Egyptian opera takes Jeddah audience on a musical journey

Egyptian singer Sabreen Al-Nijain performs at the Cairo opera in Dar Al-Hekma University, Jeddah. (AN photo by Huda Bashatah)
Updated 07 July 2018
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Egyptian opera takes Jeddah audience on a musical journey

  • The show began with an instrumental version of “Zai Al-Hawa” (“Like the Wind”) by Abdel Halim Hafez
  • I have listened to a lot of Egyptian songs and coming here I was not disappointed: fan

JEDDAH: An Egyptian opera performance delighted a Jeddah audience on Thursday with a blend of music and tradition in the Dar Al-Hekma University auditorium.

University students were among the audience gathered in the auditorium. The show began with an instrumental version of “Zai Al-Hawa” (“Like the Wind”) by Abdel Halim Hafez.

Singer Sabreen Al-Nijain took to the stage to deliver a stunning performance.

The music fused traditional forms with modern instruments. After Al-Nijain, another singer, Ahmad Effat, won a standing ovation for the quality of his performance.

The orchestra played an instrumental version of “Alf Leila Wa Leila” by the late Egyptian singer Umm Kulthum.

The show ended with an eruption of applause, cheers and whistles as the performers came on stage to bid their final goodbye.

In an interview, Al-Nijain said: “I am very very happy to be performing here, the crowd is great, and the people are great. The one thing I found common between here and Egypt is that people are thirsty for good music, and they love songs that are old and traditional.

“We thank the organizers here because I feel honored. I want to perform again for the amazing crowd in the future.” 

Effat told Arab News: “Ever since I was a child I learned how to sing. When kids are supposed to be learning how to speak, I learned how to sing, so later when I received encouragement I worked harder. In the time I spent here what touched me most was the standing ovation. An artist doesn’t take money from a performance — they take the appreciation and respect they get.”

He said: “Opera is the only place that encapsulates the traditions of the Arab world, it is respected around the world.”

The orchestra’s conductor, Mustafa Hilmi, greeted the audience after the show. “I did two shows last month in Riyadh. We try to make different choices in the show, things we have never done before. People here are passionate about music and they sing along to Egyptian songs which is amazing.

“We choose songs based on trends and traditions. We try to preserve our old Egyptian songs and add something new so that the listeners of this generation don’t get bored by the same old songs.”

Sarah Ahmad, 23, who attended the opera said: “I have listened to a lot of Egyptian songs and coming here I was not disappointed. The music was great, the singers sang beautifully and the song choice was amazing.”


Review: ‘Sorry, Baby’ by Eva Victor

Eva Victor appears in Sorry, Baby by Eva Victor, an official selection of the 2025 Sundance Film Festival. (Supplied)
Updated 27 December 2025
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Review: ‘Sorry, Baby’ by Eva Victor

  • Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character

There is a bravery in “Sorry, Baby” that comes not from what the film shows, but from what it withholds. 

Written, directed by, and starring Eva Victor, it is one of the most talked-about indie films of the year, winning the Waldo Salt Screenwriting Award at Sundance and gathering momentum with nominations, including nods at the Golden Globes and Gotham Awards. 

The film is both incisive and tender in its exploration of trauma, friendship, and the long, winding road toward healing. It follows Agnes, a young professor of literature trying to pick up the pieces after a disturbing incident in grad school. 

Victor makes a deliberate narrative choice; we never witness the violence of what happens to her character. The story centers on Agnes’ perspective in her own words, even as she struggles to name it at various points in the film. 

There is a generosity to Victor’s storytelling and a refusal to reduce the narrative to trauma alone. Instead we witness the breadth of human experience, from heartbreak and loneliness to joy and the sustaining power of friendship. These themes are supported by dialogue and camerawork that incorporates silences and stillness as much as the power of words and movement. 

The film captures the messy, beautiful ways people care for one another. Supporting performances — particularly by “Mickey 17” actor Naomi Ackie who plays the best friend Lydia — and encounters with strangers and a kitten, reinforce the story’s celebration of solidarity and community. 

“Sorry, Baby” reminds us that human resilience is rarely entirely solitary; it is nurtured through acts of care, intimacy and tenderness.

A pivotal scene between Agnes and her friend’s newborn inspires the film’s title. A single, reassuring line gently speaks a pure and simple truth: “I know you’re scared … but you’re OK.” 

It is a reminder that in the end, no matter how dark life gets, it goes on, and so does the human capacity to love.