Hecate, the Greek goddess, could be glimpsed only as a pristine glow. Perhaps it was this luminous quality that inspired Rabindranath Tagore to fondly name Kadambari Devi — his beloved notun bouthan — Hecate, or Shrimati Hey. The various shades of their relationship formed the theme of the opera, Hridkamaleshu Shrimati Hey, at Rabindra Sadan on January 18. Conceived and compiled by Madhubani Chatterjee and Manoj Murali Nair, the presentation explored the impact of this extraordinary bond on Tagore’s life and on his works.

Hridkamaleshu Shrimati Hey acquired an experimental edge by its innovative use of songs, dance and dialogue. Nair’s rendition of Dujane dekha holo timir abagunthane was melodious. Chatterjee was in her element in the song, Keno bajao kankan kano kano, and her portrayal of Shrimati Hey was elegant. The most striking performance came from Uttam Das Baul. His juxtaposition of Maran re tunhu mamo and Ae o nithur kala re was brilliant. Tomay hrid majhare rakhibo, by the same artist, brought out the untold pangs of the poet.

The artists were ably supported by Subrata Mukherjee (keyboard), Sunando Mukherjee (sarod), Goutam Mukherjee (percussion) and Dhiren Chatterjee (flute). The aesthetic design of the set by Soumik and Piyali deserves special mention.