Pt. Soumya Madanagopal, Hindustani classical vocalist born and based in Chennai, niece of Carnatic luminary, vidwan G.N. Balasubramanian, and daughter of senior Carnatic vocalist, Rajeshwari Ranganathan, transitioned from being a busy performer to a sought-after guru and voice coach, who has helped many young singers discover their potential. A recipient of the Kalai Mudu Mani award (2015), conferred by the Government of Tamil Nadu, in recognition of her work in the field of voice culture techniques and their application, Soumya turns the pages of memory as she revisits significant milestones in her 35-year career.
Musical roots
My childhood memories are all happy ones. Living in a joint family peopled by art-loving parents, relatives and cousins, it was a given that I would gravitate towards music. GNB was my mother’s brother. He was a visionary and trailblazer, whose innovative bani inspired peers and disciples alike. My mother Rajeswari herself, was a distinguished vidushi. Visweswaran, my brother, became a well-known santoor exponent, also adept in the Carnatic and Western classical systems. A source of quiet strength for all our creative endeavours was my father, R. Ranganathan, Secretary of the Music Academy. In GenNext, my daughter Ramya is a Carnatic vocalist, while my grandson Aditya learns Western Classical violin and piano.
About your gurus
I studied Carnatic vocal. Also veena, from R. Pichumani Iyer. It was only much later, when looking for a guru to train my daughter in Hindustani classical, that I met Pt. Krishnanand. As I was already an accomplished vocalist, he urged me to specialise in Hindustani sangeet. Intensive teaching and practice sessions followed and within a remarkably short time, I gave my debut recital in 1980. Advanced training followed, from Pt. Vishambarnath Sharma, Meera Savoor and sarangi maestro Mohammad Hussain Khan. I was fortunate to imbibe the beautiful alaap, detailed layakari and aesthetically structured taans, each a speciality of the Kirana, Agra and Gwalior schools respectively, from my gurus.
What were some of your memorable concerts and projects?
I have always been interested in exploring the interconnectedness of the arts. After a stint in the Fine Arts course at the Stella Maris College, which fine-tuned my painting skills, I was chosen by Camlin to helm its fabric-painting design project. Solo painting exhibitions followed, at venues such as the Max Mueller Bhavan and the Russian Cultural Centre. An interesting project that came my way, bridging visual art and music, was against the backdrop of hand-woven tapestries featuring artist S.G. Vasudev’s abstracts adapted to the loom by master weavers. At the venue, I rendered the immortal verses of Sant Kabir Das in ‘Chadariya Jeeni Re Jeeni’ — an aesthetically and spiritually fulfilling experience. A slew of programmes kept me busy — classical and ghazal, re-recordings for films and being a judge on the TV show ‘Ragamalika.’ I cherish memories of my recital at the Mirza Ghalib Centenary celebrations at which my concert preceded that of Pakistani ghazal diva Munni Begum. Adoor Gopalakrishnan’s documentary ‘Ganga’ (1982) produced by Cholamandal artist V. Viswanathan, which won the coveted Grand Prix, Cinema du Reel, Paris, featured music composed and rendered by me. My work for noted theatre groups such as Koothuppattarai (Chennai) and Alarippu (Delhi) has won much appreciation.
How did you develop a scientific interest in voice culture techniques? Some tips about voice culture...
Attending opera artist Rueggeberg’s month-long workshop in the 1990s was an eye-opener. The deep rise and fall of the diaphragm increases breathing capacity and enables richer voice production. Thus, regular exercise and sports such as swimming or yoga prove very beneficial. I am a firm believer in the role of physical fitness in holistic health. At St. Ebbas High School, I was into athletics and won trophies in the high jump event. I remember with gratitude, my PT teacher, the late Kunjammal, who honed my athletic prowess.
Full-throated akara singing opens up the voice for easy traverse of multiple octaves, while specific exercises help in voice control. And it is not myth but truth, that early morning sadhana yields excellent results in terms of improving timbre, pliability and range! When I started my music school, Sunaad, I discovered that that it was immensely fulfilling to groom young talent. Among my students are full-time music professionals — ‘Pop’ Shalini, Haricharan, Madhumitha and Bhavatharini.
Some of your favourite artistes...
Begum Parveen Sultana, Hariharan, Ustads Amir Khan and Rashid Khan. I also love tuning in to the semi-classical melodies of Madan Mohan, MSV-Ramamurthy, Ilayaraja and A.R.Rahman.
