Dover Lane Music Conference and Dover Lane Music Academy hosted a special event for Indian classical music lovers in the city
Posted on 11.27.21, 02:05 AM
The Dover Lane Music Conference and Dover Lane Music Academy hosted a special event for fans of Indian classical music in the city despite the challenges posed by the pandemic. The program showcased budding talents. Some of these young musicians have been recognized in recent times through various competitions in different genres of Indian classical music.
The two-day musical evening was mainly broadcast on social media and on Dover Lane’s own channel. The event was opened with a vocal recital by Tejaswini Digamber Vernekar, which featured Raga Puriya Kalyan. Tejaswini has a powerful voice; she has demonstrated her potential both in the vilambit and the drut kheyal. At the bottom
octaves, his voice has the depth to create variations in the views by the movement of key notes. She was also gentle in the middle and upper octaves while exhibiting taans.
Although a little too structured, Tejaswini set the tone for the event, which was picked up by another young performer, Sohini Chowdhury, assisted by Prakash Chowdhury on the harmonium. Sohini showed his expertise in a bhajan and was applauded by listeners. Odissi’s performance by Urjasee Basak was a pleasant experience
for the public too. Urjasee is a talented dancer who represented the inner meaning of the compositions she performed with her measured poise and expressions.
His first presentation was at a pallavi composed in Raga Rageshree; she then performed on a composition based on “Lalit Labangalata“, Jaydev’s famous line”Geeta govinda»To Raga Vasant and Malika taal, which was also visually appealing.
The first evening ended with a sitar recital by Kalyanjit Das, accompanied by Soumen Nandy at the tabla. Kalyanjit’s talent blossomed under the tutelage of his father, Kushal Das, whose influence is reflected in the technique of his performances. His act started out charmingly and the movements were smooth, but he could do with a bit of clarity by the end.
The second evening began with a Kathak recital by Mohini Saha. The introductory composition was followed by a teenager where his postures, movements, rotations, bhao and the footwork fascinated the audience. Mohini was confident about the nuances of Kathak, although more variations were expected from her. The fresh voice of Chitrini Paul in the interpretation of Bengali ragpradhan the songs were touching. The perfect blend of clarity and melody in his presentations was commendable. The mood was further enhanced by Ankita Sarkar (photo, left) with her sitar recital. She played Raga Bhimpalasi with spontaneity and skill, showing great promise from the start with a brief alaap, jor and jhala, and a gentle rhythmic flow in the gats.
Kumar Mardur’s performance (photo, right) was the perfect conclusion to this musical event. He rendered Raga Nand in his beautiful signature style. Kumar has the ability to combine potency and smoothness in the right amounts; this brought out the exquisite essence of the soul raga in both vilambit and the drut kheyal. He was spontaneous and charming in the flow of taans and views within three octaves. The audience was also delighted with the bhajan towards the end of his performance. He was ably supported by Bibhas Sanghai on tabla and Gourab Chatterjee on harmonium.
Finally, the melodious accompaniment on the harmonium by senior artist, Hiranmoy Mitra, accompanied by other singers and young Surjeet Singh and Suprabhat Bhattacharjee at the tabla elevated the musicality of the festival.