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..There is a wonderful site dedicated to Fayrouz with lots of pics, always has the latest news and a forum Visit Fayrouz Online ...as well, there is an older site that is no longer being updated, but is full of information fairouz.com
Al-Jazeerah Documentary on Fairouz
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Born and educated in Beirut, she began her musical career as a chorus member at the Lebanese Radio Station. In the late 1950s her talent as a singer became fully acknowledged. Met with unprecedented enthusiasm, Fayrouz's early songs featured the singer's distinct vocal timbre and lyrics expressing romantic love and nostalgia for village life. They meshed with a delicate orchestral blend in which certain Arab instruments figured prominently but which also subtly incorporated European instruments and European popular dance rythms.
She also sometimes sang adaptations Arab folk tunes. By the early 1960s Fayrouz was already one of the main attractions of the annual Baalbeck Festivals and a celebrety not only in Lebanon but throughout the Arab world. The dissemination of hundreds of songs, many musical plays and several films had widened her audience to include Arabs living in Europe and the Americas.
During most of her singing career, Fayrouz was part of a three-member team which included the two Rahbani brothers. Generally, her lyrics were written by Mansour Rahbani, and the tunes were composed and arranged by his brother 'Assi, Fayrouz's former husband. Fayrouz's songs owe a great deal to the musical and poetic genius of these two Lebanese artists. In recent years they have also reflected the composing talent of Ziad Rahbani, Fayrouz's son. In addition, they testify to Fayrouz's broad musical background, which encompasses Christian liturgical forms as well as the secular traditions of Arab music.
The Fayrouz-Rahbani legacy is a peculiarly twentieth-century cultural phenomenon. During the early postwar decades, most urban communities in the Arab world underwent rapid expansion, partly because of an influx of population from the rural areas. The city of Beirut in particular had absorbed a substantial number of people whose ethnic and social roots went back to various Lebanese villages, especially those in the mountainous regions of central and northern Lebanon. Politically and socially influential, this segment provided fertile ground for the rise of a new artistic tradition - music, dance, poetry, fashions, handicrafts - whose context was unmistakably urban but whose ration was folk and rural.
Born and educated in Beirut, she began her musical career as a chorus member at the Lebanese Radio Station. In the late 1950s her talent as a singer became fully acknowledged. Met with unprecedented enthusiasm, Fayrouz's early songs featured the singer's distinct vocal timbre and lyrics expressing romantic love and nostalgia for village life. They meshed with a delicate orchestral blend in which certain Arab instruments figured prominently but which also subtly incorporated European instruments and European popular dance rythms.
She also sometimes sang adaptations Arab folk tunes. By the early 1960s Fayrouz was already one of the main attractions of the annual Baalbeck Festivals and a celebrity not only in Lebanon but throughout the Arab world. The dissemination of hundreds of songs, many musical plays and several films had widened her audience to include Arabs living in Europe and the Americas.
During most of her singing career, Fayrouz was part of a three-member team which included the two Rahbani brothers. Generally, her lyrics were written by Mansour Rahbani, and the tunes were composed and arranged by his brother 'Assi, Fayrouz's former husband. Fayrouz's songs owe a great deal to the musical and poetic genius of these two Lebanese artists. In recent years they have also reflected the composing talent of Ziad Rahbani, Fayrouz's son. In addition, they testify to Fayrouz's broad musical background, which encompasses Christian liturgical forms as well as the secular traditions of Arab music.
The Fayrouz-Rahbani legacy is a peculiarly twentieth-century cultural phenomenon. During the early postwar decades, most urban communities in the Arab world underwent rapid expansion, partly because of an influx of population from the rural areas. The city of Beirut in particular had absorbed a substantial number of people whose ethnic and social roots went back to various Lebanese villages, especially those in the mountainous regions of central and northern Lebanon. Politically and socially influential, this segment provided fertile ground for the rise of a new artistic tradition - music, dance, poetry, fashions, handicrafts - whose context was unmistakably urban but whose ration was folk and rural.
Origins of a Legend by Sargon Boulos
One day in 1935, Wadi' Haddad moved his wife and two children into a new home on the cobblestone alley called zuqaq al-blat, an old neighborhood in Beirut where the poor of all denominations have for generations found company and shelter. The Haddads new home consisted of a single room on the street level of a typical stone house that faced Beirut's Patriarchate school.
Several other families were also living in the house; the residents shared the kitchen and other facilities. This was a time of migrations when a family could suddenly appear from nowhere and seek their next of kin, relatives, or just acquaintances from their own village who had already arrived in the big city. Wadi' worked as a typesetter in a nearby print shop, was quiet and gentle in manner; he was readily accepted by the folk of the neighborhood as one of themselves.
The eldest child in Haddad's family was a girl named Nouhad (meaning"sigh" or "splendor"), who would later grow up to be Fayrouz, one of the most famous singers of the Middle East and a legend in her own time. From her early childhood, Fayrouz displayed a natural flair for singing. Many a winter night, in neighborhood gatherings, she would surprise everyone by suddenly bursting out into song. Her family could not afford to own a radio, the magical commodity possessed by a fortunate few; it was a vehicle for dreams that, in the houses of the poor, provided solace and a vague feeling of belonging to whatever was throbbing out there beyond their reach. She used to sit on the window ledge to listen to the songs from the neighbor's radio that fascinated her. Some of the songs that she loved to sing over and over again in those early days were those by Laila Murad and Asmahan, two Egyptian women singers famous at that time. She did that as she stood in the backyard washing utensils, kneading the dough for marqouq (the Lebanese mountain bread), or helping her mother in the morning. At the same time, being the oldest, she had to take care of her two sisters, Hoda and Amal, and her brother Joseph. Sharing things was an article of faith, as it still is among the poor. Once a week, a woman neighbor would shout to the mother from the window to send her children over for their bath. She would bathe the Haddad children with her own and before they would be tucked in bed the Haddad girl, lounging on her mattress, would sing for them a song or two for a good night's sleep.
Nouhad Haddad (Fayrouz) - 1946
The father put aside some of his meager income for his children's education, so Fayrouz was able to attend school, where her voice was immediately recognized as having a unique quality that could transmute ordinary national hymns into something beguiling. At a school party one day in 1947, a teacher from the Lebanese Conservatory heard her and was struck by a certain intimation that he had just made a discovery. This man, Muhammad Fleifel, was looking for new talents at that time among school children to sing national hymns for airing on the newly established Lebanese Radio Station. Heanng the golden reverberations latent within the young singer's throat, Fleifel tended to her voice with fatherly care. He instructed her not to eat spicy food, citrus, or anything else that might hurt her vocal cords. He also cautioned her about singing in high register, or parts that required a shrill delivery. Later on, he was instrumental in helping her enter the National Conservatory. Perhaps his most outstanding contribution is that he taught her how to chant verses from the Koran according to what is known as tajwid, the high style of Koranic intonation in classic Arabic.
Nouhad Haddad (Fayrouz) - 1946

One day, when Fleifel was presenting a group of songs sung by Fayrouz among others, the head of the music department at the Lebanese Radio Station, Halim alRumi, happened to hear Fayrouz at the recording room and asked to see the girl. After the program was over, a shy, thin girl came to his office. When he asked her if she wanted to sing on the radio, she said that she did. He asked her to sing something for him other than hymns. She thereupon sang Ya Zahratan Fi Khayali by Farid al-Atrash, and Mawwal by Asmahan. Al-Rumi was deeply impressed by her voice, which was typically Eastern and at the same time flexible enough to render a Western mode admirably. She was appointed as a chorus singer at the radio station in Beirut.
My wish was to sing on the radio," Fayrouz reminisces. "I was told then that I'd be paid 100 pounds ($21.00) a month. To me, this was overwhelming. But at the end of the month I wasn't fortunate enough to fill my eyes with a 100-pound note, because of the tax deductions. It took me a long time to get hold of a 100-pound note intact."
Her father objected to her going to the radio station at first. It took a lot of coaxing and some heavyhanded interference by close acquaintances to convince him. He stipulated that Fayrouz was to be accompanied by her mother, her brother Joseph, or the neighbor's boy when she went to the station.
Nouhad in the forefront singing at the Lebanese Radio Station - 1950

This was a period of practice and observation for Fayrouz. She closely studied the style of delivery of each singer in the chorus, and it often happened that she substituted for another singer who was delayed or failed to appear. She had a keen artistic sensibility and a memory so sharp that she was able to learn by heart in two hours four pages of poetry or five of notation.
Her first song was composed by Halim al-Rumi, with words by Michael Awadh, and went: I left my heart to follow you/but ended up burning/far away from your love. The second one, In an Atmosphere of Magic and Beauty, was in the Egyptian dialect. Al-Rumi, so excited about the talent he had discovered, introduced Fayrouz to 'Assi Rahbani, a policeman by profession and an aspiring composer who was already aware of the talented new voice and anxious to meet Fayrouz.
Nouhad Haddad singing at the Lebanese Radio Station - 1949
The subsequent collaboration between the composer and the singer eventually resulted in a song that was to launch Fayrouz for the first time as a major talent on a popular scale. At first, however, their efforts were mainly in the area of light, dancy tunes. Beirut was attracting big bands who came from overseas to play tangos and rumbas to an expanding Westernized segment in the Lebanese capital. One of these was the Eduardo Bianco band from Argentina. While recording at the Near East Broadcasting studios, Sabri Sharif, who directed the music section there, suggested a new experiment hitherto untried in Eastern music. Fayrouz was to sing, with Bianco's orchestra, tunes originally composed for dancing, like La Compersita and the tango La Boheme. This took place on October 1, 1951, a decisive day in the life of Fayrouz and the two Rahbani brothers, 'Assi and Mansour. They believed that this was the true beginning of the dance-song in Arab music; only Midhat 'Assim an Egyptian composer, had been experimenting in this direction before.
With conductor Tawfiq al-Basha singing solo at the Near East Radio Station - 1950
Wearing shorts, he sported a cigar and strolled about in the guise of a genius virtuoso who, replete with talent and youth, lacked only the right singer who would catapult him into fame.
The watershed song, that launched their career, was not a dance-song but a melancholc son called 'Itab (Blame) that began: You keep blaming me and I/of blame have had enough/my body has withered away/under the burden/and you say/you want to go away/please do/my heart is used to pain. Overnight, 'Itab established Fayrouz as a major singer throughout the Arab world. One od the reasons for the song's sucess was the excellence of the equipment at the Damascus radio station where the song was recorded on November 12, 1952. Later a commercial disc was cut in Paris.
The young singer was known to her listeners as Yola or as Fatat al-Jabal (Mountain Girl). Al-Rumi suggested that she take the "stage name" Fayrouz (which means "turquoise") because her voice reminded him of a precious stone. At first she thought he was joking, but later on she took his advice.
(From left to right) Fayrouz, 'Assi Rahbani, Halim al-Rumi and Mansour Rahbani - 1951
At that time, radio program went directly on the air and were not record ed. While waiting their turn, Fayrouz and her composer 'Assi, by now her constant companion, used to sit under a tree near a pond in the backyard of the broadcasting studio. Sometimes she daydreamed, but often they chatted together to kill time. She did not anticipate a great future for herself as a singer. Rather, her real dream was to become a teacher. She had said on many occasions that she would never get married. Brought up in a devout Melkite household, almost ascetic in her manners and bearing, Fayrouz was typical of many Lebanese young women of her class and age. Many of the people who have known her tell how they often found her during a break kneeling in prayer somewhere in the vicinity of the recording studio.
(From left to right) Fayrouz, 'Assi Rahbani and Mansour Rahbani in his policeman's attire - 1951
One day Fayrouz, in passing, told 'Assi that she did not like the way he paid attention to a certain girl at the station. This innocent remark did not go unnoticed. She still kept to herself and persisted in her obstinate rejection of the idea of marriage. But on a certain spring day in 1953, while they were practicing together at the edge of the same pond, under the same tree, 'Assi repeated an earlier offer of marriage. This time Fayrouz said yes.
They got married in July, 1954. At their wedding, large crowds of Beirutis gathered in the summer Sunday afternoon to witness the ceremonies. To the Lebanese, Hotel Masabki in Shtura, surrounded by aloe trees, is a dream place, that lies in the heart of Lebanon's mountains; there, right after the wedding, the bride and groom went to spend their honeymoon.
Fayrouz - 1951
When the young couple returned from their honeymoon, they moved into a modern villa in the village of Antilias in the suburbs of Beirut. On one side of the house lay orange groves and the Mediterranean; from the other side, one could see cypress woods and mountains. This typically Lebanese setting contributed to the atmosphere of her future songs.
Fayrouz and Assi Rahbani on their wedding
day surrounded by members of their families;
Fayrouz's younger sisters Hoda and Amal
appear before the bride and bridegroom - 1954
(From left to right) Najib Hankash,
Assi Rahbani, Farid al-Atrash,
Fayrouz, Muhammad Abd al-Wahab,
Badi'a Masabni, Filimon Wahbeh, and
Mansour Rahbani - 1955
The first major success on the scale of the entire Arab world took place one year later, in the summer of 1955, when Fayrouz and her husband were formally invited to the Egyptian capital to air their songs from the Egyptian radio station. The couple spent five months in Cairo, then the center of Arab theatre, cinema, and song. Every night Fayrouz would be introduced to some star she had previously seen only on the silver screen. Celebrated Egyptian composers approached her to sing for them, film-makers asked her to star for them, but Fayrouz - by now pregnant - politely declined. In her private moments she would go out to the streets of Cairo and lose herself in the crowds. Sometimes she would seek a poor juggler who played his pianola on a street corner; he was an artist in his own right, she would think to herself. Other times, she would sit alone wondering what kind of future her new baby would have.
Fayrouz - 1951
Back in Lebanon, she gave birth to her son Ziad on January 1, 1956. Even while she was spending much of each day indoors caring for her baby, Fayrouz was preparing to move beyond the limited arena of the recording studios.
In the summer of 1957, she faced an audience in the open for the first time, standing at the base of one of the six columns that comprise the temple of Jupiter in Baalbeck. It was the largest audience that had ever gathered at the Roman temple. Under a crescent moon, Fayrouz, flooded with blue light, began to sing, in a calm, confident voice, Lubnan Ya Akhdar Hilo (O Green, Sweet Lebanon). People were spellbound; it was a magical moment. From that day on, Fayrouz would sing and act, at least once a year, in major musicals such as al-Baalbakiyya (The Baalbeck Woman), a fantasy in which gods ordain Voice to come to life among humans; Jisr al-Qamar (Bridge of the Moon), where a charitable fairy makes peace between parties hostile to each other; and Ayyam Fakhreddin (The Days of Fakhreddin), the story of a seventeenth-century prince who struggles to rebuild his country, having faithfully fought for its liberation. Fayrouz was on her way.
Fayrouz in her film Bint al-haris
Whereas before her talent had found expression only through the lyrics and music of the two Lebanese brothers 'Assi and Mansour Rahbani, now the most creative poets of the Arab world rushed to compose lyrics to be interpreted by her voice. The list of those who have written lyrics for one or more of her over 800 songs includes 'Omar Abu Risha, Qablan Mkarzil, Nizar Qabbani, Michel Trad, Sa'id 'Aql, Joseph Harb, As'ad Saba, Badawi al-Jabal, Abu Salma, and other contemporary poets. She has also sung works by Kahlil Gibran, Mikha'il Nu'aimeh, Elias Abu Shabaka, Harun H. Rashid, and Boulus Salameh, as well as by such ancient classical poets as Ibn Dhuraiq alBaghdadi, Ibn Jubair, and Ayadmur al-Muhyawi. Fayrouz's list of composers has expanded to include Tawfiq al-Basha, Fi lmon Wahbeh, Zaki Nasif, Khali d Abul Nasr, George Daher, Muhammad 'Abd alWahab, Halim al-Rumi, and now her own son Ziad.
Fayrouz, who sang at
London's Albert Hall in
1962, returns to London's
Palladium in 1978.
Since the first time she appeared live before an audience in 1957, Fayrouz has traveled to places that as a child she seemingly could hope to know only through her grandparents' tales. She has sung at the ruins of the Philadelphia Amphitheatre in Amman, as well as in Damascus, Baghdad, Rabat, Algiers, Cairo, Tunis; she has travelcd overseas, reaching out to Arab emigrants in Rio de Janiero, Buenos Aires, New York, San Francisco, Montreal, London, Paris, and many other cities throughout the world. On these trips, Fayrouz has been offered as a traditional gesture of welcome, the symbolic key to many cities; perhaps the closest to her heart remains the golden key she received from the Mayor of Jerusalem which she received during a private visit there with her father in 1961. Although Fayrouz did not sing during her one visit to the holy city, Jerusalem is honored in many of the songs she has sung sincc hcr pilgrimage there.
Fayrouz at Carnegie Hall
For the girl who loved to sing to her friends and neighbors in zuqaq al-blat, it was an overwhelming experience when in 1957, President and Mrs. Camille Chamoun presented her with the "Cavalier," the highest medal ever conferred on a Lebanese artist; twelve years later, a memorial Lebanese stamp was issued in her name. Meeting royalty, once an experience she had expected to encounter only in the fairy tales of childhood or the fantasies that she played out in her musical dramas, has become a reality for her. King Hassan II of Morocco not only invited her to perform at the Royal Palace but appeared in person to greet her at the Rabat airport. And in 1963, King Hussein of Jordan presented her with the Medal of Honor, followed by His Majesty's Gold Medal in 1975.
Yet to Fayrouz, all the official acclaim and recognition that she has received over the years does not parallel the joy she experiences as she sings when she spots the absorbed attention of a single anonymous listener in a crowd. To her, singing is not merely a perfected profession, but a way of life. The Fayrouz of today, like the Fayrouz of yester-year, continues to attend mass in the village church at Antilias. There, every year, during Holy Week she sings to the devout villagers with a dedication that perhaps is equalled only by their simple piety. It is this dedication which consistently refines her talent and continues to set Fayrouz apart in a category all her own amid the chaotic trends of Middle Eastern music.
Nouhad with her mother
Liza al-Boustani crossing
Marty's Square in Beirut - 1945.