Oum Kalthoum was born in Tamay ez-Zahayra village in El Senbellawein, Dakahlia Governorate, Egypt. Her birth date is controversial, either 31 December 1898, 31 December 1904 or 4 May, 1904. She died 3 February, 1975.
At a young age, she showed exceptional singing talent. Her father, an Imam, taught her to recite the Qur'an, and she is said to have memorised the entire book. When she was twelve years old, her father disguised her as a young boy and entered her in a small performing troupe that he directed. At the age of sixteen she was noticed by Abol Ela Mohamed, a modestly famous singer, and by the famous oudist Zakariyya Ahmad, who invited her to Cairo. She waited until 1923 before accepting the invitation. She was invited on several occasions to the house of Amin Beh Al Mahdy, who taught her how to play the oud. She developed a very close relationship with Rawyeha Al Mahdy, daughter of Amin, and became her closest friend. Kalthoum even attended Rawheya's daughter's wedding, although she has always tried to avoid public appearances. Amin Al Mahdy introduced her to the cultural circles in Cairo.
At this point in her career, she was introduced to the famous poet Ahmad Rami, who wrote 137 songs for her. Rami also introduced her to French literature, which he greatly admired from his studies at the Sorbonne, Paris, and eventually became her chief mentor in Arabic literature and literary analysis. Furthermore, she was introduced to the renowned lute virtuoso and composer Mohamed El Qasabgi. El Qasabgi introduced Kalthoum to the Arabic Theatre Palace, where she would experience her first real public success. In 1932 her fame increased to the point where she embarked upon a large tour of the Middle East, touring such cities as Damascus, Baghdad, Beirut, and Tripoli, Lebanon.
By 1948 her fame had come to the attention of Gamal Abdel Nasser, who would later become the president of Egypt. At one point the Egyptian musicians guild of which she became a member (and eventually president) rejected her because she had sung for the then-deposed king, Farouk of Egypt. It was his favour that made the musicians' guild accept her back into the fold. In addition, Kalthoum had been a dedicated Egyptian patriot since the time of King Farouk.
Her songs deal mostly with the universal themes of love, longing and loss. A typical concert consisted of the performance of two or three songs over a period of three to six hours. In the late 1960s, due to her age, she began to shorten her performances to two songs over a period of two and a half to three hours. The duration of her songs in performance was not fixed, but varied based on the level of emotional interaction between the singer and her audience. A typical improvisatory technique of hers was to repeat a single phrase or sentence of a song's lyrics over and over, subtly altering the emotive emphasis and intensity each time to bring her audiences into a euphoric and ecstatic state. Thus, while the official recorded length of a song such as "Enta omri" (You Are My Life) is approximately sixty minutes, a live performance could extend to many hours, as the singer and her audience fed off each other's emotional energy. This intense, highly personalised creative relationship was undoubtedly one of the reasons for Kalthoum's tremendous success as an artist.
In 1967 Kalthoum was diagnosed with a severe case of nephritis. She gave her last concert at the Palace of the Nile in 1973. Tests at that time indicated that her illness was incurable. She moved to the United States, where she benefited for some time from the advanced medical technology, but in 1975, upon re-entering her home country, she required hospitalisation due to declining health. She died in a Cairo hospital on 3rd February 1975.
Her funeral was attended by over four million mourners – one of the largest gatherings in history – and descended into pandemonium when the crowd seized control of her coffin and carried it to a mosque that they considered her favourite, before later releasing the coffin for burial.
Bi ridhak ya khaliqi
Oum Kalthoum Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
خلقت صوتى ويدك صورت اعضائى
برضاك يا خالقى لا رغبتى ورضاى
خلقت صوتى ويدك صورت اعضائى
ابلغ بقصدى يا ربى مقصدى ومناى
لما اناديك لما اناديك لما اناديك ولما تستمع
شكواى
The lyrics to the song "Bi ridhak ya khaliqi" by Oum Kalthoum are a beautiful expression of the artist's relationship with her creator. The song opens with the line "Bi ridhak ya khaliqi la raghbati wa ridai," which roughly translates to "With your satisfaction, O Creator, I have no wishes or desires." This line sets the tone for the rest of the song, which is a passionate plea for God's approval and guidance.
The following lines, "Khalqat sawti wa yaduka surata a'dai," continue the theme of creation and emphasize the idea that the artist's voice and the hands of God have worked together to create the singer as she is. This line is a beautiful metaphor for the idea that our talents and abilities come from a higher power and that we are all part of a larger divine plan.
The chorus repeats the opening lines, underscoring the importance of being content with what is given in life and trusting in God's plan. The final lines, "Ib'lugh bi qasdi ya rabbi maqsadi wa manai, lamma anadik lamma anadik lamma anadik wa lamma tastami," are a heartfelt plea to God to listen and understand the singer's desires and goals.
Overall, "Bi ridhak ya khaliqi" is a beautiful and poetic expression of the artist's relationship with her creator. The song emphasizes the idea that we are all part of a larger divine plan and that our talents and abilities come from a higher power. The lyrics encourage listeners to trust in God's plan and be content with what is given in life, while also expressing a desire to be understood and heard by the divine.
Line by Line Meaning
برضاك يا خالقى لا رغبتى ورضاى
I surrender to Your will, my Creator, without any personal desires or preferences.
خلقت صوتى ويدك صورت اعضائى
You created my voice and formed my limbs with Your hands.
برضاك يا خالقى لا رغبتى ورضاى
I surrender to Your will, my Creator, without any personal desires or preferences.
خلقت صوتى ويدك صورت اعضائى
You created my voice and formed my limbs with Your hands.
ابلغ بقصدى يا ربى مقصدى ومناى
Grant me my purpose and my aspiration, O Lord, as I express them to You.
لما اناديك لما اناديك لما اناديك ولما تستمع
Whenever I call upon You, and whenever You listen to me.
شكواى
My complaints.
Contributed by Madelyn R. Suggest a correction in the comments below.
@nourarabiat9299
برضاك يا خالقي لا رغبتي ورضاي
خلقت صوتي ويدك صورت اعضاي
برضاك يا خالقي لا رغبتي ورضاي
خلقت صوتي ويدك صورت اعضاي
ابلغ بصوتي يا ربي مقصدي ومناي
لما اناجيك لما اناجيك لما اناجيك
ولما تستمع شكواي
@user-xx1cb9or9b
الدقيقة 1:06 لا يوجد مطرب بالعالم يستطيع ان يقلدها ابداع 👏
@sajadalkhattar9931
تعتبر هذة المقطوعة من المقاطع الصعبة جدا من الناحيه التحكمية لمخرج الصوت والرجوع من الصفر والتلاعب بالايقاع في مرحلة الذروة والانتهاء من روائع الست ام كلثوم
@sega2511
في يمني اسمه عبدالرحمن السماوي اتقنها
@soha7166
طيب يا عاصي الحلاني
@nadischstar8399
فيه مغربية غنتها في دار الأوبرا اسمها اسماء الأزرق، أثقنتها
@ahmednasr1187
@@nadischstar8399 كثير اتقنها لكن ما حد وصل لطبقة ام كلثوم
@khaledchetoui
https://www.youtube.com/watch?v=8KcOdqoqRxs
@mazenal-ali765
يعني انا سمعت مروى ناجي وقدرتها الصوتية الهائلة بعدها مباشرة سمعت المقطع بصوت ام كلثوم، بصراحه ومن وجهة نظري كعازف وموسيقي صوت ام كلثوم يتعدى اي صوت حاول يغني هذا الموال بمراحل، فعلاً مستوى آخر وكبير، الموضوع ليس فقط بالصوت العالي والاستعراض بل العكس تماماً القوة بالرزانة وبالتوقيت وبالعُرب والقفلات السليمة والتجريح بالصوت الخرافي والتمويج كل تقنيات الصوت ام كلثوم محترفة فيه والأهم انها تعرف وين تستخدمهم ومتى، لاأنكر بعض الاصوات القوية بعالمنا اليوم لكن سامحوني لا يمكن المقارنة ابدا مع هذا الابداع
@shimaamostafa893
احسنت القول👌🏻
@fadibahzani2348
اكيد يعمري ماكو مقارنه ابد