The rising efficiency platforms for younger artistes

Hindustani vocalist Rujuta Lad accompanied on the harmonium by Vinay Mishra and on the tabla by Saptak Sharma carried out for Raza Basis’s ‘Aarambh’.
| Photograph Credit score: Particular Association

In current instances, there was a surge in younger expertise, however not all of them are in a position to make it to the efficiency stage regardless of rigorous coaching. It’s right here that initiatives reminiscent of Raza Basis’s Arambh and IIC’s (India Worldwide Centre) ‘Double Invoice’ play a pivotal function.

Whereas the 2025 version of ‘Arambh’, held on the Amaltas Theatre of India Habitat Centre, New Delhi, featured vocalist Rujuta Lad, ‘Double Invoice’ showcased Hindustani vocalist Dhanashri Ghaisas and Aditya Shanker and troupe (instrumental fusion music).

Rujuta initially educated below Dhondhu Tai Kulkarni, and additional refined her abilities below Ashwini Bhide Deshpande, an exponent of the Jaipur Atrauli gharana.

Accompanied on the harmonium by Vinay Mishra and on the tabla by Saptak Sharma, Rujuta opened her live performance with raag Nand. The normal bada khayal ‘Dhundhu naked sainyan…’ was rendered in vilambit Teentaal as per the conference of her gharana. She delineated the piece in a leisurely method, going by systematic alap, bol alap, barhat and different taan patterns, earlier than progressing by the chhota khayal ‘Aa ja re balauva’, composed by Kishori Amonkar in a medium tempo of Teentaal.

She subsequent selected to render ‘Nayaki kanhada’ is a staple of the Jaipur Atrauli gharana. The well-known bandish ‘Mero piya rasiya’ was handled aplomb in Madhya-Vilambit Rupak taal. The opposite bandish ‘Nikli albeli rangili naar’, composed by Ashwini Bhide, was adorned with quicksilver taans to swimsuit the bandish. Rujuta additionally wished to sing a Hori however concluded with a Bhairavi bhajan on account of paucity of time.

Dhanashri Ghaisas, disciple of Ashwini Bhide Deshpande, confirmed a very good grasp of the Jaipur-Atrauli gharana.
| Photograph Credit score:
Particular Association

Dhanashri, who carried out on the Double Invoice sequence, additionally educated below Ashwini Bhide Deshpande. Exhibiting her grasp over the attribute options of her guru’s gharana, Dhanashri opened with raag Yaman, however using the Shuddha Madhyam typically made it sound like Yaman-Kalyan. After an alluring alap, Dhanashri introduced a conventional bada khayal ‘Mo mann lagan lagi’ set in Vilambit (sluggish) Teentaal. She elaborated the raag progressively, focussing on its melodic factors. The bandish featured taan patterns distinctive to the gharana. The tarana set to Drut Ek-taal, composed by her guru, got here as a part of the primary raag.

Dhanashri subsequent introduced raag Basant, which caused a change in temper. She sang the bandish ‘Aai ruta Basant’, adorning it with a wide range of taans. Dhanashri concluded with a Hori ‘Fundamental toh khelungi unahin se hori guniyaan’, composed by Bindadin Maharaj. The harmonium accompaniment by Kshitij Singh and the concluding laggi on the tabla by Vinod Lele enhanced the enchantment of her live performance.

Aditya Shanker on the tabla, Kartikeya Vashishth on the flute, Neeraj Kumar on percussion and Shailendra Wakhlu on the guitar carried out at IIC’s Double Invoice live performance sequence.
| Photograph Credit score:
Particular Association

The efficiency by the fusion ensemble with Aditya on the tabla, Kartikeya Vashishth on the flute, Neeraj Kumar on percussion and Shailendra Wakhlu on the guitar was structured like a journey. Aditya’s guru Ustad Rafiuddin Sabri was current within the viewers.

The live performance, which started with Shiv-Vandana ‘Om Namah Shivaaya’, in raag Malkauns moved to an Egyptian people tune that gave the impression of Bhairav, and pop-influenced piece, earlier than concluding with a thumri ‘Ka karun sajni, aaye na balam’ in Bhairavi. However the ensemble couldn’t sustain the momentum with its disparate repertoire.