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Sumeida’s Song Music by Mohammed Fairouz Libretto adapted from the translation, by Denys Johnson-Davies, Study Guide to the Opera of the play Ughneyyet el-Mawt, by Tawfiq Ismail al-Hakim

The High Cost of Family Honor Family Honor of Cost High The known Arab play, Arab known Johnson by Denys the translation, adapted composer, classically-train a Fairouz, Mohammed libretto, the New in York festival Opera/Theater/Now" "Prototype: the openin as production its fully-staged first had son to avenge his father’s murder. murder. his father’s avenge to son h a family’s restore a way to killing as revenge of work The forgiveness. versus revenge and modernity, confl family themes: universal highlights opera The population, honor killings are unknown. killingsunknown. honor are population, the be tocou believed Indonesia, killing.In honor Isla and Quran the of the teachings that understand i issue, but cultural Muslim or even Arab, Eastern, ma audiences Modern religion. culture or any one to just shame to and honor of notions behavior, sexual codeof prescribed a bybreaking family their “shamed” have who women against societies, paternalistic in occur often most killings honor While Song Sumeida’s statement “I won’t kill” all the more memorable and memorable more the kill” all won’t “I statement members, theirof one (disrespecting) “dissing” for shootings are there innews, today’s Even reach. of law official e where American the of West, ranchers cowboy among appeared cultures honor of government; withlit others and Border country, the of herdsmen Scottish Bedouins, among appeared honor of Cultures the into continued even and honor masculine defend wasa history: dueling Western our at look However,

ProductionRachel Photo Calloway by Tim Matheson and Dan at Vancouver Kempson Opera in the 2009 World Premiere Production of Sumeida’s Song (Photo by Jill Steinberg) http://mohammedfairouz.com/sumeidas-song-2009/ , a chamber opera in three scenes, was written in 2 in waswritten scenes, in three opera chamber , a Song of Death, of Song

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Meet the Prolific Composer Sumeida’s Song Synopsis Characters by Jill Leahy Setting: A peasant house in a peasant village in Upper Egypt, Mohammed (“Momo”) Fairouz, born in 1985, is one of during the early 20th century of the Opera the most frequently performed, commissioned, and (All members of the Azizi family) recorded composers of his generation. Hailed by The SCENE I Asakir and Mabrouka, two Upper-Egyptian New York Times as “an important new artistic voice” peasant women, are sitting in silence and listening for a Asakir [ah-SAH-keer] mezzo-soprano and by BBC World News as “one of the most talented train's whistle. The two women are awaiting the arrival of An Egyptian peasant, Alwan’s composers of his generation,” Fairouz integrates Asakir's son, who has been away for 17 years. Asakir tells mother, who has mourned her Middle-Eastern modes into Western structures, to Mabrouka that she hopes that the identity of her son has murdered husband for 17 years deeply expressive effect. His large-scale works, not been revealed to the rest of the village people. including four symphonies and an opera, engage major Mabrouka assures her sister that the village has been led Mabrouka [ma-BROO-kah] soprano geopolitical and philosophical themes with persuasive to believe that Alwan drowned in the water-well when he Sister of Asakir, Sumeida’s mother craft and a marked seriousness of purpose. His most was a child of two years. recent symphony, In the Shadow of No Towers for wind

Alwan [AL-wahn] baritone ensemble, was described by Steve Smith of The New Asakir proclaims to Mabrouka that soon the whole village Asakir’s educated son, who left the will learn that her son, the son of her murdered husband, York Times as “technically impressive, consistently village at the age of two, and has imaginative, and in its finest stretches, deeply moving.” is still alive and that the murderer of his father and the rest since attended Azhar University and of the Tahawis—a clan with whom they have an ancient His solo and chamber music attains an “intoxicating become a Sheikh Sumeida’s Song Synopsis (cont.) intimacy,” according to New York’s WQXR. blood feud—should fear his vengeance. She reveals that she had instructed her nephew, Mabrouka's son Sumeida, Sumeida [soo-MAY-dah] tenor When he asks what she wants from Fairouz’s cosmopolitan outlook reflects his transatlantic who has been sent to fetch Alwan from the station, to sing Mabrouka’s son, Alwan’s cousin, him, she tells him to take the knife and upbringing and extensive travels. His catalog as a sign that his cousin has come. Slightly delayed after who is ultimately charged with plunge it into the chest of her son encompasses virtually every genre, including opera, the whistle of the departing train, Sumeida's song is heard avenging the family honor Alwan. symphonies, ensemble works, chamber and solo emerging from the distance and heralding the long- pieces, choral settings, and electronic music . Asakir gives Sumeida the knife with awaited arrival of Alwan. Prominent advocates of his instrumental music include resolution and invokes that "may his the , The Imani Winds, violinist SCENE II Sumeida enters the room announcing his cousin. Alwan enters and is embraced by his blood wash off his father's blood that , and clarinetist David Krakauer, who has dried on the blade." Sumeida tells mother. He then greets his aunt Mabrouka who tells him that "our hope lies in you" and leaves with all appear on his Naxos portrait disc, Native Informant . Sumeida. Asakir, now alone with her son, quickly dispenses with pleasantries and presents a her that she will hear his voice raised in saddlebag that she has kept for 17 years. She explains to her son that this is the saddlebag in song if Alwan's killing is brought about Described by Gramophone as “a post-millennial which his father's body was brought to her, carried upon his donkey, and presents her son with the and hurries to catch up with his cousin. Schubert, ” Fairouz has composed 13 song cycles and knife from the murder, saying that she has kept it with the blood on it so that it has rusted. Mabrouka enters, and Asakir tells her hundreds of art songs. Anthony Tommasini of The New that Alwan has fled and cowered from York Times called his debut opera Sumeida’s Song After an initial silence. Alwan gravely asks who is responsible for this crime and Asakir answers avenging his father's death, and so has “intensely dramatic [with] a searing score. The Arabic without hesitation that it is Suweilam Tahawi. When he asks her how she knows, she explains that died. Mabrouka asks where her son elements of his style—microtonal modes, spiraling the whole village knows. Composing himself, Alwan asks his mother if the crime was investigated, Sumeida has gone, and Asakir tells her dance rhythms, plaintive melodic writing—give fresh, to which she explains that "We have no enemies but the Tahawis." Alwan then tells his mother that that he has gone "after Alwan to stop distinctive jolts to the Western elements.” he has not come to kill but to tell the villagers that he wishes to bring them a better life where they him from going." will "live like human beings in houses, where the animals do not sleep with them," and where they His principal teachers in composition have included have access to education, a better quality of life, and clean running water. Mabrouka pleads with Asakir to listen György Ligeti, , and Richard to her but Asakir screams that she Danielpour, with studies at the Curtis Institute and New Asakir becomes irate and disowns her son when he will not listen to her, ordering him out of her hears nothing. Mabrouka then hears England Conservatory. Fairouz’s works are published house. She curses him and, realizing the futility of his position, Alwan tells her that he will return to Sumeida's singing. She turns, terrified by Peermusic Classical. He lives in . the station and return to Cairo. He prays for her and asks that her agitated soul be calmed. by her sister's state, and asks

desperately what is happening. “One difference that sets Fairouz apart is worth SCENE III Sumeida enters and finds Asakir alone and motionless after her encounter with Alwan. Sumeida's song is heard, this time mentioning: Inspired by the Arabic art of Asakir tells her nephew that Alwan has returned to the station "to flee from taking revenge for his heralding the death of Alwan. After calligraphy, he composes by hand in pencil—a father." She strikes herself again and again while Sumeida tries to prevent her from harming intoning the words, "my son," Asakir method that’s been practically eliminated by herself. Asakir then asks Sumeida to bring the knife that she has kept for 17 years so that she can collapses. musical-notation software.” use it to rip open her belly. Sumeida tells his aunt that she has gone mad. She stares at him and Abbreviated synopsis courtesy of Boston Opera Collaborative. asks "Sumeida—are you a man?" (cont.) Biography freely adapted from Mr. Fairouz’s website. For full-length synopsis by the composer, visit: http://mohammedfairouz.com/sumeidas-song-2009/ For additional details, visit: http://mohammedfairouz.com/biography/#short_bio