Touching Hearts And Make-Up

Filling our hearts with religious sentiments, post-Id, was the Qawwali troupe at the Ravindra Bharathi, on the last day of the month-end cultural program. Wajeeda Tarannum, the lead singer, greeted the audience in Urdu, Telugu and English. The Qawwalis that followed were vibrant, sung in the typically raucous voices of such singers, but touching all hearts, elaborating on aspects of the Gita, the Bible and the Quran.

The traditional sawal-jawab was sung, as also the popular and well-known 'Dama Dum Mast Kalander'. Despite the commitment shown by the singers in understanding the Advaita philosophy and their efforts to reach out to the audience, there were continuous distractions from the wings - lending a different, a not-so-needed jarring note.

The Qawwali program ended, rather hurriedly, clearing the stage for the next program - ghazals by D Murali Krishna, the eminent IAS officer. That he already made a name and was popular with the audience was apparent, even as he began his first song. The claps and whistles endorsed the fact.

The accompanists were many - on the sitar, flute, synthesizers, sarangi, tabla, etc - all in perfect tune, not only with their instruments but with the singer himself. In turn, the singer, too, responded to the interludes provided by them. The first few numbers, alternately in Urdu and Telugu, saw him touching more of his make-up than hearts. A lady in the audience thought he was singing only in Telugu. So much for Urdu diction!

As the evening progressed, the mellifluous notes filled the atmosphere - isn't that what a ghazal singer is supposed to do in the first place? The romantic mood, too, was established and all present were reminiscing their loves - past, present and even prospective!!

The dignitaries spoke in utter admiration of the singer's ability to balance a high power job and so much talent. The concluding three songs, the last a repeat, kept ghazal lovers glued to their seats, while a couple of them went onto the stage to swing to the lively beats. A curt reprimand, and the stage was once again left to the singer who continued romancing the audience.

Wasn't he looking only at this writer when he sang "Tera Mera Pyaar Purana Lagta Hai "?

SU