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PEOPLE ARE TALKING ABOUT MARYEM TOLLAR “… The most interesting performer of the evening was Maryem Tollar… With her marvelous alto voice, tuned to the quarter tones of her native Arabic, coupled with her striking composure…” “For a moment I felt as though Umm Kalthum, perhaps the greatest voice the Arab world ever produced, had returned to life…” “The lyrics are direct, the music is exotic but never out of reach- and its underlying message champions diversity with more than just proselytizing interludes” "There are not enough superlatives that I can use to describe Maryem’s artistry” “Music without borders or stereotypes.” “… à la fois actuelle et intemporelle, la musique de Maryem Tollar et Mernie! intègre ces influences en tout organique et résolument original, qui solicite le corps autant que l’esprit” “Maryem’s voice is indescribable. It manages to be ground breaking and original while having clear and profound cultural and historical roots.” “a big expansive record: a gorgeous-sounding celebration of rhythm: and a showcase for Maryem Tollar’s ever growing vocal capabilities.” “The sinuous spirals and switchbacks of her Arabic rooted vocal style are capable of both provocation and comfort, capabilities in ample evidence at Sunday’s concert”. “Perhaps the most delightful of the concerts featured in this year’s chamber music festival” "... His [tenor Rufus Muller] duet with the wonderful Maryem Tollar in the middle movement of that work [Hatzis' "Of the Song of Songs"] was a highlight of the evening. Tollar's singing was extraordinarily strange and poignant in the context of the Tafelmusik forces, and flawlessly modest and haunting in the piece by Syrian composer Omar Al Batsh, with the instrumental support of Bishara and Warwar." |
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