Saudi Arabia sets stage for a theatrical future with first grand opera and plans to launch an academy
▶ Local and international stars to perform in first of many more Arabic productions to come, writes
The future of Gulf opera is now in motion. With a new Arabic production inspired by an ancient folk tale debuting in Saudi Arabia in April, plans are now being formulated for a greater focus on Gulf opera overall, with both international players and local talent working in tandem.
Deemed the first Saudi grand opera in history, Zarqa Al Yamama, will run from April 25 to May 4 at a soon-to-be-announced venue in Riyadh.
The show is based on a pre-Islamic Arabian story about a woman blessed with foresight unsuccessfully warning her tribe of imminent danger.
For the star, English opera veteran Sarah Connolly, it marks not only a bold new step for the art form itself, but also a welcome return to the time-honoured tradition of opera, transporting its audience to a part of the world with a rich heritage still ripe for discovery.
The prospect of such a momentous undertaking persuaded Connolly to sign up for a challenging assignment which includes intensive Arabic language and singing lessons.
“It’s not just the classes,
I do my own study because listening is very important for singers,” Connolly tells The National. “I have sung in many languages like Russian, Polish and Czech and it is always difficult at first because you can’t always understand every inflection and it will be the same with classical Arabic … but at the end when everything comes together it will hopefully wow the audience.”
Underscoring some of that confidence is the medium’s rich history of composers seeking inspiration from abroad.
“There have been so many like [German-British composer] George Handel, who in the 18th century wrote in languages he didn’t understand like English,” she says.
“He made a few mistakes which we English singers have corrected now. And there is [Italian composer] Giacomo Puccini whose opera Madame Butterfly was heavily inspired by Japanese culture.”
Connolly hopes Zarqa Al Yamama demonstrates how the Arab Peninsula, a region steeped in a rich storytelling and poetry tradition, is an untapped resource for future classical musical projects.
According to her, the plotline echoes some of the turmoil in the world today, with an unfolding tragedy that is Shakespearean in scope.
“The story is very meaningful because it’s about a strong woman who was leading her people and they didn’t listen to her and eventually they all lose.
“It speaks about the annihilation of a tribe and so many current political thoughts and worries that people have,” she continues. “Not only does she remind me of one of the great opera characters, Cassandra, who can also tell the future, but I was also reminded of Macbeth with the scene of enemy hiding and coming from the trees.”
Such insights were music to the ears of Sultan Al Bazie, chief executive of Saudi Arabia’s Theatre and Performing Arts Commission – established by the kingdom’s Ministry of Culture in 2020.
Al Bazie says Zarqa Al Yamama is one of a number of initiatives the organisation hopes to develop and stage in Saudi Arabia before taking the production on the road.
“It is available to tour the world because operas are always looking for new productions and content that is different from what they see not only in the West but the East as well,” he explains to The National.
“I believe we need to tap on the great wealth of stories in Arabian culture, especially in the Arabian Peninsula. The history from the pre-Islamic, Islamic and modern days are full of tales that could be an inspiration for the world.We are used to seeing our stories told by others, so it’s time for us to tell our story ourselves and we are obliged to do that.”
This means having more Saudis in creative and technical roles. Al Bazie says plans are in motion for the commission to launch an academy teaching various facets of the industry.
While an opening date has not yet been announced, he anticipates a launch some time after the premiere of Zarqa Al Yamama. “Theatre is a strong employment sector,” he says. “To produce even a modest production you need no less than 20 people backstage in addition to those at the front.
“We are talking about stage management, audience management, lighting, sound, costumes, make-up and so many other things. Before we launch our academy, this production will be an opportunity to give our young people a chance to be inspired and learn skills from the field itself.”
Connolly knows this all too well. She credits her father for taking her as a child to local theatre productions in her hometown of Darlington for motivating her to become a piano prodigy by the age of 10.
“I always felt that younger people are more open and far more accepting of a new world of sound than others and that’s what makes that exposure so exciting,” she says.
“I have nothing to compare to when it comes to this project in Riyadh but what I have learnt from my experience is that it’s very important to appreciate good music where it’s from. It’s much more important for me as an artist to do something new, worthwhile and that’s collaborative and trendsetting.”
We are used to seeing our stories told by others, so it’s time for us to tell our story ourselves and we are obliged to do that SULTAN AL BAZIE
Theatre Commission chief executive