Qithara's very first performance took place on January 1999 and after another year of preparation they gave their second performance on January 2000. A third performance followed on May of the same year, then starting November 2000 regular monthly performances began at Beit El Harrawy, The Cairo Opera House, Beit El Sehemy, Villa Ahmed Shawky, and the Bibliotheca Alexandrina. Two international performances also took place in Berlin 2002, and other two in Kuwait 2005. Qithara attempts to recall authentic Oriental musical traditions by reintroducing traditional vocal music techniques of the early 20th century and using only the five instruments of the Arabic Takht so as to avoid overshadowing the vocal performance. Through interacting with Egyptian vocal and musical heritage we can discover alternative methods of musical innovation. And as innovation presumes the presence of the old and encompasses it, our efforts set sail from the junctures of the old traditions. Of these junctures is the musical theatre which blossomed in the early 20th century both in tragedy and comedy which was founded by great composers of the era such as Salama Higazy, Sayyed Darwish and Zakaria Ahmed. Later, Abdel Wahab, Mounir Mourad, Mohamed Fawzy and others continued along the same path helping to transfer the musical theatre to the silver screen. Another juncture joins elements of traditional singing with elements of western operatic singing as in Mohamed El Qasabgy's songs for Asmahan and Um Kulthum, and also in Abdel Wahab’s music and songs. We were also greatly amused to dialogue with classical Arabic mucial forms, attempting to link them to experiences that have affected international music. Finally, regardless of whether endeavors to modernize Egyptian music and singing were linked to international music, their success is contingent on the inner harmony between the components of Egyptian music and song such as language, melody and the cultural references of the audience. Perhaps the lasting legacy of the earlier pioneers and their enduring appeal, despite their different directions, is evidence of their belief in the importance of that harmony.