It combined tradition with a modernity that sometimes contradicts Ziad Rahbani’s climates
Yesterday, in Damascus, Mayada Basilis (1967-2021) was extinguished after a struggle with the incurable disease. The late Syrian singer was a significant sign in the Syrian musical map, as she worked in a very rich and fertile singing region, which was a mixture of ecclesiastical chanting, Tahrani, and Khafre al-Ishq. A qualitative experience that penetrated the Syrian musical scene with thoughtful steps made by a companion trained by musician Samir Kouifati, with words and melodies that distance themselves from the songs of cabarets, weddings and Dabkeh. Mayada Basilis, the descendent of al-Qudood Aleppo, is not alone to leave the legacy, for here is a song that penetrates the ear and conscience with another musical scale, looking forward to a paradoxical modernity, adjacent to the climates of Ziad Rahbani at times, and moving away from it, a song governed by a closed geography, but it managed to cross the borders towards specific festivals , In various capitals of the world, due to its peculiarity and its rebellion against the prevailing. If the taarabe goes to remote places that are not subject to merchandising and fashion. The importance of this experience, then, lies in addressing a different taste in the chaos of the arena, as a song like “Lie Is Sweet” is located in the residence area, not the temporary glow, in addition to the dozens of songs that have formed this exceptional project, whether in its continuous development, or its distraction to the Aleppian map sunken in the Al-Qudud region Generation after generation. Thus, the adventure of the duo, Mayada Bassilis and Samir Kouyvati, was subjected to alienation concepts, in its challenge to the stable land, with successive explosions, from the Citadel of Aleppo to the opera houses in the world. Another sound is extinguished to join the loss book.