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Lebanon's Fairouz: The Arab World's Most Celebrated Living Voice

Lebanese icon Fairouz. (AFP)
Lebanese icon Fairouz. (AFP)
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Lebanon's Fairouz: The Arab World's Most Celebrated Living Voice

Lebanese icon Fairouz. (AFP)
Lebanese icon Fairouz. (AFP)

The Arab world's last living music legend Fairouz, who French president Emmanuel Macron is to visit Monday in Beirut, is a rare symbol of national unity in crisis-hit Lebanon.

Since the death of Egyptian diva Umm Kulthum in 1975, no Arab singer has been so profoundly venerated as 85-year-old Fairouz -- a stage name that means "turquoise" in Arabic.

For decades, she captivated audiences everywhere from her native Beirut to Las Vegas, including the grand Olympia in Paris and the Royal Albert Hall in London.

She has sung of love, Lebanon and the Palestinian cause, in ballads that have revolutionized Middle Eastern music.

Fairouz is "certainly one of the greatest Arab singers of the 20th century," expert in Middle Eastern music Virginia Danielson told the New York Times in 1999.

When she sang, she appeared as if in a trance: eyes glazed over, expression stoic, small smiles flashing quickly across her face.

"If you look at my face while I am singing, you will see that I am not there, I am not in the place," she told the New York Times in a rare interview.

"I feel art is like prayer."

Fairouz has been dubbed "our ambassador to the stars" by her compatriots -- not just for her celestial voice, but because she is a rare symbol of unity for a country bitterly divided by a 15-year civil war.

‘I love you, oh Lebanon’
Born Nouhad Haddad in 1934 to a working class family, she studied at the national music conservatory as a teenager.

During her time with the Lebanese state radio choir, composer Halim al-Roumi nicknamed her Fairouz and introduced her to composer Assi Rahbani, whom she married in 1955.

Fairouz, Assi, and his brother Mansour revolutionized traditional Arabic music by merging classical Western, Russian and Latin elements with eastern rhythms and a modern orchestra.

Fairouz shot to fame after her first performance at the Baalbek International Festival in 1957.

Her reign as the queen of Arabic music was partly thanks to her championing the Palestinian cause, including "Sanarjaou Yawman" or "We Shall Return One Day", an elegy to Palestinians exiled by the creation of Israel in 1948.

The star is an immortal icon in her native Lebanon.

Many of her most popular songs are nostalgic odes to pastoral times. Others are poems by the likes of Lebanese legends Gibran Khalil Gibran and Said Aql that are set to music.

She has largely disappeared from public life in recent years, but her soaring voice remains ubiquitous, blaring every morning from radios in street cafes and taxis.

"When you look at Lebanon now, you see that it bears no resemblance to the Lebanon I sing about, so when we miss it, we look for it through the songs," the diva told the New York Times.

Fairouz also won national acclaim for remaining in Lebanon throughout the country's civil war from 1975 to 1990, and for refusing to side with one faction over another.

Tens of thousands of people swarmed her first post-war concert, in 1994 in Beirut's downtown.

"I love you, oh Lebanon, my country, I love you. Your north, your south, your valley, I love you," she croons in one of her most well-known songs.

Political, family controversies
Fairouz is famously protective of her personal life.

"When she wants to, she can be really funny. She's also a distinguished chef. Very humble, she loves serving her guests herself," journalist Doha Chams, her press officer, told AFP.

But she hates "the invasion of her private life".

Fairouz had four children with husband Assi Rahbani, who died in 1986.

Their daughter Layal died at a young age of a brain hemorrhage, their son Hali is disabled, and Rima, the youngest, films and produces her mother's concerts.

Her eldest son, Ziad, followed in the footsteps of his father and uncle as a musician and composer.

Fairouz worked closely with Ziad – an iconic artist in Lebanon in his own right -- to compose songs with a jazz influence.

The Lebanese star's recent past has been marked by a string of family and political controversies.

In 2008, when Lebanese political factions were fiercely divided over support for the regime in neighboring Syria, Fairouz performed in Damascus.

Two years later, the Lebanese judiciary prevented her from singing tunes co-written by the Rahbani brothers without the authorization of the sons of her brother-in-law Mansour.

Fairouz spent several years without new material until 2017, when her daughter Rima produced her last album, "Bibali".

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‘Caesar’s’ Partner ‘Sami’: I Wept at First When I Saw Pictures, Then Became Emotionally Numb

Syrians gather outside a prison in Damascus the day after Assad’s fall, hoping to uncover the fate of their missing loved ones (AFP)
Syrians gather outside a prison in Damascus the day after Assad’s fall, hoping to uncover the fate of their missing loved ones (AFP)
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‘Caesar’s’ Partner ‘Sami’: I Wept at First When I Saw Pictures, Then Became Emotionally Numb

Syrians gather outside a prison in Damascus the day after Assad’s fall, hoping to uncover the fate of their missing loved ones (AFP)
Syrians gather outside a prison in Damascus the day after Assad’s fall, hoping to uncover the fate of their missing loved ones (AFP)

In the final installment of his interview with Asharq Al-Awsat, Osama Othman, the man who smuggled the “Caesar Files” documenting Syrian torture victims, described how the photos became a haunting part of his life.
“I lived with these images for years until the victims felt like friends,” he said.
Othman recalled his early emotional struggles.
“At first, I cried whenever I saw the photos,” he said.
“But over time, my feelings went numb. When I cried, I felt human. But when I started looking at the pictures coldly, just searching for specific ones, I felt like a stranger to myself. Bashar al-Assad disfigured the victims physically and destroyed us emotionally.”
For 11 years, Othman was known only by his codename “Sami” until he revealed his identity through Asharq Al-Awsat.
He shared one of the most heartbreaking moments: “Hearing a mother or wife recognize a loved one in the photos and say, ‘Thank God they’re dead. At least the waiting is over.’ It’s a pain that breaks your heart.”
Among the nearly 27,000 photos, some left a lasting impression on Othman. He mentioned victims with large tattoos of Assad on their chests and security officers smiling next to mutilated bodies, as if posing for a tourist photo.
The following is the text of the interview:
How did you handle seeing so many torture photos?
“The first images I got from ‘Caesar’ were devastating. You can’t imagine,” said Othman. “It’s one thing to see someone killed in a battle or a crime—you can understand it. But when you see photos of victims with burn marks all over their chests, it’s beyond comprehension.”
Othman shared how he coped.
“I saw these victims as my family—my brother, my father. That made it hurt even more. I felt their pain as if it was my own. What kind of person tortures someone like this? If they were going to die in prison, just kill them. Why subject them to such barbaric torture?”
“No regime in history has gone to such lengths to detain and torture its own people in ways no sane mind can comprehend. The cruelty is unimaginable,” he added.
Did you suffer from sleepless nights and tears?
“In the beginning, I couldn’t stop crying,” said Othman.
“These victims aren’t just numbers. They had mothers waiting for them, children, siblings, and lives. Assad turned them into photos with numbers. Even now, 10 years later, we have thousands of images with no names. We hoped to access records linking these numbers to identities when the regime fell, but that hasn’t happened.”
Othman and the Caesar Files for Justice organization are now working on a solution.
“We’re creating an app to match missing persons’ photos from families with our files, using forensic methods like skull measurements and other details beyond what the eye can see.”
Over time, Othman’s emotions changed.
“After looking at thousands of photos, certain details stick with you. For example, Branch 227 reminds me of victims with eyes gouged out, while Branch 215 committed over half of the recorded violations. These numbers and images are burned into my memory. I’ve seen so many that I can often tell which branch they came from at a glance.”
“These victims felt like my friends,” said Osama Othman.
“In some photos, you could see a victim screaming in their final moments, their mouth frozen open. That silent scream, heard only by God, reached us through the images. I felt as if they were entrusting me with a responsibility.”
Over time, Othman’s emotions dulled.
“At first, I cried and knew I was still human. But later, as I searched through the photos without feeling, I felt like a stranger to myself. Assad didn’t just destroy the victims physically—he broke us emotionally too.”
Were doctors involved in torture?
“There were reports of killings in hospitals,” confirmed Othman.
“We had photos of victims with medical tubes still in their arms and bandages on their bodies. It’s unclear what happened—were they arrested and taken to the hospital, or detained directly from there? I don’t know.”
Othman emphasized the lack of evidence.
“Without proof, I can’t confirm these claims. Some doctors have faced trials in Germany for alleged abuses against detainees, but many stories circulating publicly lack the legal backing to hold up in court.”
“Unfortunately,” he added, “any claims of torture or killings without solid evidence can’t withstand scrutiny in any court.”
The pictures uncovered the fate of some missing people, did the relatives of those missing contact you and how did you feel about them?
Othman frequently received photos from families of the missing, hoping to find their loved ones among the Caesar Files.
“Relatives would send me images, asking if their loved ones were in the files,” Othman said.
“I would compare these photos with thousands in the Caesar Files, searching for similarities.”
Othman explained that the process was slow and painstaking.
“It took a lot of time, but often I was able to find a match.”
Othman described the emotional toll of working with the Caesar Files.
“Often, when we send full-body images of victims to their families, it’s not their loved one. But sometimes, it is. What’s most heartbreaking is hearing them say ‘Thank God, thank God.’ Why? Because they’re relieved their loved one has died. A mother or wife says this in agony, grateful that their suffering has ended. This makes you wonder—how could a mother see her son tortured and dead, yet say ‘thank God’?”
Othman also recalled disturbing images.
“We have photos of victims who lost their eyes. One photo shows a man with a tattoo of Bashar al-Assad’s face, and the words ‘Syria, Assad’ under it. This man was tortured to death in the Air Force Intelligence branch in Damascus.”
One image, Othman said, still haunts him.
“In another, there are many bodies in a cart, from different branches, not just one. Some bodies are piled up outside a garage, decaying. What’s chilling is a soldier smiling in the background. It makes you question—why is he smiling? Is it happiness, or has he lost all sense of feeling in the face of such cruelty?”
Othman described a disturbing photo of hospital staff smiling, seemingly unaware of the horror around them.
“In the background, you can see bodies wrapped in plastic, others on tables, and some limbs visible. Hospital corridors were used to wrap up the bodies,” he said.
Othman also pointed to detailed images of victims’ eyes, which forensic experts can use to assess injuries and decay caused by insects.
He emphasized the pain of sharing these images.
“I don’t want to show more—it’s too painful for viewers and the victims’ families. But our message has reached the world. After 10 years, the Caesar Files exposed the regime’s crimes, and today, institutions and former prisoners are revealing even more about these atrocities.”
How did you feel about Russian President Vladimir Putin’s asylum offer to Assad?
Othman expressed his reaction to Russian President Vladimir Putin granting Assad asylum.
“Since Russia’s intervention in Syria in 2015, the Russian regime has been a partner in the Syrian regime’s crimes,” Othman said.
“We viewed the Russian officials as true partners in these atrocities, and they likely bear greater responsibility than the Syrian regime itself.”
Othman was not surprised by Assad seeking refuge in Russia.
“I don’t think this asylum will last long. We are committed to working tirelessly to bring Assad back to Syria, recover the stolen funds, and ensure he is prosecuted in Damascus.”
Othman shared his hopes for justice in Syria, expressing his desire to see Assad in the defendant’s cage.
“I pray I live long enough to witness that moment, just as I lived to hear the news of Assad's fall and the liberation of Damascus,” he said.
Asked whether Assad knew about the atrocities taking place in Syrian prisons, Othman was firm.
“In Syria, nothing happens without the president knowing. This is a repressive, security-driven regime led by Assad, or previously by his father, Hafez al-Assad. No security official under this regime would act without the president’s approval.”
Othman acknowledged that while they lack direct evidence linking Assad to specific crimes, the responsibility falls on the heads of the security agencies.
“Legally, the blame lies directly with the heads of security agencies, as the chain of command flows from them. But in Syria, everyone knows that even the smallest actions in any security branch or prison are part of a systematic plan known and approved by the regime's top leadership.”
On whether the victims in the Caesar Files were from specific regions or sects, Othman clarified, “The victims in the Caesar Files are Syrians, and we defend all Syrians. Since the victims are identified by numbers, not names, I can’t determine if they belong to a particular sect or group.”
However, he noted signs of certain affiliations.
“Some victims have tattoos on their bodies. You might be surprised to learn that several victims have a large tattoo of Bashar al-Assad on their chests. You could assume these men were Assad supporters. I don’t know their sects, but someone who tattoos Bashar al-Assad on their body surely has strong support for him.”
Othman pointed out that some tattoos found on victims might provide clues about their identity, but not with certainty.
“A tattoo of Palestine, for example, isn’t unique to Palestinians. We all support Palestine. But it’s likely this person was Palestinian, especially from the Palestinian community in Syria,” he said.
He emphasized that tattoos could hint at political beliefs or nationalities, but he wouldn't make assumptions.
“These tattoos may suggest political views or connections to certain countries, but I can't say for sure if the victims belonged to a specific sect or group.”
Othman added that once names are linked to numbers, he may be able to provide more concrete answers.
“When we can match names to numbers, I'll be able to say if many of these victims came from a particular sect.”
Do you believe that Syria is on its way to a rebirth?
Othman shared cautious hope for Syria’s future.
“God willing, a new Syria will be born,” he said, but added a note of caution.
“I don’t want to be pessimistic, but the real fight for Syria's rebuilding began on December 8, 2024, with Assad’s fall and Damascus’ liberation. Everything before that was just about toppling the regime and removing its leader.”
When will you return to Syria?
Othman said he is eager to return to Syria but faces administrative hurdles.
“I’m waiting for the right moment, but there are still many bureaucratic obstacles,” he explained.
“If it were possible, I would have gone back earlier.”
Regarding his fears due to his involvement in the Caesar Files, Othman admitted the risks remain.
“The fear is still there. We hid our identities to protect ourselves and our families, and that need still exists,” he said.
“The risks are greater now because we are pushing for accountability. This puts us in conflict with many people. I know the dangers, but I’m committed to this path and prepared for whatever comes. If I could do more from hiding, I would, but now it's important to be visible and move the case forward.”