Marwan Mahfouz … Corona has not heard of the beautiful time


“No, no, no, no, no, no, your voice is never settled.”… “The Dragon of the Dragon” (the late Joseph Saqr) became angry, directing the words to the competitor (Marwan Mahfouz), who came to him at the last minute to participate in the Voice Examination Contest, I think it ended with his dedication Singing first and last in his coffee. The prince abdicates the king and threatens his throne, in the scene of fencing with “groans” in which Ziad Al-Rahbani (1956), the boy of his day, was created in his first play “Sahriya” (1973). The king passed away yesterday, and the Emir left yesterday. Without delay, Corona killed Marwan Mahfouz, the owner of the figure and psyche in the tone of his voice if he spoke and sang: good, elegant and crucifixion. Kill him and not win him because beautiful songs do not get sick or die.The journey of Marwan Mahfouz (his original name is Antoine Mahfouz) in art is of the kind that has gone extinct: He was born in Marijat (Bekaa) in 1942. He loved folklore, zajal and folk art, so he sung it in his region, then moved to Beirut in the mid-fifties to support talent with academic discipline and knowledge. He struggled in small business to pay for his musical studies at the National Institute, where Salim El-Helou and others took education and guidance. The golden ear, that of Assi Rahbani (and anyone else?), Spotted him when he participated in one of the amateur art programs (Art is my hobby) on Lebanon TV in the 1960s, as a figure who can fill a place in the art project launched by folklore to develop the Lebanese folk song.
Rahbani brothers participated in most of the theatrical performances between 1965 and 1973, but the abundance of the giants kept him away from the roles of the championship, until “Sahriya” came to be and remains the most important station in the march of Mahfouz’s lyrical and acting art, almost unchallenged. He is the kind and respectful young man who came to participate in the voice examination competition, before falling in love with Yasmine (Georgette Sayegh) and the story begins between the father who is afraid for his artistic position in his coffee and his daughter to enter this threat home. Convulsions begin and beautiful songs continue, between love and challenge, to reach the happy ending, where talents recognize each other, the “teacher” delivers the torch to youth, and lovers hearts meet in a surplus of joy illuminated by the stars of the night. In the play we hear from Marwan Mahfouz, “O Saif al-Aaad al-Tayel” (and her proverb “O horses of the night”, which combines zajal in form, i.e. reproach, and Bedouin womanhood in melody and performance) and “Afraid to be your lover”, “I don’t know how you went crazy, my heart and my love” And «In the eyes of you crying» (Dio with Georgette Sayegh, who also meets him in the end with “the stars of the night lighting the night”) and others. But just before and after the play, the late singer sang his most famous songs that also bear the signature of Ziad Al-Rahbani (“He Stole Me Al-Zaman”, “Some of Al-Mazazona”, “Anto Eid”…), which differs from everything he sang to others (Wadih Al-Safi, Elias Rahbani, Filemon Wehbe, Elie Choueiri and others … and later Suhail Arafa) as she always carries a special imprint, especially in the distribution or musical preparation, as we hear many uncommon voices in this mostly popular eastern color (most notably coppery in “Halif if something has not happened”) and this What has evolved rapidly, by the way, at Ziyad, from those experiences without stopping, starting with “The Inn of Pleasure” (1974). Before that, too, the famous incident that Marwan Mahfouz had repeatedly told about endearingly: the story “They asked me people”, whose name was “Take the Sweet” and was supposed to be recorded in his name. Asi fell ill while working on the play “The Station”, and the song’s melody reached the ears of Fayrouz and the late Mansour Rahbani, and they asked her from Ziyad, provided that Mansour would reformulate it to be a triple tribute to the forcibly absent leader from the leadership, for the first time. Ziad Marwan asked permission to present the first first melody of his mother, so the cherry that preceded the cake.
Marwan Mahfouz turned away from the limelight as the descending wave progressed. He used to perform parties outside the country during and after the war, but his name returned to circulation when what usually happened with peoples in periods of decline: nostalgia for the time called “beautiful”, where many stations hosted him to remember what went and has not returned yet. As the sanitation restrictions eased, he finally answered an invitation to hold a party at the Opera House in Damascus, where he was waiting for his lover and one sly who stole it from time. It is, once again, the steadfast virus that has turned our cultural pages into a page of mortality. We started to tire, but we also hold out. Surrender is not an option, neither today nor tomorrow, and we will return, “If it is not early, the enemy is sure” to fill the stands and halls, hear and hug, and write about the birth of artists and art projects … laughing and crying, not sadness, but joy.


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