To celebrate the 151st birth anniversary of the great poet, playwright and musician, Dwijendralal Roy, and the 149th birth anniversary of the kantakabi, Rajanikanta Sen, Dimension 4 organized an evening of songs and recitation at Rabindra Sadan on July 26. Janmabhumi, as the programme was named, featured Nupurchhanda Ghosh along with her team of students, Shahadat Hussain Nipoo and Aparna Sen (picture).
A protege of Krishna Chattopadhyay, Ghosh has been playing a significant role in drawing the audience’s interest back to the early-20th century compositions of Dwijendralal Roy, Atulprasad Sen and Rajanikanta Sen. The beauty and authenticity of this style was wonderfully underlined by the artist in her presentation. This reviewer has attended her various recitals since the last few years, and Ghosh’s commendable ability to maintain her high standard, distinctive style and dedication is praiseworthy.
After the somewhat clumsy and haphazard inaugural part, the evening began with a collage of recitation and songs by Aparna Sen and Nupurchhanda Ghosh respectively. When reciting “Utho go bharata laxmi”, a wonderful composition of Atulprasad, Sen’s clear diction and restrained approach mingled elegantly with Ghosh’s full-throated pliant timbre when she sang, “Janani go laho tule bokhhe”. On this evening, the audience had the pleasure of immersing themselves in the magical charm of the presentation by these two artists.
After the brief performance by Sen, the programme moved forward with a well- rehearsed performance by Ghosh and her students. While singing D.L. Roy’s “Patitidhharini gange”, Ghosh brought out the inner sentiment of the song through her dramatic and emotional “ogo ma”. “Nandalal to ekada ekta korilo bhishan pon” was also brilliant.
An evening of innovative and experimental presentations was staged at G.D. Birla Sabhagar. The first artist was Sohini Roychowdhury, a young, talented singer who attempted to create a dialogue between Indian classical raga and its Western counterpart with her band, Vilay (vocal, innovation and laya). In the song, “Sawana mase ayo sajani”, based on Raga Desh Malhar, she displayed clear signs of her good training and skill. “Chala re pardesiyan naina lagake”, a dadra based on Raga Bhairavi, was enjoyable — the fusion of Raga Bhairavi and the Phrygian mode based on the octave scale was interesting. The melodic elaboration of Raga Pahadi was cheerful. Samrat Guha (keyboard), Pritam (tabla), Ankur (octopad), Antar Roy (base guitar) and Debasis (harmonium) were her other team members.
The second presentation was The Hungry Stones by Raka Maitra, who has learnt Odissi and Seraikella Chhau. She tried to step ‘outside the safe boundaries and blurred the lines of tradition’. Unfortunately, the effort was a product of blurred vision, signifying nothing except an insensitive approach towards the art form as well as the audience. Oindrila Dutt compered the programme intelligently.