There are some bonuses to musical performances being streamed and made available on online platforms. For example, the tribute — smaran — on baishe srabon paid by Kanikadhara and streamed by Punashcha not only threw up some wonderful renditions, but the open sylvan environs of the Mohar Bithika Angan were just as overwhelming as ever. The music blended with the locale so well that it calls for repeated viewing — a facility that only online platforms can provide.

Now on to the more serious issue of music, which was well thought of and curated. Each rendition left behind a refrain of fulfilment as the artists sang with verve and passion. Top-notch performances came from Sharanya Sengupta (“Amare bandhbi tora”), Priyam Mukherjee (“Nayan tomare payna dekhite”) and Ritapa Bhattacharya (“Amar jabar belay”). Mukherjee’s crystal-clear voice negotiated the cattletrap endings of each line with remarkable ease while also bringing in a perfect blend of sadness and hope. This should be the voice to watch out for in the future. Sengupta made the subtle nuances of “Amare bandhbi tora” greatly evocative. The vocalist was aided by Satyapriya Roy’s percussion, which makes the song a must-listen. Bhattacharya’s higher notes and excellent breath control made her rendition of “Amar jabar belay” a refreshing one; her grace and poise easily make her one of the most promising singers of this generation.

A motley of choruses (“Aguner poroshmoni”, “Bojre tomar baje bashi”) and duets (“Ei akashe amar mukti”) interspersed with chantings and readings by Soumen Sengupta, Dipro Mazumdar, Suprio Thakur, Nilanjana Sen Mazumdar and others added more quality content to the session. The esraj (played by Sougata Das) provided a brilliant vignette to most songs and readings — soothing and yet unobstrusive.