There are few things in this world that Bengalis hold so dear to their hearts that any form of experimentation is considered to be a brave, almost perilous, step. Yet, when such a venture is executed adroitly, it achieves a delicate balance that gives birth to something truly unique.

Shurer Bandhone, held on January 30 at Uttam Mancha, was a testament to such a rare harmony. The structure of the performance was designed in a way that each set began with a recitation by Raja, which then seamlessly bled into the vocal renditions of Manoj Murali Nair and Ajanta Chakraborty. This element of fusion ensured that poetry and music were never disparate elements; instead, they functioned as two halves of a single, breathing entity.

Soumyajyoti Ghosh on the flute was one of the highlights of the evening. On the tabla, Biplab Mondal was so impressive that even the performers on stage stopped to applaud him. A very moving part of the concert was the presentation of “Bhor belay shey biday nile” followed by Nair singing “Tumi robe nirobe”. These performances focused on the pain of loss, showing that grief is the love we have left when someone is gone and we no longer know where to put it. Other standout moments included the duet, “Gaan amar jaye bheshe”, and the rendition of “Amaro porano jaha chay”. Unfortunately, the listeners’ experience was slightly hindered by the occasional reverberations from the front speakers.

The fusion of Rabindrasangeet with contemporary poetry felt fresh, especially since the modern verses used informal words that contrasted with Tagore’s chaste language. But the collaboration did not feel out of place; instead, it was a perfect balance in which the poetry helped the songs stand out even more. The recitations acted as a bridge, smoothening the transitions between songs that belonged to different parjays of Rabindrasangeet. A great deal of research and thought had evidently gone into the curation.