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3. Baalbeck Recounts... The Musical Chehabism of the Rahbani Brothers

In tribute to Fayrouz on her birthday, the second article in our series revisits the legacy of the Rahbani brothers, architects of a musical universe where Lebanon dreamed of being a symbol of unity and hope, defying the shadows of its bloodstained history and present. Through their collaboration with the aptly named “Diva” and their unifying vision, they laid the cornerstone of a new Lebanon, making the artist the voice of a nation seeking reconciliation and identity.

If a country had eyes, she would be its eyelids — fluttering like butterflies, grazing the dawn with their delicate wings to summon contemplation. A discreet yet all-consuming reflection on the landscape. The light awakens us, stirs us from lethargy, and intoxicates us. Beneath our hungry gaze, an idyllic land is instantly adorned with a thousand forgotten colors. And when those eyelids close, another world blooms. These diaphanous wings fold to veil, if only partially, the unspeakable, sparing our hearts from darker hours. In this muted darkness, nostalgia becomes a refuge, and memories of the past transform into scattered fireflies, dancing on the brink of oblivion. If Lebanon had eyes, Fayrouz would undoubtedly be its eyelids. In the second article of our series, and on the occasion of the Lebanese prima donna's birthday, we delve into the political, social, and cultural vision and project of the Rahbani brothers, for whom Fayrouz was first the voice before transforming into a true legend: from "the Star of Baalbeck" to "the Icon of Lebanon."

Voice of the People

Through their musical and theatrical compositions, the Rahbani brothers expressed a romanticized and idealized vision of Lebanon, particularly at the Baalbeck Festival starting in 1957. Their music, infused with poetry and symbolism, captured the spirit of a nation striving for emancipation, learning to stand on its own. A nation on the path to reconciling with itself. This utopian Lebanon became the guiding thread of their work, shaped by a nostalgic vision advocating harmony and diversity. With Fayrouz, they initially created folkloric songs before embracing a more Western style — a creole musical language bridging the European tonal harmonic system and the Levantine modal monodic system. The trio succeeded, nevertheless, in convincing, even charming, the most resistant audiences, including Levantine purists known for their devotion to the Mashriq's modal monodic musical traditions.

Lebanon’s Collective Imagination

Various factors are said to have contributed to the rise of the Rahbani brothers and, in particular, to Fayrouz’s ascent, thereby fueling their legend. Endowed with a unique vocal timbre, an alto voice enriched by soaring high notes and languid melismas, Fayrouz established herself with an interpretation that decisively broke away from the Egyptian tradition, which had until then dominated the Levantine musical scene. This break from convention even sparked rebellion among some, who viewed this evolution as a distortion of long-standing traditions. “This extraordinary musician, of extreme elegance, with such a sensual timbre, is undoubtedly the most dazzling and exceptional star I have ever encountered,” declared John Eliot Gardiner, one of the most prominent conductors of the contemporary era. Furthermore, the Rahbani brothers' genius in traditional popular music was further enriched by collaborations with great figures (often referred to as unsung heroes) such as Philemon Wehbe, Wadih al-Safi, Nasri Chamseddine, Zaki Nassif, and Elie Choueiri.

Combining poetic expertise with sharp political acumen, Assi and Mansour Rahbani relied on enlightened socio-political advisors to anchor their operettas in both dramatic depth and, above all, a sense of engagement. Together, they envisioned and built a virtual Lebanese village, reflecting the unifying project of President Fouad Chehab and the Chehabist intelligentsia of the 1960s, which extended into the early years of the civil war, aiming for interfaith unity. The trio skillfully wove this aborted model into the Lebanese collective imagination during a time of deep crisis. This is what Frédéric Lagrange, professor of Arabic language and literature at Sorbonne University, termed “musical Chehabism.”

A Certain Resurrection

The Rahbani brothers’ work is deeply rooted in an unwavering attachment to their homeland. For them, the land transcends a mere geographical territory, becoming a powerful symbol of identity, memory, and suffering. Thus, Lebanon is celebrated not only through its landscapes painted with infinite hues but also as a nation continually martyred, yet bearing the hope of certain resurrection. Through songs like Zahrat al-Mada’in (“The Flower of Cities”) and Bhebbak ya Lebnan (“I Love You, O Lebanon”), their music becomes a vibrant hymn of love for this painfully cherished land. The Rahbanis, through their art, embody profound commitment, becoming the voice of the voiceless and denouncing the injustices that have disfigured this once-peaceful land.

Rural life and nature also resonate deeply in their works. Their musicals and films, such as Jisr al-Kamar (The Bridge of the Moon, 1962), Biyaa al-Khawatim (“The Ring Seller”, 1964), and Bint al-Hariss (“The Guard’s Daughter”), are imbued with a bucolic atmosphere where nature becomes a reflection of human emotions and the Lebanese soul.

A Contrast with Reality

If the works of the Rahbani brothers succeeded in painting an idyllic picture of Lebanon, they also served as a form of protest against social injustices and political tensions, notably in Ayyam Fakhr al-Din (“In the Era of Fakhr al-Din,” 1966), Al-Chakhes (“The Person,” 1968), and Jibal al-Sawwan (“The Mountains of Sawwan,” 1969). While their music is filled with light, it does not ignore the shadows. The contrast between the beauty of their artistic representations and the sociopolitical realities of the country amplified the symbolic and poignant nature of their message. When the civil war broke out in 1975, Fayrouz stopped performing in Lebanon to avoid any political exploitation, thereby preserving the unifying vision that the Rahbani brothers championed. She even refused to sing for royalty, further solidifying her image as the voice of the people.

Today, as Fayrouz enters her ninth decade, she no longer blows out candles but rekindles those of a Lebanon that refuses to fade away. Ad multos annos.