Gabriel Yared’s musical journey comes full circle

Gabriel Yared left Lebanon, his homeland, at the age of 19 to pursue a career in music. (Photo by Peter Cobbin)
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Updated 02 June 2020
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Gabriel Yared’s musical journey comes full circle

  • Yared has scored dozens of films, winning an Oscar, Golden Globe, BAFTA and Grammy for his soundtrack to director Anthony Minghella’s film The English Patient
  • He is currently working on the score for an Italian film, based on the Romain Gary novel The Life Ahead, about a young Muslim boy in Paris being cared for by an elderly Jewish woman

PARIS: For Gabriel Yared, the award-winning Lebanese-French composer, withdrawing from the world was a personal choice he made long before the lockdowns and social distancing resulting from the COVID-19 pandemic.

“What composer would dare to complain about confinement when surrounded by his music books and piano?” he said. “He can work in peace, in total silence — no cars, no planes in the sky, birds singing in the background.

“I have chosen to withdraw from life for a very long time. Since I devoted my life to music, I spend a lot of time at home where I can compose and read. I feel privileged when I think of all these people stuck between four walls in a small space with children. I know that is very painful, without mentioning the economic and financial pressures caused by this pandemic.”

Yared left Lebanon, his homeland, at the age of 19 to pursue a career in music. In the five decades since then, he has written music for Francoise Hardy and Johnny Hallyday, and has also worked with Charles Aznavour, Mireille Matthieu and Gilbert Becaud, among other singers.

He has scored dozens of films, winning an Oscar and other prestigious international awards, including a Golden Globe, BAFTA and Grammy, for his soundtrack to director Anthony Minghella’s film “The English Patient.”

He is currently working on the score for an Italian film based on “The Life Ahead” an early novel by Romain Gary about a young Muslim boy in Paris being cared for by an elderly Jewish woman, Madame Rosa, who survived Auschwitz. It is directed by Eduardo Ponti, the son of Sophia Loren and Carlo Ponti, and stars 84-year-old Loren as Rosa.

As much as Yared enjoys his self-imposed periods of isolation at home in Paris, however, the enforced confinement necessitated by the coronavirus crisis has its disadvantages and creates professional difficulties.

“I want to meet with the director, talk to him, let him hear things and gauge his initial reaction as we discuss the project,” he said. “For instance, as the wheel of life has stopped and airports closed, (Ponti) was not able to come to Paris as he was in Los Angeles.

“It was painful but, at the same time, the fact that everything has been suspended and frozen gave me more time to try, to take risks and make proposals. Now that I have finished the music, the problem is where to record it. Groups of more than 10 people are not allowed anywhere and an orchestra’s line-up is usually between 50 to 70 musicians.”

Last year, Yared also signed on to write the music for the Lebanese film “Broken Keys,” which is written and directed by Jimmy Keyrouz, a 30-year-old Lebanese filmmaker who graduated with a master’s degree in directing and screenwriting from Columbia University in New York. It tells the story of a young pianist living in a Syrian city controlled by fundamentalists who destroy his piano. He sets off on a quest to find the parts he needs to rebuild his piano so that he can perform a concert in the town square.

The film is produced by Antoun Sehnaoui, the Lebanese-French producer of Ziad Doueiri’s “The Insult.” When he asked Yared to compose the score, the plan was for it to be recorded in London at the renowned Abbey Road Studios or Air Studios. The UK lockdown has prevented this, but Yared hopes to finally record it this month after the English musical union gives permission for more than 30 musicians to gather together.

“Broken Keys” is not the first film by a Lebanese director for which Yared has composed the music.

“Not at all,” he said. “At the very beginning of my career as a composer, after having written the music for Jean-Luc Godard’s (1980) film, ‘Every Man for Himself,’ I wrote the music for Maroun Bagdadi’s (1982) film ‘Little Wars.’”

Yared was born in in October 1949 to well-known Lebanese “bourgeois” parents who wanted their son to study law. Instead, he traveled to Paris to study music thanks to a scholarship from the Lebanese Ministry of Culture. In the French capital, he attended classes taught by one of the greatest composers, Henri Dutilleux.

“At that time I only knew how to read music and play the piano,” said Yared. “I had not learned the rules of musical composition. When I returned to Lebanon, my father insisted that I carry on with my law studies.”

Everything changed, however, when he met the director of the Brazilian Song Festival, Augusto Marzagao, who was the husband of a friend of his sister’s, who asked Yared to compose a song to represent Lebanon at the event.

“In 1970, at the age of 21, I went to Brazil for 15 days and ended up staying 18 months,” he said. “I decided to live there but destiny took me back to Paris.”

The one place that Yared knew he would never end up was his home country.

“When I left Lebanon I promised myself never to go back again as I had had a difficult time there,” he said. “I was born into a family with no artists or musicians and so I was the black sheep of the family.”

When he left Lebanon, he took with him an object dear to his heart: A book that had belonged to Ahmed Nami, a highly cultured person, who married Gabriel’s grandmother. The book was “Arab Music Conference in Cairo” and had taken place in 1932 during the reign of King Farouk.

Yared said he had never liked oriental music, as it reminded him of the unhappy days he had spent in a Jesuit boarding school between the ages of 4 and 14. When film director Maroun Bagdadi came to see him, however, Yared discovered in the book all the oriental scales and rhythms, along with a written record of oral knowledge of oriental music.

“I saw in oriental music an endless well of learning in which I could find my roots,” said Yared. “I explored this new path for Bagdadi’s film, ‘Little Wars,’ and a year later for Costa-Gavras’s film, ‘Hanna K’ and again for Youssef Chahine’s ‘Adieu Bonaparte,’ and later for ‘Azur et Asmar,’ a famous animated film by Michel Ocelot.

“I used oriental music in its most classical expression and mixed it with my knowledge of western music, though this is not just about layering two different cultures; it is more a matter of interweaving and intertwining them.”

Last year, Yared met Lebanese singer Yasmina Joumblatt, the great granddaughter of legendary Syrian singer Asmahan, who asked him to orchestrate one of her great grandmother’s songs.

“In a week after hearing her inspired singing of Asmahan’s song, ‘Ya Habibi Taala,’ I was able to compose in a way I never thought I could,” he said, adding that the song “begins in a way similar to Bach’s preludes, and the oriental instruments then progressively come in.”

Yared subsequently wrote six songs featuring Joumblatt’s lyrics, which proved to be a learning experience.

“My knowledge of oriental music really matured and I gradually returned to my roots,” he said. “I have learned so much in France, and this combined with my Lebanese roots can only be fruitful and right for me.”


Em Sherif Art Foundation reimagines global restaurants as cultural hubs

Updated 29 June 2025
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Em Sherif Art Foundation reimagines global restaurants as cultural hubs

DUBAI: With 24 outposts around the world, the minds behind Lebanese restaurant Em Sherif are keenly aware of their responsibility when it comes to sharing the country’s culinary culture with international audiences.

Now, they are taking things one step further with the launch of the Em Sherif Art Foundation that aims to provide increased visibility for artists through restaurants — in Doha, Monaco, London, Paris and Dubai, among other cities — which are being reimagined as cultural hubs.

Earlier this year, the Em Sherif Cafe in Paris showcased the work of Lebanese photographer Ziad Antar, and part of the initiative sees diners at all Em Sherif locations presented with three menus — a food menu, a drinks menu and an art menu — inviting guests to engage with the evolving story of contemporary Lebanese art.

'Kiev' (2024) by Ziad Antar at Em Sherif Cafe in Paris. (Supplied)

Em Sherif CEO and co-founder of the art foundation, Dani Chakour, spoke to Arab News about the cultural initiative.

“The art menu is not intended for commercial or financial purposes. Rather, it serves as a curated catalogue that showcases the artworks currently on display,” he said.

The decision to focus exclusively on Lebanese artists was intentional, Chakour added.

'Potato Portraits' (2025) by Ziad Antar at Em Sherif Cafe in  Paris. (Supplied)

“In Lebanon, it is often the private sector that drives meaningful cultural and artistic initiatives, as government support for the arts remains limited. Through this foundation, we aim to be an added value for our artists, helping them gain the visibility and recognition they deserve on a global scale.

“We need active public-sector involvement: We need more art fairs, modern infrastructure, supportive tariffs and dedicated museums. Without this foundational support, our artists will continue to be overlooked, despite their remarkable talent,” he said.

Chakour, who has a personal collection of more than 600 artworks, spotlighted celebrated names in the international art industry who he says benefited from working abroad.

“Huguette Caland, Gibran Khalil Gibran, Etel Adnan, Mona Hatoum, Walid Raad, Yvette Ashkar, Amin Maalouf, they are some of Lebanon’s most celebrated names. But what do they all have in common? They each spent the majority of their careers abroad, in environments that offered the right ecosystems … this is not a reflection of a lack of talent in Lebanon. On the contrary, it’s a reflection of what’s missing structurally; the institutional support, the infrastructure, the public funding, the museums, the cultural policies and the global exposure.

“At Em Sherif Art Foundation, we’re driven by a mission to help bridge that gap — to create opportunities within and beyond Lebanon so that our artists don’t need to leave home in order to rise,” Chakour said, noting that showcases by artists Christine Safa, Willy Aractengi, Ayman Baalbaki, Hussein Madi and Bibi Zogbe will be hosted in the coming months.


Jeddah exhibition gives internet cafes an artistic reboot

Seventeen artists and collectives have had their work on display at ‘Internet Cafe,’ an exhibition inspired by the digital age.
Updated 29 June 2025
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Jeddah exhibition gives internet cafes an artistic reboot

  • Local artists revive communal, quirky, deeply human qualities of early web era

JEDDAH: Internet cafes in Jeddah were once popular spots with pay-by-the-hour internet access; they have now provided the inspiration for the city’s latest exhibition.

In a collaboration between Kham Space and Estiraha, 17 artists and collectives have had their work on display at “Internet Cafe,” an eight-day exhibition which explored the concept of connection and intimacy in the digital age.

Asaad Badawi’s installation paid tribute to early programmer culture. (Supplied)

Abeer Sultan, who curated the exhibition alongside Mbarak Madhi and Fai Ahmed, spoke to Arab News about the early process in contemplating the theme.

The idea for the exhibition, which concluded on Saturday, stemmed from an exasperation over incessant scrolling, and the deluge of information that has usurped our daily lives.

HIGHLIGHTS

• The idea for the Jeddah exhibition stemmed from an exasperation over incessant scrolling, and the deluge of information that has usurped our daily lives.

• Some of the works were meant to act as ‘hyperlinks’ to connect ideas, as well as creating a communal space and mimicking the social space of a cafe.

She said: “We wanted to do something that is about us now, and maybe the future as well; not only going back to things for nostalgia or the good old days, as they say.

‘Closed eyes under a sunny sky I’ by Zahiyah Alraddadi. (Supplied)

“Maybe it has something that we can use today, especially now that there’s a movement of people trying to slow down, using dumbified devices throughout the internet.”

Instead of creating a literal internet cafe, the curators focused more on the nuances a cybercafe used to have.

"F.A.R." by Dalal Madhi's work. (Supplied)

Their approach to the space was categorized into three themes: “Disconnected Understanding, Linked Source,” “In the Shadow of a Doubt, Light My Screen,” and “Whirling Algorithms of a Distant Dream.”

Artist Zahiyah Alraddadi, who usually paints works focusing on the significance of the mundane, took oil to canvas to paint “Closed Eyes Under a Sunny Sky I” and “Familiar Features.”

The a piece by Ahaad Alamoudi, “Land of Dreams” takes a humorous approach. (Supplied)

Her work feels meditative and was intended to slow visitors down as they walked through the space — much like the feel of a buffering screen page.

Some of the works were meant to act as “hyperlinks” to connect ideas, as well as creating a communal space and mimicking the social space of a cafe.   

Studio bin Hattan, which is led by artist Elham Dawsari, displays “Cultural Override” derived from her father’s archives from the 80s, who was interested in computer graphics. (Supplied)

Anhar Salem’s work “After Now” was a curtain imprinted with thumbnails of YouTube videos. The artist conducted a survey asking people between the ages of 18 and 40 to share their YouTube video recommendations, making up a curtain of information overload.

Next to that, Tara O‛Conal’s video installation was a film sequence — but the catch is, nothing really happened. The film continued to load, glitch, and reload, perhaps suggesting commentary on our constant yearning for contact.

Hayfa Al-Gwaiz’s “Long Distance” is a painted form of FaceTime video calls. The work explores digital intimacy by centering not the callers’ faces, but the ceilings above them. (Supplied)

“Compared to Anhar’s work, (Tara’s) feels like a pond, in a way, to look at,” Sultan said.

Some works were inspired by computer graphics. Asaad Badawi paid tribute to early programmer culture via telephone-book-inspired art, and his father, who is a programmer.

Madhawi Al-Gwaiz's works are painted in a graphic style that is reminiscent of early 00s and '10s graphics styles. (Supplied)

Studio bin Hattan, which is led by artist Elham Dawsari, displayed “Cultural Override,” derived from her father’s archives from the 1980s. Madhawi Al-Gwaiz paints in a style that echoes digital graphics from the early 2000s.

Others took a more distanced approach. ThirdSpace’s “Untitled Table” was a physical object, but the research behind it was about keyboards that then shifted to Hijazi architecture, drawing on the iconography and architectural languages across the history of the region.  

Tara O‛conal’s video installation is a film sequence in nature—but the catch is, nothing really happens. The film continues to glitch and reload, perhaps suggesting commentary on our constant yearning for contact. (Supplied)

Hayfa Al-Gwaiz’s “Long Distance” was a painted form of facetime video calls. The work explored digital intimacy by showcasing not the callers’ faces, but the ceilings above them — a scene that’s familiar to anyone who has taken up a long-winded video call with a loved one and set down the phone to cater to life’s more immediate demands.

While the exhibition tackled the digital boom personified through cybercafes, it notably avoided artificial intelligence.

Sultan explained: “It is the idea of being fast and efficient, which is what we are resisting with AI …  It’s dominating the internet in a weird way, and we wanted a space where people customized things manually, going back to montadayat (domains) where people had to do things by themselves. There’s no template.”

The last piece was by Ahaad Alamoudi, and “Land of Dreams” took a humorous approach to directing audiences to their dreams. As you walked toward the work, in an outdoor area outside the confines of the exhibition space, visitors were met with vinyl boards of the iconic Emirati singer Ahlam.

Sultan said: “The work accentuates the fact that the dream land is a subjective experience or idea, and everyone would have their own imagination of what that is, whether it's Ahlam or something else.”

The “Internet Cafe” was a love letter to a new digital age — one that is sustainable, communal, and deliberately slow.  

“This is our way of keeping in touch with other people. An exhibition space is also a space where people meet, even if it’s for a moment, to have these conversations together, which is really important,” Sultan said.

 


REVIEW: ‘The Bear’ season four is a triumphant return to form

Updated 28 June 2025
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REVIEW: ‘The Bear’ season four is a triumphant return to form

DUBAI: We should’ve had more faith. Fears (including from this reviewer) that “The Bear” was floundering after the glacial pace of its third season can now be put to bed. Season four is pretty much everything fans of the show could’ve wanted: tense, dramatic, joyous, thought-provoking, funny and deeply moving. And with plenty of further proof that this might be the most talented ensemble cast currently on our screens.

Season three ended with the fate of the titular restaurant in the balance as the team — led by star chef Carmen “Carmy” Berzatto (Jeremy Allen White), his mentee Syd Adamu (Ayo Edebiri), maître d’hôtel Richie Jerimovich (Ebon Moss-Bachrach), and business manager Natalie “Sugar” Berzatto (Abby Elliott) — awaited a make-or-break review in the Chicago Tribune. That’s quickly resolved: Despite some highly positive comments, the review is ultimately a dud — thanks largely to Carmy’s stubborn insistence on changing the menu daily; a choice that isn’t just leading to inconsistent performance from his team, but in heavy hits to the budget as they can’t bulk buy from suppliers.

So, that old enemy time takes center stage, as financial backer Uncle Jimmy (Oliver Platt) and his ruthless cost-cutting friend The Computer install a countdown clock in the kitchen, giving the team 1,440 hours to save itself. That clock hits zero in the excellent final episode.

In between times, the development of several characters’ back stories that contributed to the feeling of aimlessness last year starts to pay off here, as much of the action is taken out of the kitchen and into a deeper exploration of what the show is really about: family — the ones we’re born into, the ones we choose, and the ones that choose us. Once again, there’s a Berzatto (extended) family get-together at the season’s heart in a one-hour episode set at Richie’s ex-wife’s wedding. The stage is set for another dysfunctional social disaster. Instead, we get something altogether warmer but equally dramatic. It’s exceptional television.

At the heart of it all is the characters’ continued quest for self-improvement — from Tina’s attempts to improve her cooking speed, through Syd’s efforts to silence her self-doubt, to Carmy’s endeavors to allow emotional connections into his life and stop self-sabotaging.

This season may still be a little too slow for those pining for the claustrophobic hyperactivity of season one, but the creators have found a sweet spot here between that and the stagnation of season three. “The Bear” is back.


Ronnie O’Sullivan, Laila Rouass tie the knot

Updated 27 June 2025
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Ronnie O’Sullivan, Laila Rouass tie the knot

DUBAI: British snooker champion Ronnie O’Sullivan and British actress Laila Rouass announced on Friday that they have tied the knot, 10 months after ending their on-off relationship.

The couple, who have been together for 13 years and have separated several times, were married in an intimate ceremony in London.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Laila Rouass (@lailarouass)

Rouass, who is of Moroccan and Indian heritage, shared the news on Instagram, writing: “The Palestinians have taught me so much, most importantly to honor human connection, make love your motivator and to keep refreshing it. So after almost a year break … this was one way of pressing the refresh button.” 

She also revealed that the ceremony took place on Cable Street in Shadwell, the London neighborhood where she was born and which she described as holding deep personal and historical significance.

According to The Sun, the pair are now planning to relocate to Dubai for a fresh start.


Recipes for Success: Chef Eric Vidal talks patience, pasta, perfectionism 

Updated 27 June 2025
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Recipes for Success: Chef Eric Vidal talks patience, pasta, perfectionism 

DUBAI: Running six restaurants, a bar and a beach club might sound like a logistical nightmare, but for French chef Eric Vidal, it is just another day at Delano Dubai.  

As executive chef of the new luxury destination, Vidal oversees everything from in-room dining to curated tasting menus across venues including Blue Door, Gohan, Tutto Passa, and La Cantine Beach. 

Here, Vidal offers advice and a recipe for grilled seabass. 

When you were starting out, what was the most common mistake you made?  

I was absolutely determined to make every single element perfect, down to the tiniest garnish. If a microgreen was not angled just right or a sauce swirl looked a little off, I would start over. That obsessive attention to detail came from a genuine love for the craft, but it also meant I was constantly behind. During training, I was almost always the last to plate and serve. While others were already wiping down their stations, I was still fussing over aesthetics that, in hindsight, barely made a difference. 

Looking back, I realize that pursuit of perfection wasn’t the problem, it was the way I went about it. In a professional kitchen, you simply can’t afford to sacrifice speed for polish that only you notice. I have learned that excellence is not about obsessing over every detail, it’s about knowing which ones truly matter. Ultimately, a great plate is one that delights the diner and makes it to the (table) on time. 

Delano Dubai. (Supplied)

What’s your top tip for amateur chefs?  

Enjoy the process. Try not to treat dinner like a high-stakes performance. Take a breath. Cooking should be something that grounds you, not stresses you out. 

It also definitely helps to have a few basics in place, like a solid grasp of simple techniques, equipment that actually works with you (not against you), and good-quality ingredients that you’re excited to use. When you have those essentials sorted, you can approach each meal with a mix of care and curiosity, whether you’re following a recipe or freestyling from the fridge.  

What one ingredient can instantly improve any dish?  

For me, it’s a close call between garlic and good-quality olive oil with a squeeze of fresh lemon. These are not just great ingredients on their own, but they form a trio that can transform even the simplest of dishes into something really special. 

Garlic is one of those essentials I cannot live without. If it is raw and fiery or slow-cooked until soft and sweet, it brings a depth of savory flavor that is hard to beat. It’s the backbone of so many cuisines and adds warmth and complexity that instantly makes a dish feel more complete. 

Good-quality olive oil is so much more than a cooking medium. The right bottle adds real character — fruity, sometimes peppery with a richness and silkiness that gives food a beautifully rounded finish. It also carries a personal significance for me. It brings back memories of the flavors I grew up with. And just a dash of fresh lemon juice can completely change a dish. It cuts through richness, lifting flavors, and adding that bit of brightness that makes everything taste fresher, lighter and more alive. 

When you go out to eat, do you find yourself critiquing the food?  

I try to approach the experience with an open mind rather than picking things apart. If something doesn’t quite suit my palate, I simply make a quiet mental note and I’m probably just not going to order it again. Cooking is a form of expression, and not every dish is meant to please everyone.  

What’s the most common issue that you find in other restaurants? 

It tends to come down to the basics: attention to detail and solid training. It’s often the small things — an under-seasoned sauce, a lukewarm plate, or a misstep in communication between the kitchen and front of house — that can affect the whole experience. Most of these issues are not about talent, they are about consistency, care and making sure everyone on the team is properly supported and well-trained. When those foundations are in place, it really makes all the difference. 

What’s your favorite cuisine to order?  

I have a soft spot for the artistry and surprise of Japanese cuisine, but what I really savor when dining out is the chance to explore new culinary styles — whether it’s the bold flavors of street food, the elegance of fine dining, or the comfort of a cozy local spot. I love that feeling of trying a new flavor or technique for the first time — it keeps things exciting for me.  

What’s your go-to dish if you have to cook something quickly at home? 

A simple pasta dish. The combination of garlic sautéed in olive oil with a basic tomato sauce is incredibly quick to prepare and always satisfying. Alternatively, a no-cook option I often rely on is a classic French cheese and salad with crusty bread — minimal effort for a delicious and well-balanced light meal. 

What customer request most annoys you? 

I genuinely don’t find requests a hassle; I see them as an opportunity to really understand individual needs and come up with creative solutions. Flexibility and a bit of patience are crucial in making sure everyone has a great experience. 

What’s your favorite dish to cook? 

Veal cheek blanquette. It requires a few patient hours of simmering, but the process is incredibly rewarding. I really enjoy the mindful attention it demands, from the initial browning to the gentle simmering that fills the kitchen with a comforting aroma. 

What’s the most difficult dish for you to get right?  

I find Indian cuisine the hardest. The art of balancing the blend of spices is not easy. It’s not just about knowing which spices to use, but also the quantities and the precise moment to add them during cooking. It is a delicate dance to make sure no single spice dominates the others.  

What are you like as a leader? Are you a disciplinarian? Or are you more laidback? 

My approach is all about empowerment and trust. Of course, a structured and disciplined environment is important to maintain high standards, but I firmly believe that respect and genuine support are far more powerful motivators than fear or intimidation. I aim to create a team where everyone feels proud of what they bring to the table and confident enough to take initiative. They know they’ve got my full support, which gives them the freedom to grow, experiment and really shine in their roles. 

RECIPE 

Chef Eric’s Mediterranean grilled seabass with vierge sauce  

(Supplied)

Ingredients: 

1 whole Mediterranean seabass (1.2 Kg) 

Fleur de sel 

9 gr fennel seeds and herbs (tarragon, dill, thyme, rosemary) 

1 pc of lemon  

20 cl extra virgin olive oil 

Method: 

1. Clean and pat the fish dry (ask supplier for scaling/gutting). 

2. Brush the fish inside and out with olive oil. 

3. Score skin with cross marks on both sides. 

4. Stuff the belly with lemon slices and mixed herbs. 

5. Place the fish on a tray, drizzle with olive oil, herbs and fleur de sel. 

6. Bake it in a preheated oven at 180°C for 15-20 minutes. 

7. Rest the fish, tented with foil, for 5-10 minutes before serving. 

8. Fillets will be easy to remove after resting. 

9. Serve hot with sauce vierge. 

Note: Cooking time varies with fish size.  

Vierge sauce 

Ingredients:    

Tomatoes on vine – 150gr 

Basil leaves – 24gr 

Taggiasche olives – 50gr 

Lemon pulp diced – 50gr 

Olive oil extra virgin – 120grs 

Salt  

Pepper 

Method: 

Score tomato skin with a cross, blanch in boiling water for 20 seconds, deseed and peel. 

Sprinkle tomato petals with salt and drain on paper towel. 

Quarter the taggiasche olives. 

Dice the fresh basil leaves. 

Dice the lemon pulp evenly. 

Dice the salted tomato petals evenly. 

Combine all ingredients in a bowl with salt, pepper and extra virgin olive oil. 

Adjust seasoning. 

Serve at room temperature.