‘It’s surreal,’ says Saudi Arabia’s first opera singer Sawsan Albahiti

Albahiti is Saudi Arabia’s first opera singer. (Supplied)
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Updated 22 June 2023
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‘It’s surreal,’ says Saudi Arabia’s first opera singer Sawsan Albahiti

DUBAI: “Pioneering” is an often-overused term, particularly in regional media. But in the case of Sawsan Albahiti, it is entirely accurate.  

Born in Riyadh, Albahiti is Saudi Arabia’s first opera singer. It’s a title that she accepts comes with a great deal of responsibility, and one that — at times — she still finds hard to believe. 

“It’s going to take me a while to get over this surrealness of being a Saudi opera singer,” the soprano, who is in her 30s, tells Arab News. “Sometimes it overwhelms me, because I have to be the best. Locally, I represent opera to the Saudi audience, and globally, I represent Saudi to the opera world — and the rest of the world, really.” 

Albahiti’s extraordinay journey began while she was studying mass communications at the American University of Sharjah in the UAE. She took opera as an elective course. Back then, she had no idea what it would lead to.  

“(A career in music) was not on the horizon. . . not at all,” she says. It was the course’s choir conductor who noticed her singing potential and that’s when everything changed. She went on to train with vocal coaches, but still has no formal music qualification.    

But it seems that she doesn’t need one. Music has been a major part of her life from the start, she says. In 1990, when she was 2, her family moved to Jeddah, growing up in a music-loving household that echoed with the revered voices of Umm Kulthum, Fayrouz, and Abdel Wahab, as well as the timeless melodies of Mozart and Chopin. Albahiti was, she says, a typical Nineties kid, whose collection of cassette tapes included the Backstreet Boys, Dido and Sarah McLachlan.  

Albahiti is the youngest of seven children, and her interest in music was further sparked when her sister started playing the guitar. Albahiti decided she also wanted to play, and began doing so aged 6. 

“I remember from the time I was in elementary school, I’d come home, and I wouldn’t even take off my uniform. I’d pick up my guitar and play and sing,” she says. “Music was everywhere. And whether I’m playing it or listening to it, it’s a part of me.” 

It quickly became clear that Albahiti possessed an excellent ear for music. “I was able to listen to a song and play it on the guitar,” she says. “I’d automatically analyze what chords this music was made up of and I’d play it straight away. My ability to hear music was quite strong.”  




Albahiti is the youngest of seven children. (Supplied)

While her interest in pop music and the guitar grew, Albahiti found herself inspired by legendary opera singers such as Maria Callas, Luciano Pavarotti, and Andrea Bocelli. She was also particularly drawn to Sarah Brightman’s genre-hopping style of singing (the English soprano has sung disco, musical theater, classical crossover and operatic pop in her hugely successful career), and has implemented it in her own repertoire. 

As for Bocelli, Albahiti got to meet the man himself ahead of one of his performances in AlUla. “I was over the moon when that happened,” she recalls. “When I told him that he’d inspired me to pursue opera, he got really emotional.”    

Albahiti’s own career is still in its early stages. A decade ago, she was working in an unfulfilling marketing job and listening to recordings of her vocal training as an “escape.” But the prospect of becoming a professional singer in Saudi Arabia at that time was practically non-existent. 

“If, 10 years ago, someone had told me I’d become an opera singer, I’d have never believed them,” she says with a laugh. And yet, in 2019 she made the shift into full-time music. That was the year she made her official debut in Saudi Arabia, singing her country’s national anthem in an operatic style ahead of the opening of La Scala di Milano’s show in Riyadh.  

“It was overwhelming to say the least,” she says. “I later found out that I was the first Saudi woman to sing the anthem publicly.” 

Some of her favorite numbers to sing, she says are “Habanera” (an aria from Bizet’s comic opera “Carmen”), the classic Neapolitan song “O Sole Mio,” and “O Mio Babbino Caro” from Puccini’s opera “Gianni Schicchi.” She also entertains the crowd by singing in Arabic and tries to incorporate Arabic instruments into her shows.  

While opera’s popularity has waned over the years, its powerful vocals and dramatic themes of love, revenge, power, death, and war mean it still captivates audiences across the world.  

“When the singer is trying to express a strong emotion, it really affects the listener intensely. That intensity is what people go back (to opera) for, over and over again,” says Albahiti. 

“What (hits) me most about opera is the power of expression through the voice, and the amount of skill required,” she adds. “When people hear opera, they think the singers are screaming. We’re not. The trick is to direct the voice (with) your whole face, not just your mouth. Perfecting that is really difficult.” 

Opera singers need to be borderline-fanatical about taking care of their voices, and Albahiti is no exception. She trains — and hydrates, she adds — constantly, doesn’t smoke, and before a show she avoids perfumes and aerosol sprays. As for criticism, as someone who hasn’t followed the traditional career path of an opera singer, she admits that “at weak moments, it bothers me,” but she perseveres, learning along the way. 

She’s also eager to foster the kind of creative community that was lacking in the Kingdom when she was growing up, when, she says, “there was barely music in cafes and restaurants.” In 2019, she founded a school, The Soulful Voice, at which she is one of the vocal coaches, and at the Saudi Music Commission she is leading the establishment of the Saudi National Orchestra and Choir.  

She is currently planning performances in London, Milan, and Riyadh and is looking forward to helping launch the Saudi Opera House in 2026. It’s all part of her main goal: “To elevate singers’ skills and improve the music scene in Saudi Arabia.”  


Emirati artists perform in showcase at London’s Kensington Palace

Updated 8 min ago
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Emirati artists perform in showcase at London’s Kensington Palace

LONDON: “If we do not tell our story, someone else will. And they will get it wrong,” said Huda Alkhamis-Kanoo, founder of the Abu Dhabi Music & Arts Foundation, following a performance in London on Friday that brought Emirati talent to a major international platform.

Emirati artists took to the stage at Kensington Palace to present a night of operatic performances. Fatima Al-Hashimi, Ahmed Al-Housani, and Ihab Darwish performed in multiple languages including Arabic, Italian and English. The performance was part of the Abu Dhabi Festival’s Abroad program in collaboration with the Peace and Prosperity Trust. The event was intended to promote Emirati cultural expression through classical music and cross-cultural collaboration.

Fatima Al-Hashimi, Ahmed Al-Housani, and Ihab Darwish performed in multiple languages including Arabic, Italian and English. (Supplied)

Alkhamis-Kanoo said an event like this is vital for cultural diplomacy and is not a one-off, but a commitment to placing Emirati talent on the world stage. 

“It’s about creating understanding, building dialogue, and showing the world the strength of our cultural identity through music,” she explained. “We invest in the young, we partner with the world, and we build cultural legacies that last.” 

The evening also included the premiere of Darwish’s latest composition “Ruins of Time,” which blended orchestral arrangements with traditional Arabic elements.

“Music is the fastest way to reach people. It creates peace, it creates understanding,” Darwish told Arab News. “Music removes boundaries. It creates a shared language, a dialogue of coexistence, peace, and tolerance. When people from different cultures come together to create music, it naturally fosters mutual understanding.”

Al-Hashimi explained the intention behind adapting a classical repertoire to reflect Arab identity. “Even while singing in Italian, I included Arabic lyrics to keep our signature present,” she said.

Al-Housani described the event as a “professional milestone,” adding: “Performing here is more than a concert, it’s a message. We’re here to show the world the strength and beauty of our culture.”


As goats get pricier, Pakistan’s capital turns to falooda dessert to keep Eid Al-Adha spirit alive

Updated 07 June 2025
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As goats get pricier, Pakistan’s capital turns to falooda dessert to keep Eid Al-Adha spirit alive

  • Falooda is made with vermicelli in cold milk, softened basil seeds and generous scoops of vanilla or kulfi ice cream
  • Final touch is a fragrant pour of rose syrup, turning concoction into a pink-hued celebration of summer and Eid

ISLAMABAD: With sacrificial goats commanding million-rupee price tags this Eid Al-Adha, many in Pakistan’s capital are seeking solace not in the livestock markets, but in a humbler tradition: a chilled bowl of falooda — a silky, rose-scented dessert layered with ice cream, nostalgia, and just enough sweetness to lift a heat- and inflation-weary soul.

A dessert with Persian roots, falooda made its way to South Asia during the Mughal era, evolving from a frozen, rose-infused noodle pudding in Iran to the vibrant, multi-textured treat beloved across Pakistan today.

At its best, falooda is an edible symphony, a tangle of thin vermicelli swimming in cold milk, softened basil seeds (tukhmalanga) floating like miniature pearls, and a generous scoop of vanilla or kulfi ice cream crowning the glass. The final touch is a fragrant pour of rose syrup, turning the whole concoction into a pink-hued celebration of summer — and now Eid.

Nowhere is this more evident than at Bata Kulfi Falooda, a small, family-run dessert shop in Islamabad’s bustling I-8 Markaz marketplace.

There, amid the clatter of spoons and the hum of Eid shoppers, customers line up for what’s become a seasonal staple, the shop’s signature Matka Falooda, served in traditional clay bowls that keep the dessert ice-cold, even under the blazing June sun.

“We first opened in Peshawar [northwestern city] in 1962,” said Shah Faisal, the shop’s manager, as he rushed between customers to take orders. “In 2015, we brought the same taste to Islamabad. Nothing has changed. The ingredients, the method, even the feel of it, it all comes from Peshawar.”

During Eid week, Bata Kulfi Falooda’s signature Matka Falooda becomes more than a dessert. It’s a celebration in a bowl.

“It’s a memory in every bite,” said Muhammad Kamil, a 27-year-old student who had just returned from a livestock market, saying he was stunned by the jaw-dropping prices.

“Right at the entrance, we saw a goat priced at Rs1.5 million [$5,350]. A little further in, there was a sheep for Rs2 million [$7,140],” Kamil said as he waited for his bowl of falooda.

“After seeing a goat worth Rs1.5 million, only ice cream could cool us down, otherwise it would’ve been hard to keep the spirit of sacrifice alive.”

Determined to celebrate in his own way, Kamil turned to falooda, at a far more palatable Rs450 ($1.60) per bowl.

What drew him in, he said, was the comforting presentation: the cold earthen bowl, the soft noodles slicked with syrup, and the melting scoop of ice cream sinking slowly into the milky depths. He’s even considering gifting bowls of it to friends this Eid.

Indeed, with families across Islamabad and beyond rethinking how to celebrate Eid this year, it may not be the size of the goat that sets the mood but rather the shared sweetness of something simple, familiar, and deeply rooted in tradition.

So, while this Eid may see fewer families walking home from markets with goats in tow, many are still finding ways to savor the spirit of the season with a humble bowl of falooda, which is doing more than just cooling people down — it’s lifting spirits, one spoonful at a time.

According to shop manager Faisal, falooda easily outpaces even their famous kulfi in popularity during the Eid holidays.

“In this heat and with everything getting so expensive, people still want something festive,” he said. “And falooda brings joy that doesn’t cost a fortune.”


Andria Tayeh nominated at Austrian Film Award

Updated 07 June 2025
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Andria Tayeh nominated at Austrian Film Award

DUBAI: Lebanese Jordanian actress Andria Tayeh has been nominated for best supporting actress at the Austrian Film Award for her role in “Mond.” 

The ceremony is scheduled to take place from June 12 to June 15.

Tayeh shared the news with her followers on Instagram, thanking her supporters and the awards organization for the recognition.

She is nominated alongside Italian actress Gerti Drassl and Austrian actress Maria Hofstatter.

“Mond” is directed by Austrian filmmaker Kurdwin Ayub. The film follows former martial artist Sarah, who leaves Austria to train three sisters from a wealthy family in the Middle East. 

What initially appears to be a dream job soon takes a darker turn: The young women are isolated from the outside world and placed under constant surveillance. They show little interest in sports — raising the question of why Sarah was hired in the first place.

Tayeh plays the role of Nour, one of the three sisters. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Andria Tayeh (@andria_tayeh)

The actress, who is also known for her roles in Netflix’s hit series “Al-Rawabi School for Girls,” has had a busy year collaborating with multiple brands and fronting their campaigns.

In February, Giorgio Armani announced her appointment as its new Middle East beauty ambassador.

She took to Instagram to express her excitement: “I am thrilled and honored to embark on this new journey with Armani beauty. This marks a real milestone for me, as the brand embodies values I have always cherished: timeless elegance, dramatic simplicity, and women empowerment.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Andria Tayeh (@andria_tayeh)

That same month, she was named the first Middle Eastern ambassador for French haircare brand Kerastase.

In a promotional clip, she appeared in an all-white studio, answering questions about why she is the ideal Kerastase ambassador. Tayeh spoke in a mix of English, Arabic and French, playfully flipping her hair for the camera as she discussed her dedication to maintaining healthy hair.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Andria Tayeh (@andria_tayeh)

In March, she also fronted Armani’s Ramadan campaign, set against the backdrop of a desert landscape.

Draped in a flowing emerald-green abaya, Tayeh was seen in the video applying the Vert Malachite perfume from Armani Prive as the camera captured the details of the fragrance and her attire. The setting featured sand dunes stretching into the horizon.


Labubu mania sweeps the UAE, CEO of The Little Things says

Updated 07 June 2025
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Labubu mania sweeps the UAE, CEO of The Little Things says

DUBAI: Once just a niche collectible from Asia, Labubus have now become the must-have accessory among youth, influencers and collectors of all ages.

Seen clutched in the hands of BLACKPINK’s Lisa and Rosé, flaunted by Rihanna, and even making cameos in Kim Kardashian’s social media posts, Labubu has found its way into the UAE’s trend-savvy culture.

According to Hassan Tamimi, CEO of The Little Things, the UAE’s official POP MART retailer, the demand for Labubu has reached unprecedented levels.

“Labubu has become more than a collectible here,” Tamimi told Arab News Japan. “It’s a lifestyle statement. We’re seeing people pair them with luxury handbags, sports cars, even use them in wedding shoots.”

But in a region known for its love of luxury and limited-edition goods, the blind box collectible has struck a chord, especially among Gen Z and millennial buyers seeking aesthetic, niche fandom items with resale value.

However, the spike in popularity has brought an unfortunate side effect: a flood of fake Labubu figures infiltrating the UAE market. Counterfeit toys, often dubbed “Lafufu” by collectors, have been circulating online via scam websites and unverified sellers.

“We’ve had several customers walk into our stores with fake Labubus thinking they were real,” Tamimi said. “It’s heartbreaking, especially for those who paid high prices for something inauthentic.”

Tamimi warned buyers to look out for telltale signs: typos on packaging, incorrect paint colors, poor stitching on plushies, or even the wrong number of teeth, authentic Labubu figures always have exactly nine.

To meet the overwhelming demand while keeping things fair, The Little Things has implemented a strict one-piece-per-customer policy. The company has also increased restocking efforts and trained in-store staff to help collectors verify authenticity.

Tamimi also pointed out that Labubu’s appeal lies in the thrill of the hunt.

“The blind box format taps into that collector instinct, there’s excitement, suspense, and FOMO. You never know which figure you’ll get, especially with rarer editions, and that makes each purchase feel like an event,” he told Arab News Japan.

While Labubu has long been a cult favorite in Japan, Tamimi noted that the UAE is quickly becoming a hotspot in its own right. In Dubai and Abu Dhabi especially, Labubu fans are forming communities, trading figures and sharing unboxings and display setups online.

“What’s happening here mirrors what we’ve seen in Tokyo,” he added. “The only difference is access, Japan often gets first dibs on regional exclusives. But that scarcity is part of what makes collecting in the UAE so exciting.”

As for those looking to join the Labubu craze, Tamimi has one piece of advice: stick to official sellers.

“If it’s too cheap or too easy to find online, it’s probably fake. Trust verified stores. The magic of Labubu is in the real thing.”

- This article was first published on Arab News Japan. 


‘The Pakistani Vibe’: Inside the imagined worlds of renowned art director Hashim Ali

Updated 07 June 2025
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‘The Pakistani Vibe’: Inside the imagined worlds of renowned art director Hashim Ali

  • One of Pakistan’s most renowned Pakistani visual artists and art directors, Ali is known for creating visually stunning and intricate sets
  • Ali has worked on some of Pakistan’s biggest music videos and fashion shows, bringing centuries-old aesthetics to modern storytelling

LAHORE: Tucked away in a quiet lane in Pakistan’s cultural capital of Lahore, Hashim Ali’s studio feels less like a workspace and more like a time capsule from the Mughal era.

Large Persian rugs are spread out on the floors and ornate jharokhas overlook walls painted in beige and maroon and covered in wood panels and miniature paintings, creating a world suffused with nostalgia and opulence. Every corner of the studio reflects the vision of an art director who doesn’t just design sets but builds atmosphere. The space is both sanctuary and stage, where centuries-old aesthetics come vividly to life in the service of modern, visual storytelling.

One of Pakistan’s most renowned Pakistani visual artists and art directors, Ali is a Visual Communication Design graduate from the prestigious National College of Arts (NCA) institute in Lahore. Over the years, he has come to be known for his work in fashion, film, and music and is celebrated for his creative vision and attention to detail, particularly in creating visually stunning and intricate sets. His ability to blend historic grandeur with modern maximalism has won him several accolades over the years, including the Fashion Art Director award at the 2024 Hum Style Awards and the Pride of Performance Award in 2021.

In an interview with Arab News at his studio in Lahore’s posh Gulberg neighborhood, Ali, 34, said his passion for visual storytelling came from a history of childhood bullying.

This photo shows a generic view of Pakistani art director Hashim Ali’s studio in a quiet lane in Lahore. (AN Photo)

“When you are bullied, you have to make [up] stories, you have to read stories, so I would get lost in fairytales,” he said.

“I would just start imagining what this world is, what these people are, what is this fantasy that exists out of this world? It started from there.”

The stories he read, full of mythology and folklore, led him to start thinking about his identity as a Pakistani and a South Asian.

“Then I was like, ‘Why can’t we rebuild these memories and these spaces and these places?’”

Pakistani art director Hashim Ali speaks during an interview with Arab News at his studio in Lahore on May 27, 2025. (AN Photo)

Ali’s own studio is a recreation of spaces of the past, a Mughal court in miniature — crafted not from marble and sandstone, but from cardboard, fabric, and imagination. With hand-painted arches, makeshift jalis, and richly colored drapes, the space evokes the grandeur of a bygone empire while laying bare its theatrical artifice. The illusion is deliberate: a paper palace blurring the line between history and performance and reflecting South Asia’s enduring nostalgia for lost splendor and the way identity in the region is often reconstructed through fragments — of memory, of myth, of art.

What one then sees is not just a recreation of the past but a reinterpretation, inviting a dialogue between heritage and reinvention:

“If Hollywood can create all of this [set design] and we think as Pakistanis that we can’t do any of this, then we’re at fault. Because we did create the Taj Mahal. We did create the Lahore Fort … If we could do it then, we can do it now.”

“COMBINED MEMORY”

One of Ali’s most cherished creations was the set for the song “Pasoori,” the first Coke Studio number to hit one billion views on YouTube Music and the most searched song globally on Google in 2022, the year of its release.

Ali, the production designer and art director of the set, crafted it as a communal space, with the bohemian aesthetic of the set, characterized by vibrant colors and eclectic elements, complementing the song’s fusion of reggaeton beats with classical South Asian instruments like the rubab.

This photo shows a generic view of Pakistani art director Hashim Ali’s studio in Lahore. (AN Photo)

Ali describes the aesthetic as “the Pakistani vibe,” exemplified by a new generation that had grown up in the era of globalization and social media and was reclaiming public spaces and dressing up and conducting themselves in ways that merged their cultural heritage with contemporary elements.

“It’s so interesting that now when I’m sitting and I’m scrolling on Instagram or TikTok and I see these reels of girls wearing either ‘saris’ and ‘ghagras’ and they’re dancing in Lahore, in old Lahore,” Ali said.

But the project closest to Ali’s heart is hidden away in the winding, narrow streets of Lahore’s historic Gali Surjan Singh near Delhi Gate. It is a concept store, Iqbal Begum, imagined as a tribute to his late dadi or grandmother, a mathematics teacher who passed away in 2014.

The store has been built in a centuries-old home that Ali rented from a woman who has lived there before the partition of India in 1947 and the creation of Pakistan. The walls are adorned with framed pictures of Iqbal Begum and the shop strewn with things that belonged to her, including old table clocks and dial phones and a tub of Nivea cream, a bottle of Oil of Olay lotion, and a coin purse framed together.

Photo frames of Pakistani art director Hashim Ali’s grandmother hang on one of the walls of his studio in Lahore. (AN Photo)

Ali remembered growing up surrounded by the stories his grandmother told him, including about the violence of the partition.

“She told me a story about how she lost her favorite pen and our house was burned down in front of her eyes and the sense of belonging started happening,” Ali said.

“From that story, this thing of holding on to objects, holding on to people, holding on to stories became very important.”

The concept store is thus not only a way to tell the story of Iqbal Begum but also to create shared memories.

“So, for me, every time I tell a story, I’m passing on my memory to someone else, and when they go and tell someone, in a way, it’s almost like my dadi is still alive,” Ali added.

Pakistani art director Hashim Ali gestures during an interview with Arab News at his studio in Lahore on May 27, 2025. (AN Photo)

And the process is two-way, because people show up with their stories also and can connect with the items they see in the store: “Then it becomes like a combined memory.”

Ultimately, it all connects back to the idea of Pakistan for Ali and to preserving its national, personal and collective histories into tangible, emotionally resonant experience.

“I kind of equated it to the bigger grandparent or the larger mother, which is Pakistan, that slowly, slowly all these amazing things that Pakistanis and Pakistan has done, we’re slowly letting them fade away,” he said.

“The idea from this dadi telling stories to a child has become about this child telling those stories or trying to tell those stories to the world and saying, ‘Hey, we’re Pakistan and we’re a beautiful country and we do all these things apart from what you’re used to hearing about.’.”