A few melodious songs of the 1960s and the 1970s were presented by Ruprekha Chatterjee, the eldest daughter of Bandopadhyay. Chatterjee’s voice was keen and clean but somewhat stereotypical. Renowned singer Sreeradha Bandopadhyay, the second daughter of the Bandopadhyay couple, sang 14 songs. Banerjee’s voice was sweet, melodious and flexible. But her cautious treatment of the songs became a barrier to spontaneity. Among the 14 songs she sang, some — Jesab kanna pathor hoyechhilo, Kato gaan haralam, Bandhua keno galo porobase, Karebole Phalgun, Bhalobasa chhara are achhe ki, Prem shudhu ek mombati — were remarkable.
The youngest daughter, Rajashree Bandopadhyay, was promising. She could comprehend the pulse of the audience and bewitched it with her smart appearance. She sang nine songs. The listeners were spellbound by her renderings of Kichhukhon aro nohoy rohile kachhe, Tumije aamar, ogo tumije aamar, Tokhon tomar ekush bochhor, Tomate aamate dekha hoyechhilo.
New language
Human life is a continuous flow of emotions and passions which add different hues, shades and textures to our daily life. Abhihita, an aesthetic expression of human emotion, was presented by Srijati, a centre for art and culture, at the Bidyut Bhawan Auditorium in Salt Lake on July 25. Conceived, choreographed and directed by Srinwanti Chakrabarty, an Odissi dancer, the production painted a large canvas through movements, choreographic patterns and vivid expressions. Colourful, innovative costumes and synchronized group compositions brought out the essence of the presentation successfully. Srinwanti, along with Brojen Singh Thingom (percussionist from Manipur), Shinibali Bhattacharya and Dyutiparna Chowdhury, tried to create a new language based on the classical format. Given the capacity of the classical dance style to assimilate and and mutate, such efforts should be encouraged. So long as the presentation is aesthetic and based on solid technique, experimental compositions are always welcome.
