This week, I had the pleasure of attending the premiere of Zarqa Al Yamama at the King Fahad Cultural Centre in Riyadh, Saudi Arabia. This event marks the first grand opera to be staged in the Kingdom, and I was delighted to witness this historic moment for opera.
Saudi Arabia has embraced opera to celebrate its rich cultural heritage, as evidenced by the epic folk tale that forms the backbone of Zarqa Al Yamama. The opera tells the story of ancient tribal communities and the electrifying characters who populate this legend. At its heart is Zarqa, a blue-eyed woman endowed with the power of foresight, who foresees her tribe—the Jadis—meeting a tragic fate at the hands of an army disguised as marching trees. Despite the absurdity of her vision, it tragically comes to pass. In a hopeful twist, Zarqa passes on a piece of antimony (a lustrous, grey metalloid) to Afira, the last surviving member of the Jadis, suggesting that her powers will live on.
The opera weaves themes of love and vengeance throughout its narrative – it is an opera, after all. Before their downfall, the Jadis are oppressed by the tyrannical King Amliq of Tassam, who decrees he must bed all virgins before their marriage. Afira falls victim to this cruel rule. In a bold act of retribution, her brother, Ben Afar Al Asward, not only assassinates the king but also leads a brutal attack against the king’s tribe, the Tassam. While successful, the tribe spares Riyah Ibn Murra, the king’s attendant and Zarqa’s brother. Regrettably, it is Riyah who later betrays them, leading to their ultimate destruction.
Dame Sarah Connolly’s portrayal of Zarqa was nothing short of mesmerising. Her rich, warm tone and radiant stage presence brought each emotional moment to life with exquisite detail, offering a masterclass to local emerging talents such as Khayran Al Zahrani, Reemaz Oqbi, and Sawan Albahiti.
Daniele Finzi Pasca, the opera’s Creative Concept and Stage director, crafted visually striking moments. Notably, Zarqa’s entrance in a vast cloak reaching towards the heavens and King Amliq’s menacing approach to the proscenium arch alongside his threatening tribesmen underscored by thunderous drums were particularly impactful. The visual motif of silver trees used as camouflage poignantly recalled Shakespeare’s prophecy in Macbeth, creating a familiar yet novel connection to the story.
Lee Bradshaw’s musical composition incorporated melodies suggestive of traditional Saudi roots amongst a modern tonal landscape. The opera company wisely collaborated with established ensembles like the Czech Philharmonic Choir of Brno and the Dresdner Sinfoniker to benefit from their collective experience. Both ensembles showcased their talents effectively under the skilled baton of Conductor Pablo Gonzalez. As a soprano, I would have appreciated a standout aria to learn or perform; however, the trio performed by the sopranos on the eve of Afira’s wedding showed great potential for inclusion in an “Opera Scene Showcase” held by a Music Conservatoire.
I am grateful to the Saudi Royal Family and Mr Sultan Al Bazie for their commitment to enriching the arts by investing in opera. This production celebrates cultural union and positions opera as a vibrant, relevant art form. It is also great that they are investing in a new opera house, creating new jobs in the industry for local and international talent. I would love to return to Riyadh once the opera house is completed.
Performed in Arabic, Zarqa Al Yamama is a feast for the senses, with performances scheduled from 25 April to 5 May 2024.