Rabindrasangeet demands a balance between grammatical discipline and emotional expression. This was the hallmark of Pramita Mullick’s singing at the GD Birla Sabhagar on June 8. The two-part programme was presented by Bhavna cassettes and records. Mullick began with Mahabishwe mahakashe, which sounded distinctive in its difference from the oft-heard version. This was followed by a cluster of songs, marked by the artist’s minimalist approach and unfailing adherence to notation, allowing the listener to intellectually engage with the performance. The fine modulation of Aro aro prabhu, aro aro perfectly complemented the serenity evoked by Ki bhay abhaydhame. The romantic yearning of the abhisarika nayika was beautifully brought out in Bone emon phul phutechhe. Chokkhe amar trishna underscored the fact that Tagore composed each song with a specific laya (tempo) in mind. In Ke uthe daki and Nirab rajani dekho magno jochhonaye, the accompaniment seemed ill-matched with the vocals. Otherwise, Siddhartha Bhattacharya (tabla), Surajit Roy (esraj) and Subrata Mukherjee (keyboard) ably assisted the singer.

The second half was devoted to Mukti Tore Petei Hobe, a dance choreography by Priti Patel, based on Tagore’s Pujarini, with Pramita Mullick in songs and recitation. Patel, a well-known Manipuri dancer-choreographer, struggled in her presentation, trying to negotiate her artistic sensibilities with a declining standard of performance. Her white costume, teamed with an orange flower in the hair, was aesthetically conceptualized. In spite of neat props and simple compositions, and the inclusion of male and female dancers from Manipur, the presentation could not be salvaged from weak, ameteurish movements, which made a spirited song like Ami marer sagar pari debo fall flat on the dance floor. Another small grouse is with the English translation of Mukti Tore Petei Hobe. “You must have salvation” is much too literal and inelegant.