The ney makes its oblique song heard on the harmonic shimmers of the piano, standing out like a mirage on the Ravelian horizon.
Its strange sensuality is an open door to the Orient.
At once mysterious, and irresistibly attractive.
"The shade is soft and my master is sleeping…"
announces the languid voice of Fatma Saïd.
The Egyptian soprano seems to have adopted Klingsor's lines as her own.
Playing with a thousand colors to accentuate the contours.
Not hesitating to use a pointed voice to draw the white beard of the old master, or ethereal to evoke the fine curve of the face of the handsome indifferent.
These artistic biases say a lot about the singer's personality.
His first album,
El Nour
, released on October 16 by Warner, is in his image.
Bright but never consensual.
Popular but without compromise.
Ravel's Scheherazade intersects with Spanish melodies by Manuel de Falla, Lorca or Obradors.
The piano disappears behind the guitar.
Another daring bias,
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