| Legendary Mohamed Abdel Wahab , king of Egyptian music and giant of Arabic Music 1901-1991 |
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| Excerpts from what is written about his great life |
Date of birth 13
March 1901
Cairo, Egypt
Date of death 3
May 1991
March 1901
Cairo, Egypt
Date of death 3
May 1991
http://www.cairooperahouse.
Cairo Opera House
Mohamed Abdel Wahab's museum
This museum enables the visitor to catch a glimpse of
the life of one of Egypt’s most beloved singers and
actors. It is divided into several halls one of them being
the Memorabilia Hall which in turn comprises two suites.
The first one sheds light on Mohamed Abdel Wahab’s
childhood, his upbringing, his first steps in the world of
art and music, his connection to the Arab Music Institute,
the Egyptian cinema, the relationship with writers and
artists and the prizes and honours he received. The
second suite represents some of his private rooms such
as his bedroom and his private office as well as a
collection of his favourite pieces of furniture and other
personal belongings. The Movies’ Hall includes all the
films Mohamed Abdel Wahab starred in. In order to
enhance the clarity of the pictures they are screened on
special plasma screens. The Audio-Visual Hall contains
a complete archive of his works, his artistic profile and
his relations with prominent figures, kings and
presidents. Films can easily be viewed by a system of
touch screens.
The Movies Hall includes all the films in which Mohamed
Abdel Wahab has taken part they are screened on
special plasma screen to increase the clarity of the
picture.
The Audio-Visual Hall Contains a complete archive of all
Abdel Wahab’s works, his artistic history and his
relations with prominent artists kings.
Cairo Opera House
Mohamed Abdel Wahab's museum
This museum enables the visitor to catch a glimpse of
the life of one of Egypt’s most beloved singers and
actors. It is divided into several halls one of them being
the Memorabilia Hall which in turn comprises two suites.
The first one sheds light on Mohamed Abdel Wahab’s
childhood, his upbringing, his first steps in the world of
art and music, his connection to the Arab Music Institute,
the Egyptian cinema, the relationship with writers and
artists and the prizes and honours he received. The
second suite represents some of his private rooms such
as his bedroom and his private office as well as a
collection of his favourite pieces of furniture and other
personal belongings. The Movies’ Hall includes all the
films Mohamed Abdel Wahab starred in. In order to
enhance the clarity of the pictures they are screened on
special plasma screens. The Audio-Visual Hall contains
a complete archive of his works, his artistic profile and
his relations with prominent figures, kings and
presidents. Films can easily be viewed by a system of
touch screens.
The Movies Hall includes all the films in which Mohamed
Abdel Wahab has taken part they are screened on
special plasma screen to increase the clarity of the
picture.
The Audio-Visual Hall Contains a complete archive of all
Abdel Wahab’s works, his artistic history and his
relations with prominent artists kings.
| Abdel-Wahab at a young age singing with his oud; a film advertisement with Leila Murad; a scene from the film A Happy Day with Faten Hamama; Abdel-Wahab's portrait with his tarboosh and oud; his personal objects on display in the museum; his awards and photos with Arab presidents and a laugh with Umm Kulthoum |
Strains of East and West
Twelve years after his death a museum was opened to commemorate the life of
prominent composer and singer Mohamed Abdel-Wahab. Nevine El-Aref revisits his life
and times / Al Ahram Weekly 20 - 26 March 2003
--------------------------------------------------------------------------------
Mohamed Abdel-Wahab enjoyed widespread popularity in the 1920s and 1930s.
Adored by his fans as the "20th-century singer and composer" and a "composer for all
generations", he has been canonised along with artistic giants such as Umm Kulthoum,
Farid El-Atrash and Abdel-Halim Hafez. His was a historic encounter between East and
West; he was the first composer to synthesise the two strains in his music. While he
began his career with traditional melodies, Western influences became evident in his
later music. He catered to the changing tastes of his time as they evolved from the rule of
Khedive Ismail, who provided the basis for a Westernised Egyptian elite in government,
education and literature. He wrote more than 1,000 songs, of which he sang hundreds,
and was a star of the silver screen.
Born in Bab El-Sha'riya in Cairo in 1910, Abdel-Wahab showed talent early on. He made
his first recording at the age of 13. Ahmed Shawqi, the "prince of poets", was one of his
admirers. Shawqi introduced him to the aristocracy of the time as well as people who
could help develop his talent.
Shawqi himself wrote many songs that Abdel-Wahab sang. One was Fil-Leil Lama Kheli
(The Lonely Night), which became an instant success and was sung before King Farouk
at the opening of the Arab Music Institute in 1929. It is in this institute that the
memorabilia of Mohamed Abdel-Wahab, one of Egypt's music icons, is displayed. The
institute was where he sang some of his most famous and memorable songs and where
his memory lives on.
In 1926, Abdel-Wahab helped compose the musical score of "The Goose Consul
Operetta", based on a theme of Naguib El-Rehani. It was a great success, and he was
subsequently invited to complete Sayed Darwish's musical score based on "Anthony and
Cleopatra".
During his time, Egyptian society tended to be divided between the elite and popular
cultures, and Abdel-Wahab's first film, The White Rose, appears to belong to the former
category. However, while seemingly unabashedly Western, it was clearly of modern
Egyptian inspiration in coupling the revolutionary trend of the time with authentic
traditions. Abdel-Wahab played the part of Galal Effendi, an aristocratic son who had
fallen on hard times.
In his later films, Abdel-Wahab introduced female singers such as Leila Murad. He
reached an audience wider than ever before and many of his protégés became stars like
himself. He also began to feature large orchestras with mixtures of Western instruments
such as the guitar, bass, accordion and, later, the organ and synthesiser, as heard in the
belly-dance classic Leilet Hobb (Night of Love), composed by Abdel- Wahab and sung
by Umm Kulthoum. He employed new rhythmic formulas, including the tango, mambo,
samba and rumba, as well as the Arabic oriental rhythms maqsoum and baladi, in his
compositions.
While Abdel-Wahab seldom appeared in public, his popularity grew. His fame was not
limited to the Arab world. His music also appealed to Western audiences. In 1991 -- at
the age of 81 -- Abdel-Wahab surprised the Arab world when he sang his new
composition, Men Gheir leih (Without why). The record sold two million copies.
When the popular singer died in 1991, he was mourned by his devotees and was
honoured officially. Four years after his death, Culture Minister Farouk Hosni decided that
a small museum should be established for him in the building of the Arab Music Institute,
where he had often performed.
Samir Farag, the head of Cairo Opera House, said that before developing the
Abdel-Wahab Museum, the building -- which includes a theatre, a museum for musical
instruments, a library and instruction and rehearsal halls -- was renovated by the Opera
House over a period of seven years at a cost of LE7 million. The theatre has been
equipped with new chairs, a new wooden floor, a wider stage and cutting-edge sound
and lighting systems. Security and alarm systems complete with TV circuits have also
been installed.
"The institute is an artistic and cultural minaret," said Hosni, who explained that restorers
were careful to maintain the unique architectural features of the building. Oriental musical
instruments such as nay (oriental flute), tabla (drum), oud, and qannun, as well as the
harp, xylophone and piano, are on display. In the library, a rare collection of historical,
musical and scientific books and a number of important manuscripts are on display.
Among the manuscripts are one by the Arab philosopher Al-Farabi and another by the
renowned composer and singer Sayed Darwish.
The museum is comprised of a large hall divided into sections devoted to different
aspects of Mohamed Abdel- Wahab's life. His favoured oud, with which he played so
many memorable songs, is in a showcase along with his organ. His personal musical
scores are also on display, as are his eye-glasses and his tarboosh (fez).
In the section of the museum exhibiting Abdel-Wahab's bedroom, his robe and slippers,
suits and Qur'an can be seen. He reputedly read verses from the Holy Book before
retiring each night.
One showcase is dedicated to the personal photographs of the much-loved singer and
composer, ranging from childhood portraits and family pictures to others with presidents
and kings of the Arab world. Many of the photographs were provided by Al-Ahram.
Abdel-Wahab was married twice. He had five children with his first wife, whom he
married when he was very young and subsequently divorced. His second wife was Nahla
Al-Qudsi, a Jordanian socialite who provided the museum with most of the items in the
collection. Photographs of Abdel-Wahab with his children, three girls and two boys, show
him to have been a loving father. His original contracts with radio producers are also on
display. Many of them are from 1934.
The museum also features a collection of awards and medals that Abdel-Wahab
received from the late presidents Gamal Abdel-Nasser and Anwar El-Sadat. There are
also tapes of Abdel-Wahab's radio serials and some of his radio interviews, which
visitors can listen to inside the audio visual hall devoted to his works.
The Mohamed Abdel-Wahab museum opened last May, by Mrs Suzanne Mubarak on the
occasion of the 10th anniversary of his death. Viewing his possessions in the Arabic
Music Institute might initially appear to be a somewhat sterile experience. After all, Abdel-
Wahab brought love and romance to the world and his memorabilia are immobile and
lifeless. Yet, when you hear his melodies and long guitar solos, his spirit is revived.
Abdel-Wahab's timeless composition style has become standard in the repertoire of
every oriental dancer, and its charm and mystical beauty resonate until today.
Practical information:
The Arabic Music Institute with its exquisite early 20th-century Islamic architecture is
located at 22 Ramses Street just before Al-Tawfiqiya.
Twelve years after his death a museum was opened to commemorate the life of
prominent composer and singer Mohamed Abdel-Wahab. Nevine El-Aref revisits his life
and times / Al Ahram Weekly 20 - 26 March 2003
--------------------------------------------------------------------------------
Mohamed Abdel-Wahab enjoyed widespread popularity in the 1920s and 1930s.
Adored by his fans as the "20th-century singer and composer" and a "composer for all
generations", he has been canonised along with artistic giants such as Umm Kulthoum,
Farid El-Atrash and Abdel-Halim Hafez. His was a historic encounter between East and
West; he was the first composer to synthesise the two strains in his music. While he
began his career with traditional melodies, Western influences became evident in his
later music. He catered to the changing tastes of his time as they evolved from the rule of
Khedive Ismail, who provided the basis for a Westernised Egyptian elite in government,
education and literature. He wrote more than 1,000 songs, of which he sang hundreds,
and was a star of the silver screen.
Born in Bab El-Sha'riya in Cairo in 1910, Abdel-Wahab showed talent early on. He made
his first recording at the age of 13. Ahmed Shawqi, the "prince of poets", was one of his
admirers. Shawqi introduced him to the aristocracy of the time as well as people who
could help develop his talent.
Shawqi himself wrote many songs that Abdel-Wahab sang. One was Fil-Leil Lama Kheli
(The Lonely Night), which became an instant success and was sung before King Farouk
at the opening of the Arab Music Institute in 1929. It is in this institute that the
memorabilia of Mohamed Abdel-Wahab, one of Egypt's music icons, is displayed. The
institute was where he sang some of his most famous and memorable songs and where
his memory lives on.
In 1926, Abdel-Wahab helped compose the musical score of "The Goose Consul
Operetta", based on a theme of Naguib El-Rehani. It was a great success, and he was
subsequently invited to complete Sayed Darwish's musical score based on "Anthony and
Cleopatra".
During his time, Egyptian society tended to be divided between the elite and popular
cultures, and Abdel-Wahab's first film, The White Rose, appears to belong to the former
category. However, while seemingly unabashedly Western, it was clearly of modern
Egyptian inspiration in coupling the revolutionary trend of the time with authentic
traditions. Abdel-Wahab played the part of Galal Effendi, an aristocratic son who had
fallen on hard times.
In his later films, Abdel-Wahab introduced female singers such as Leila Murad. He
reached an audience wider than ever before and many of his protégés became stars like
himself. He also began to feature large orchestras with mixtures of Western instruments
such as the guitar, bass, accordion and, later, the organ and synthesiser, as heard in the
belly-dance classic Leilet Hobb (Night of Love), composed by Abdel- Wahab and sung
by Umm Kulthoum. He employed new rhythmic formulas, including the tango, mambo,
samba and rumba, as well as the Arabic oriental rhythms maqsoum and baladi, in his
compositions.
While Abdel-Wahab seldom appeared in public, his popularity grew. His fame was not
limited to the Arab world. His music also appealed to Western audiences. In 1991 -- at
the age of 81 -- Abdel-Wahab surprised the Arab world when he sang his new
composition, Men Gheir leih (Without why). The record sold two million copies.
When the popular singer died in 1991, he was mourned by his devotees and was
honoured officially. Four years after his death, Culture Minister Farouk Hosni decided that
a small museum should be established for him in the building of the Arab Music Institute,
where he had often performed.
Samir Farag, the head of Cairo Opera House, said that before developing the
Abdel-Wahab Museum, the building -- which includes a theatre, a museum for musical
instruments, a library and instruction and rehearsal halls -- was renovated by the Opera
House over a period of seven years at a cost of LE7 million. The theatre has been
equipped with new chairs, a new wooden floor, a wider stage and cutting-edge sound
and lighting systems. Security and alarm systems complete with TV circuits have also
been installed.
"The institute is an artistic and cultural minaret," said Hosni, who explained that restorers
were careful to maintain the unique architectural features of the building. Oriental musical
instruments such as nay (oriental flute), tabla (drum), oud, and qannun, as well as the
harp, xylophone and piano, are on display. In the library, a rare collection of historical,
musical and scientific books and a number of important manuscripts are on display.
Among the manuscripts are one by the Arab philosopher Al-Farabi and another by the
renowned composer and singer Sayed Darwish.
The museum is comprised of a large hall divided into sections devoted to different
aspects of Mohamed Abdel- Wahab's life. His favoured oud, with which he played so
many memorable songs, is in a showcase along with his organ. His personal musical
scores are also on display, as are his eye-glasses and his tarboosh (fez).
In the section of the museum exhibiting Abdel-Wahab's bedroom, his robe and slippers,
suits and Qur'an can be seen. He reputedly read verses from the Holy Book before
retiring each night.
One showcase is dedicated to the personal photographs of the much-loved singer and
composer, ranging from childhood portraits and family pictures to others with presidents
and kings of the Arab world. Many of the photographs were provided by Al-Ahram.
Abdel-Wahab was married twice. He had five children with his first wife, whom he
married when he was very young and subsequently divorced. His second wife was Nahla
Al-Qudsi, a Jordanian socialite who provided the museum with most of the items in the
collection. Photographs of Abdel-Wahab with his children, three girls and two boys, show
him to have been a loving father. His original contracts with radio producers are also on
display. Many of them are from 1934.
The museum also features a collection of awards and medals that Abdel-Wahab
received from the late presidents Gamal Abdel-Nasser and Anwar El-Sadat. There are
also tapes of Abdel-Wahab's radio serials and some of his radio interviews, which
visitors can listen to inside the audio visual hall devoted to his works.
The Mohamed Abdel-Wahab museum opened last May, by Mrs Suzanne Mubarak on the
occasion of the 10th anniversary of his death. Viewing his possessions in the Arabic
Music Institute might initially appear to be a somewhat sterile experience. After all, Abdel-
Wahab brought love and romance to the world and his memorabilia are immobile and
lifeless. Yet, when you hear his melodies and long guitar solos, his spirit is revived.
Abdel-Wahab's timeless composition style has become standard in the repertoire of
every oriental dancer, and its charm and mystical beauty resonate until today.
Practical information:
The Arabic Music Institute with its exquisite early 20th-century Islamic architecture is
located at 22 Ramses Street just before Al-Tawfiqiya.
Actor - filmography
(1940s) (1930s)
Lastu malakan (1947)
.I'm No Angel (International: English title)
Russassa fil kalb (1944) .... Mohsen
A Bullet in the Heart (International: English title)
Mamnou'a el hub (1942)
ove Is Forbidden (International: English title)
Yom said (1940)
A Happy Day (International: English title)
Yahya el hub (1938)
Long Live Love (International: English title)
Doumou' el hub (1936)
Love's Tears (International: English title)
Warda el baida, El (1934) .... Mohammad
The White Rose (International: English title)
Filmography as: Actor, Composer,
Miscellaneous Crew, Producer, Himself
Composer - filmography
(1970s) (1960s) (1950s) (1940s)
Hekaya wara kol bab (1979) (TV)
(background music)
Mabodet el gamahir (1967)
Banat el yom (1957)
Girls of Today (International: English title)
Ghazal al-banat (1949)
The Flirtation of Girls (USA)
Russassa fil kalb (1944) (songs)
A Bullet in the Heart (International: English title)
Filmography as: Actor, Composer,
Miscellaneous Crew, Producer, Himself
Miscellaneous Crew - filmography
Ghazal al-banat (1949) (singer)
The Flirtation of Girls (USA)
Filmography as: Actor, Composer,
Miscellaneous Crew, Producer, Himself
Producer - filmography
Russassa fil kalb (1944) (producer)
A Bullet in the Heart (International: English title)
Filmography as: Actor, Composer,
Miscellaneous Crew, Producer, Himself
Himself - filmography
Ghazal al-banat (1949) .... Himself
The Flirtation of Girls (USA)
