Despite his rich lineage , it was only after the success of songs he sung in “Katyar Kaljat Ghusali” that Rahul Deshpande became a household name. He has acted and sung in over 100 shows of the play of the same name over the last few years.
Articulate and chatty, Rahul, grandson of Pt Vasantrao Deshpande, a popular figure in Maharashtra music and theatre circles, is not your typical music centric musician. Educated in a premier English school, Rahul confessed to listening to popular Western music in his youth rather than his grandfather’s tapes. Only three when Vasantrao Deshpande passed away, Rahul found his musical inspiration initially through the music of the iconic Pt Kumar Gandharva. Incidentally, Rahul has even adopted Kumar ji’s stance of leaning on his arms!
Rahul’s concert recently at the month-long Swara Malhar festival in Pune was an eye opener. Despite it being a Malhar festival, Rahul chose boldly to sing raga Madhu Kauns, with even the lyrics of his opening khayal “de mohe darshan Rama” in Jhaptaal, making no concessions to the season of the rains. He held the audience attention with fast taans, gamaks, more used on instruments, and subtle laya play. There is no doubt Rahul has forged his own path musically. His concluding thumri “chhaa rahi kali ghata” was sung with innovative embellishments.
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One admired his candour and his willingness to take on all questions head on.
Edited excerpts:
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You wear many hats – singer, actor, organiser...
“Katyar Kaljat Ghusali” is not the first film I did; but yes, everyone is talking about it. In 2011, I had acted in a Maharashtrian film “Bal Gandharva” in which I sang and also played a small role, but “Katyar Kaljat Ghusali” is by far the biggest hit. I have always wanted to revive Marathi musicals.
The time of Pt Deenanath Mangeshkar and Bal Gandharva was the golden era of Marathi musicals, and I wanted to recreate this era. My grandfather had acted as Khan sahib, the central charactor in “Katyar...” in the original play, and I wanted to revive it as a play for a newer audience. So we did around 100 shows of it, spread over 10 years. At NSD, Delhi students had only heard of Natya sangeet, they didn’t know musical theatre even existed.
I also did other plays such as“Man Apmaan” ,“Saubhadra”. I think because the interest in and popularity of these plays, the films happened. I also did a show on Kumar Gandharva ji entitled “Raagvilas” based on his book “Anuprag Vilas” which contains his bandishes.
I am happy to say that after watching my plays and films, more youngsters are coming to learn classical music. That was my aim.
There is another biopic that I can’t talk about yet, but in that too I sing and act. Another film is about my grandfather. It’s the first film I have composed music for, and that was quite a challenge.
However, I am very clear about my identity. I am a classical singer and that is what I want to be remembered as. I do love to perform, but it is primarily to push my agenda of popularising classical music.
How did you gravitate towards singing?
My musical inspiration is Kumar ji. For me music equalled him. I started singing because of him. I wanted to sound like him. I also learnt from his son Mukul Shivputra for 8-9 years. I studied in an English school where the music I heard was Western popular music.
The classical music interest happened later. I feel my music sounds current because it has all that I heard. Amongst the classical musicians I was inspired by include Pt Bhimsen Joshi, Kishori Amonkar, Mallikarjun Mansoor. At some point, when I was 23-24, I decided I wanted to do nothing but sing, and sing well. I did riyaaz for 8-10 hours. I devoured the recordings of my grandfather; his singing sounds easy but it is so difficult to do. I consciously did not try to sound like him, I felt it was impossible. With Kumar ji, I felt closer . Kumar ji and my grandfather were very close friends, and I think in a way my involvement with Kumar ji’s music brought me closer to my grandfather too.
I admired his approach to music. The way he interprets each bandish is different each time. I still have so much to learn from the recordings.
Tell us about your signature style?
As a singer one should not try to copy a voice or even a style. Your personality has to come out in your music. Initially, I tried to copy, but it didn’t work. When I sing, I can switch modes and bring out the style of Mukulji, or Bhimsen ji or Vasantrao ji – but ultimately it’s my music. I travel a lot, and I do think all these influences seep into my music. I like to watch meaningful films and read what my friends recommend.
I try to bring in newer audiences by singing the type of music they want to hear, but do not move away from the tradition I have been trained in. I believe artist can command audience attention; it’s your own confidence as a performer that holds attention. I don’t believe one has to compromise on style or time. I don’t look at my watch while singing unless I have been told to contain myself. I don’t care how I am being judged; I don’t sing to please. It bothers me to think that I sang for the gallery.
Let’s talk about your annual music festival Vasant Utsav.
It’s been 11 years now, and I was quite clear the festival had to be a befitting tribute to my grandfather’s legacy, which was not confined to only classical music. He loved ghazals, laavanis, natya sangeet – so I wanted the festival to include all that too. I wanted the festival to include Marathi musicals too.
In 2020, we will celebrate the 100th birth anniversary of my grandfather. So, I am planning a big event.
How do you see the classical music scene in India today?
I am optimistic about the future of our music, but I must admit that it is the few crowd pullers who carry a festival. Unknown artists at a standalone concert will fail, even if it is not ticketed. In Madhya Pradesh, the Tansen festival is well run by the State. I wish Maharashtra would also patronise classical music.
I did a new type of concert called ‘baithak’ where I talked to the audience, explained what a khayal was, then sang it. It was popular but it’s been two years now. I have not been able to carry it on. Sadly, classical music needs to be sponsored as ticket sales do not cover costs.
I am excited about my concert for Banyan Tree at Kamani auditorium on July 20th. There are very few opportunities in Delhi I feel, so this for me is nice.