Anjana Nath mesmerises the Varanasi audience with her flawless voice.
One may have had intensive and long musical training under celebrated gurus, yet it is ultimately one's riyaz that governs one's artistic excellence. Anjana Nath, who gave a recital in Varanasi recently, is a direct disciple of Pandit Ajoy Chakraborty. She proved, by dint of her relentless riyaz, that she is now impeccably identified with the musical heritage initiated by Ustad Bade Ghulam Ali Khan and is flowering in tune with Ajoy Chakraborty.
She has a sturdy and musical voice of appreciable range and can present various bhavas only by the gravity of swaras. Her's seems the case in which the musical form in question and the technique on the surface are correct, but the thrust of a vivifying creative impulse and inspiration are not identical with her guru. In this recital, she was accompanied by Vinay Mishra on the harmonium and Vinod Lele on the tabla. Kala Prakash, an organisation dedicated only to classical music, organised this programme.
The title of the musical evening was Ayi Sawan Ki Bahar. Anjana enunciated this concert with the raga Miya ki Malhar - Kari Mai Nam Tero, and Bole re Papaihera, vilambit and druta bandish, often heard from PanditKumar Gandharva and Gangubai Hangal. She is fluent in all saptaks, assimilates the pattern of tanas, specially provided by Patiala gharana. Many vocalists reserve the Tar Shadja as the prized note to be used with plan and preparation but Anjana uses it whenever she wants to. Her natural instinct for swara is quite in place. Her glide over Ma Re and Ni Sa wasquite pleasing though there was notmuch spirit behind these short meends, since Komal Gandhar and both Nishad are used in this popularly known raga. In between, she presented Gagan Mandal Baje Jhamjham in Rupak tala. The tenor of the recital became brighter as she accelerated the pace and introduced a bit of bol-bant and sport with the rhythm. After that she rendered raga Des and a Thumri in Maj Khamj. This light classical form usually expresses sentiments of love. It allows an artiste the freedom to borrow from the allied melodies and adorn his theme imaginatively. And she did, with the compositions of Gyan Prakash Ghosh and Bade Ghulam Ali Khan.
Her first teacher was Meera Banerjee, regarded as one of the frontliners among the disciples of Ustad Bade Ghulam Ali. In the year 1989, she got the coveted scholarship of Sangeet Research Academy, Kolkata. From then on Ajoy Chakraborty has taken the role of aguide in her musical career. We now rarely hear pure Aa-kar, Sargam and tana, the specialities of Patiala Gharana, as the audience, including Kishan Maharaj and Chhannulal Mishra opined. .
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