Emotion Recollected in tranquillity: Sikha Basu on stage (Picture by Sanat K. Sinha)

The moment Rachayita Roy picked up the opening words of Eto anandadhwani uthila kothay before a distinguished audience that assembled at Rathindra Mancha (Jorasanko) in the inaugural session of Rabindra Janmotsav (June 5-12), one became acutely conscious of the magic of the venue. Based on Bahar, this dhamar composition has a gripping quality that lends itself smoothly to Roy’s gentle approach. Her diction is rounded, her pronunciation impeccable. Add to this a certain dignity of expression that emanates naturally from her devotion to the genre. Rabindra Bharati Society, pulling out all stops to organise this annual event that has resumed after quite some time, could not have expected a better start. Accompanied by two esraj players and a violin, besides percussion, Roy displayed unmistakable poise in Aha tomar sange that followed soon after.

If the choice of the right songs held the key to Roy’s recital, Rajashri Bhattacharya fared even better. She started off invoking the muse of music in Jago jago re jago sangeet and by the time she reached Shudhu tomar bani nay go, her offering was transformed into a sort of worship. At its best, Rabindrasangeet, especially in its devotional form, transports the avid listener to a blissful aura where he/she can achieve a communion with the supreme authority. One needs a Bhattacharya for that effect. As she called out ...hey bandhu hey priyo, the plaintive cry of the bowing instruments helped accentuate the song’s emotional appeal, once again iterating the importance of right accompaniment for the overall impact.

On June 6, Swapan Gupta cruised along effortlessly on the strength of his conviction in Ashrunadir sudur pare. Those last lines sounded almost prophetic in his seasoned baritone. A rare gem was unearthed in Swapna Ghosal’s interpretation of Doibe tumi neshay peye. Alpana Roy’s recital of Jara bihanbelay gan enechhila was the high point of the evening of June 7. Here is another singer who instantly immerses herself in the song and what emerges from her timbre is sheer delight. A theme of discovery underlined a very engrossing recital by Sikha Basu on June 8. Beginning her journey with a beautifully paced Tora shunis ni, Basu celebrated the glorious celebration of the soul’s ascent to the cosmos in Hriday amaar prakash holo. At the end she dwelt sensibly on the ambiguity of our inner and outer selves in Amaar hiyar majhe. What started with a quest for fulfilment resolved in tranquillity. Her conviction shone throughout.

There was not only music on offer but dance dramas and song narratives. All the major universities, namely the University of Calcutta, Visva Bharati and Rabindra Bharati are taking part, alongside the premier centres of Tagore culture like Gitabitan, Dashshinee and Surangama. Visva Bharati’s Chandalika was true to the book while Surangama took Bhanusimher Padavali as the starting point to explore the image of a flute running through Tagore’s oeuvre. It turned out to be ‘Krishnalila’ essayed in Tagorean terms. Such improvisations are welcome. In comparison, Bengal Music College’s presentation centring on the birthday fell flat.

Even more disappointing was the audience that dwindled with every passing day. The organisers, this time, have been generous in keeping the door open for non-members and the entry is free. But the patrons are simply not interested.