L’âme du Luth

It does seem incredible, but some students at the Damascus Conservatory – where Waed Bouhassoun first studied – once told me in all seriousness that women couldn’t really play the oud (Arab lute). For a variety of reasons, few female players appear in public but – if proof were needed – L’âme du Luth (The Soul of the Lute) goes to show just what a daft statement that was. Waed Bouhassoun's settings of poems from the seventh century to the present day are beautifully crafted and the sense of aching melancholy and loss in these verses would be clear even without translations – they offer a wonderful opportunity to hear some of the finest Arabic poetry ravishingly performed.

The elaborate interplay between voice and instrument can only happen when a singer accompanies herself and the revealing, close-recorded sound only serves to emphasise this intimacy. Such directness might not be to all tastes but it does make listening an absorbing and intense experience. There is a dark resignation that pervades Bouhassoun's second solo album; as a Syrian musician living in Europe, this probably isn’t very surprising.