master of my affairs'). A hyperrealist response to his term as a guest lecturer at the University of California at Berkeley in 1999, its message chimed perfectly with his oppositional gesture at the Higher Council of Culture, reconfirming his commitment to speaking the political truth: a basic Sixties principle by which few had abided. Ten years later, in 2013, Zaat was made into a phenomenally popular TV show that finally turned Sonallah into a kind of household name, giving him some of the social kudos he had willingly forsaken for so long. In 2015 I ran into Sonallah at Cairo Airport. We were both on our way to the Abu Dhabi Book Fair, and before either of us knew I would end up moderating one of his panels, he greeted me like an old friend. At the event itself—reiterating his 2013 position against the Muslim Brotherhood—Sonallah spoke provocatively against unthinking religiosity, insisting we cannot take the alleged traditions of the Prophet Mohamed at face value, without understanding the political context in which they were cited (or, as he kept saying, made up in return for money). Many in the audience were visibly offended, but his tirade was hilarious. And I was incredibly proud to be sitting next to him. * A version of this article appears in print in the 21 August, 2025 edition of Al-Ahram Weekly Follow us on: Facebook Instagram Whatsapp Short link:


Al-Ahram Weekly
10 hours ago
- Al-Ahram Weekly
Don't miss the AUC's virtual discussion on the first-ever book-length history of Arab graphic design - Lectures - Al-Ahram Weekly
American University in Cairo Tues 26, 7pm, (Cairo Time): Join a special virtual discussion of A History of Arab Graphic Design (Arabic edition), the first-ever book-length history of Arab graphic design, now available in Arabic, co-authored by Bahia Shehab and Haytham Nawar. Nawar, associate professor of design at the American University in Cairo, will be in conversation with Huda Smitshuijzen Abi Farès, Founder of the Khatt Foundation; Yasmine Nachabe Taan, associate professor of Art and Design History and Director of the Institute of Art in the Arab World at the Lebanese American University; and Mahmoud El-Hosseiny, designer, writer, and researcher. The event will be moderated by Al-Ahram nwespaper journalist Sayed Mahmoud. The conversation will be conducted in Arabic. Watch on the AUC Press Facebook page. Diwan Bookstore 159, 26th of July St, Zamalek, Tel 01222 40 7084 Tues 26, 7pm: August book discussion about the Japanese bestseller What You Are Looking For Is In The Library by Michiko Aoyama. The discussion will be moderated by Ohoud Saad. Diwan Magara, El-Sheikh Zayed Wed 27, 7pm: August book discussion presents Little Women book by Louisa May Alcott. It will be moderated by Noha Bassiouny. Misr Al-Gedida Public Library 42 Al-Oroba St, off Beirut St, Misr Al-Gedida, Tel 011 42464426 Mon 25, 5.30pm: To mark the birth anniversary of poet Wessam El-Dewek, professor of philosophy Emad El-Adly will present a reading in the entire works of El-Dewek. * A version of this article appears in print in the 21 August, 2025 edition of Al-Ahram Weekly Follow us on: Facebook Instagram Whatsapp Short link:


CairoScene
14 hours ago
- CairoScene
Ghurnata Community Space Revives Heliopolis' Social Heart
With its renewed programming, and cultural roots, Ghurnata will play its role as a social heart—as it did 110 years ago. In the early 20th century, the Heliopolis Hippodrome was the place to be. Known also as the Heliopolis Racing Club, it drew society from every tier—from the royal family and the city's elite to everyday Cairenes eager to witness the spectacle. With its vast stands, Moorish-inspired architecture, and open-air energy, it became a defining part of Heliopolis' social life. Over the decades, the venue evolved. In the 1970s, it was reimagined as Madinet Ghurnata—a name chosen for its Andalusian architectural resemblance. By then, its purpose had expanded beyond sport, hosting cinema, theatre, and a variety of social gatherings, all while preserving its distinctive identity. Today, over a century since its debut, Ghurnata is stepping back into the spotlight—this time through a rehabilitation led by Torasna. Founder and CEO Ahmed Shaboury envisions the revived Ghurnata as a living platform for Egypt's creative and cultural present. 'The programme will have a strong social angle, but we also want to attract people who aren't just here for a touristic experience,' Shaboury explains. 'We want them to engage with the creative potential of the place, reconnecting with their heritage in a new way.' That balance—between preservation and reinvention—is at the heart of the project. Any new function must echo its original role. Ghurnata's layered history, from racing club to cultural hub, forms the backbone of its modern programming. The revitalised Ghurnata will host a mix of events, from heritage talks to wellness sessions. 'Egypt's history spans thousands of years. If you preserve it and present it through a contemporary lens, people will see it differently,' Shaboury adds. 'It's about giving both locals and visitors a reason to come—not just to look, but to interact, to feel proud, and to strengthen their sense of identity.' With its distinctive architecture, renewed programming, and deep cultural roots, Ghurnata is once again ready to play its role as Heliopolis' social heart—just as it did 110 years ago.