September 1978, a few months before the revolution in Persia (Iran), she
moved to England. She always called this event as the worst memory of her
life. Since she had performed at some of Shah's ceremonies, Tehran's
revolutionary court accused Hayedeh of promoting "Royal Music" [
Musighi-e Taaghouti] and
summoned her to court in 1979. When she did not appear, she was put under
prosecution by the regime.
Haydeh and Anoushiravan Rohani, National Iranian Radio and
Television, around 1976
In exile Hayedeh spent a few years with her children in London and with
the help of some Persian musicians appeared in several concerts there.
In 1982 she moved to Los Angeles , where hundreds of thousands of
Persians have settled since the 1979. In this period, Hayedeh's
political and nostalgic songs, mostly composed by Farid Zoland, Sadegh
Nojouki, Anderanik and Anoushiravan Rohani on the lyrics of Leila Kasra
(Hedieh), Ardalan Sarfaraz and Bijan Samandar, boosted her popularity
among the exiled Persian community. Among the most famous songs were "Rouza-ye
Roshan Khodahafez" (Goodbye Bright Days), "Faryad" (Cry), and "Zendegi"
During this period, Hayedeh regularly appeared on the Los Angeles-based
Jaam-e Jam, a Persian-language TV station established by Manouchehr
Bibiyan and a few other Persian artists and journalists in exile.
Hayedeh not only criticized Iran's fundamental regime in some of her TV
programs, but also recorded more than 40 music videos at Jaam-e Jam
Studio, most of which were secretly distributed in her homeland.
Hayedeh also traveled twice to London and gave two concerts with large
orchestra (conducted by Farnoush Behzad) at the Royal Albert Hall. She
also appeared once at UCLA with a Persian instruments ensemble, led by
Prof. Erik Nakhjavani writes about Hayedeh's vocal and performative
style in Encyclopedia Iranica: "Analogues to Delkash, before her,
Hayedeh sang with technical authority and passionate energy. Her
laryngeal control made it possible for her to produce a series of
graceful vibrato and glissando vocalizations required by the Avaz
[Persian voal music]. She could smoothly pass from the upper reaches of
her alto voice to the lower, fuller, and darker range of the contralto.
This mixture of strong laryngeal strength and learned vocal technique
gave her alto-contralto voice a rare, powerful resonance and texture in
the performance of the Avaz. Furthermore an acute sense for musical
timing, the rhythmic flow of vocal music, affective musical phrasing,
and poetic delivery enabled her to express and interpret effectively any
songs she sang."
Hayedeh's Gravestone in Westwood Mortuary,
Hayedeh died from a heart attack at the age of 47, only hours after
a performing in a concert at the Casablanca Club in San Francisco,
where she performed most of her memorable songs for a crowd of a few
hundred Persian immigrants based in Northern California. Khosrow
Motarjemi, a Persian IT expert in California, recorded the event on
video which was never released.
On this 16th
anniversary of Hayedeh's passing, her voice is ever alive and will
continue to live among the Persian people. "Yaadash
is a 25 year musician, researcher and a member of Artists Without
English version of this article was
edited by Daniel Pourkesali and Ali Mehran.