  
About Julia:
Julia Boutros is unquestionably the leading singer of her generation today. Throughout her career, the 32-year-old has worked hard at presenting quality work that reflects her maturity and dedication as a singer. Along with her brother Ziad, who composes most of her songs, Julia went on to achieve star status in both Lebanon and the Arab world.
Following her 1998 hit album Chi Ghareeb (Something Strange), Bisaraha is arguably her best work to date. Singing of love, patriotism and freedom, the album is of course the result of her ongoing collaboration with brother Ziad. Moreover, Julia worked with only one poet on this album, Nabil Abou Abdo, who actually wrote some excellent librettos.
The album opens with the title song Bisaraha (Honestly), which is a classic Ziad Boutros composition; a musically rich piece with a catchy and vivid orchestral arrangement. Julia sings, as always, with a lot of emotion, making subtle arabesques that enhance the mood of the song.
Waed Alayi (A Promise I make) is a lovely jazzy song with trumpets and trombones mingling with piano, guitars and cello on which Ziad seems inspired by the other Ziad (Rahbani).
The album's first hit however, is Ma Am Befham Arabi (I can't understand Arabic). Already being aired extensively on radio, it's a kind of public awareness message, with a sharp, bitter criticism of today's loss of morality.
Singing for Khiam
Over the years, Julia has mastered this genre of patriotic, revolutionary songs and she scored a number of hits like Elissa Adat, and Ya Thouwar el Ardd. On Ma Am Befham Arabi she expertly echoes the mood of the song, constantly changing the intonation and interpretation of the words to deliver different meanings and connotations.
My favorite track on the album is Nasheed el Horiyi (The Anthem of Freedom), one of Julia's greatest songs ever, which she dedicated to the liberated detainees of Khiam. The song is a living proof of the power of music.
Right from the start, Ziad sets the appropriate mood for the song's theme, as the banging drums are interrupted by the sound of a sad Nay, summarizing the pain and suffering of the prisoners. Then the piano blends in, paving the way for the cello and violins and culminating in Julia's compassionate singing. The chorus joins her later, producing haunting vocal harmony.
Kelmi Aal Wara' (A word on paper) is vintage Julia. Like Lamma Iltaayna and Ana Mosh Illak, it's a passionate slow love song. Julia is brilliant in love songs, as her voice possesses the required softness and warmth. Pure magic.
The rest of the songs on the album, especially Elna Mazha (It's a joke)- a lovely, happy track with a whiff of Tarab, Ma Mara' (He didn't pass by), and Nehna el Thawra wel Ghadab (We are the revolution and the anger), are all good efforts and may as well become hits too. In short, Bisaraha is a strong comeback for Julia and a reconfirmation of her rank among today's singers. Indeed, the more Julia sings, the more it's evident how much she's influenced by her idol, Fairuz. And what better example to follow?
Courtesy ThisIsCyberia.Com
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