The Queen in Concert and the Queen In-Charge
The topic for today is very emotional; since, it deals with none other than the "Nightingale of India". The topic requires vivid sewing of thoughtful words; since, many a narrator has already penned many a word. The topic needs a little deviant path; since, many a reviewer has already covered it in many a beautiful way. Does this mean I am jittery, or hesitant, or shaky to get going ? No, certainly not! Because, beyond anything else, this is a topic that is very close to my heart! My heart, which has had the fortune of being drenched by the pure, soothing voice of Lata Mangeshkar, in a concert!
Dilip Kumar introducing Lataji with his poetic speech!
Scene one starts when the thespian, Dilip Kumar, introduces Lataji through his serene speech and greets her as his sister. Scene two starts with Lataji walking down the alley towards the stage and exchanging pleasantries with the legendary actor. The stage gets set - the scene of a packed house, the gloss of decoration, the plethora of musicians, all take backstage. Instead, what takes center-stage is an eager wait, an anticipation and what breaks both is the intonation and utterance from her. The audience is well and truly geared up, they are in for a listening treat, a heavenly experience of "Asli" music. The Queen has just assumed her throne and has made her presence felt.
Lataji starts with Ajeeb Daastan Hai Yeh
As they say, preparation is half the confidence. As Lataji starts with "Ajeeb Daastan Hai Yeh...", then "Jo Waada Kiya...", the aura of the sixties come back in no time. But, one must think - was that really so easy ? It was not, a legend like her never shows any strife, but it is never easy. As far as we know, the taskmaster inside her goes through repeated rehearsals, voice testing and mock practice on the premise before a concert. Perfection being her mantra, all the musicians start to hit the right notes, the violin sounds right, the percussion gets properly activated and the Queen in concert gets into the right mood. With that frame of mind, swinging the mood from "Aate Jaate..." of the eighties to "Yaara Sili Sili.." of the nineties, to "Aa jaane jaan..." of the sixties is never a problem. A tiny note stating that if there are some mistakes, she be pardoned is just a gesture that a Queen like she can do!
Lataji singing "Yaara Sili Sili"
The confluence of "Saaz"-the accompaniment-and "Aawaz"-the voice-is essentially important, especially, for the fulfillment of both the artist and the recipient of the art! Lataji, by standing close to the harmonium, stays close to her Sur or tune magnificently. The lows of "Kuchh dil ne kaha....." and the highs of "Pardesiyan..." are both equally possible to be toned by the century-old instrument and the Queen believe that. Several stars and superstars brighten the stage of her with their appreciation and request. She accepts all that with humility, stands with her saree clasped in one hand, eyes looking bright, stature straight and upright, but art grounded to where it should be! Hence comes "Ae Dil-e Naadaan...", one of her personal favorites, right from her heart, in more or less the same way as it was recorded. Here is the picture of the Queen presenting a dignified personality performing with perfection.
Lataji singing back to back haunting melodies
Medley is an experience quite appreciated across the music world. When it comes to Lataji, her selection of songs comes out as the single most striking factor. Covering several generations of actresses for whom she had lent her voice, Lataji has to consider many aspects while performing. If the varied style of melody is one, the mannerism of the actresses is second. If minimal instrument ornaments some songs, rapid beats glitter some other. If chaste poetry has molded some, light-heart statements have built up some other. But then, she is a Queen, and her empire has spanned many decades. So, variations are nothing but simple virtues for her and her singer-self.
Starting from where it should start - a devotional piece, to ending where it should end - a patriotic number is all, but an indication of her completeness. Melodies are often interrelated as much as it is intrarelated. So, "Aye Mere Watan Ke Logon...." might have some similarities to "Vande Mataram...." but her comprehensive presentation must give justice to both. All in all, the grand setting, the interplay of a band of exceptional musicians, the selection of songs, the kind and charming presence of her, the clinical synchronization during duets, the long untiring Medley of songs - the empress was there to stamp her authority on each and every aspect of that evening. But the charm, or the halo, or the enigma is just the outward perception. The peace, the assurance, the sanctity from inside are the most important virtues of an artist. Using that, and only that, can she, with maximum ease, pull off an event like that, almost all at her own terms! After all, that is the reason we can say that the Queen in Concert was actually the Queen In-Charge!
The full concert held in 1997
Dilip Kumar introducing Lataji with his poetic speech!
Scene one starts when the thespian, Dilip Kumar, introduces Lataji through his serene speech and greets her as his sister. Scene two starts with Lataji walking down the alley towards the stage and exchanging pleasantries with the legendary actor. The stage gets set - the scene of a packed house, the gloss of decoration, the plethora of musicians, all take backstage. Instead, what takes center-stage is an eager wait, an anticipation and what breaks both is the intonation and utterance from her. The audience is well and truly geared up, they are in for a listening treat, a heavenly experience of "Asli" music. The Queen has just assumed her throne and has made her presence felt.
Lataji starts with Ajeeb Daastan Hai Yeh
As they say, preparation is half the confidence. As Lataji starts with "Ajeeb Daastan Hai Yeh...", then "Jo Waada Kiya...", the aura of the sixties come back in no time. But, one must think - was that really so easy ? It was not, a legend like her never shows any strife, but it is never easy. As far as we know, the taskmaster inside her goes through repeated rehearsals, voice testing and mock practice on the premise before a concert. Perfection being her mantra, all the musicians start to hit the right notes, the violin sounds right, the percussion gets properly activated and the Queen in concert gets into the right mood. With that frame of mind, swinging the mood from "Aate Jaate..." of the eighties to "Yaara Sili Sili.." of the nineties, to "Aa jaane jaan..." of the sixties is never a problem. A tiny note stating that if there are some mistakes, she be pardoned is just a gesture that a Queen like she can do!
Lataji singing "Yaara Sili Sili"
The confluence of "Saaz"-the accompaniment-and "Aawaz"-the voice-is essentially important, especially, for the fulfillment of both the artist and the recipient of the art! Lataji, by standing close to the harmonium, stays close to her Sur or tune magnificently. The lows of "Kuchh dil ne kaha....." and the highs of "Pardesiyan..." are both equally possible to be toned by the century-old instrument and the Queen believe that. Several stars and superstars brighten the stage of her with their appreciation and request. She accepts all that with humility, stands with her saree clasped in one hand, eyes looking bright, stature straight and upright, but art grounded to where it should be! Hence comes "Ae Dil-e Naadaan...", one of her personal favorites, right from her heart, in more or less the same way as it was recorded. Here is the picture of the Queen presenting a dignified personality performing with perfection.
Lataji singing back to back haunting melodies
Medley is an experience quite appreciated across the music world. When it comes to Lataji, her selection of songs comes out as the single most striking factor. Covering several generations of actresses for whom she had lent her voice, Lataji has to consider many aspects while performing. If the varied style of melody is one, the mannerism of the actresses is second. If minimal instrument ornaments some songs, rapid beats glitter some other. If chaste poetry has molded some, light-heart statements have built up some other. But then, she is a Queen, and her empire has spanned many decades. So, variations are nothing but simple virtues for her and her singer-self.
Starting from where it should start - a devotional piece, to ending where it should end - a patriotic number is all, but an indication of her completeness. Melodies are often interrelated as much as it is intrarelated. So, "Aye Mere Watan Ke Logon...." might have some similarities to "Vande Mataram...." but her comprehensive presentation must give justice to both. All in all, the grand setting, the interplay of a band of exceptional musicians, the selection of songs, the kind and charming presence of her, the clinical synchronization during duets, the long untiring Medley of songs - the empress was there to stamp her authority on each and every aspect of that evening. But the charm, or the halo, or the enigma is just the outward perception. The peace, the assurance, the sanctity from inside are the most important virtues of an artist. Using that, and only that, can she, with maximum ease, pull off an event like that, almost all at her own terms! After all, that is the reason we can say that the Queen in Concert was actually the Queen In-Charge!
The full concert held in 1997
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