Carnatic maestro: M. Balamuralikrishna on stage (Picture by Surjendu Acharya)

If you still refuse to listen to the conservatives and leave ample room for the aesthetically pleasing improvisers (after all, Tagore himself left some for Dilip Kumar Roy), you must once listen to M. Balamuralikrishna delivering the grand Upanishadic vision of Bahe nirantar ananta anandadhara. Those who had the good fortune of turning up at Rabindra Sadan last Saturday evening to appreciate the Carnatic maestro taking an alluring journey through time and space, had more reasons to feel blessed. A classic Bramhosangeet, this dhrupad composition provided the maestro adequate opportunity to flex his resonating timbre, sweeping the audience off their feet with electrifying gamaks. It was all the more fulfiling when the audience joined Balamuralikrishna singing Aguner parashmani with sage-like dignity.

This unusual evening organised by Hutch in association with Rotary Club of Calcutta Metropolitan and Rotary Club Metropolitan Dacca also saw Yesudas trying out Aji jata tara taba akashe in a gleeful manner. Also, there was Sanjida Khatun, Iffat Ara Dewan and Aditi Mohsin from Bangladesh. Indranil Sen joined chords with the children of Shishutirtha, Santiniketan, in another pleasing performance. The children, in fact, stole more hearts than anybody else that evening.

But it was Lisa Ahmed Lisa who left a lump in our throats with an absolutely heart-wrenching recital of Hey bandhu. It was the most original interpretation of the song in a long time, coupled with quintessential sequences of subtle glides and gentle caressing of each word.

With no thematic chord integrating the presentation, Boitalik?s evening with Tagore (Rabindra Sadan, September 13) was a routine affair studded with some established names in the business besides some advanced learners of the genre. Although a little off-key due to a sore throat, Pramita Mallick?s recital was a connoisseur?s delight.

The overcast sky formed a perfect ambience for the Pilu-based Ogo amaar chira achena paradeshi, a number she coloured with soothing melodic cadence. Debarati Som was repetitive, ditto Roma Mondal.

Srikanta Acharya gave an engaging recital. The free rhythm treatment of Aji barishan mukharita held sway over the audience?s imagination. One wished Srabani Sen did the same, for her otherwise neat recital failed to achieve the sublimity that she is capable of. I still nurture the dream that one day she?ll sing the haunting Eso eso amaar ghare and Tumi kon bhanganer pathe back to back and without percussion.

Tagore songs inspired by events and occasions was the theme chosen by Ananya (Madhusudan Mancha, September 7). The novelty was unquestionable though the script was a let-down which not only confused occasional songs with those emanating spontaneously, but let loose horrors such as Gandhiji leading the 1905 swadeshi movement that inspired Banglar mati banglar jal! Mediocrity reigned supreme all the way.

Rookie Sinjini Acharya Mazumdar raised the expectations with an engrossing rendition of Dui hate kaler mandira. Her conviction shone all through. Among the many that took stage, impressive ones included Airin Sarkar and Chaiti Majumdar. It was nice to see poet Susmeli Dutta donning the Master of Ceremonies? garb with ease.