Debalina Ghosh’s energy at the event, Baithaki Gaan (organised by Debu’s Darbar at Niranjan Sadan), was infectious. Her pulsating presentations evoked a bygone era. However, Ghosh ended most of the songs either abruptly or with a sense of incompleteness. Somehow, she failed to conjure up a sense of finality.
The moments of strain in the opening of “Bela jui chhoriye debo” was a reminder of the almost impossible demand that a Rasaraj Amritalal Basu composition can, at times, make on the tenor. But Ghosh’s fierce training immaculately balanced Basu’s explorations. The same goes for the Nidhu Babu tappa, “Nanan deshe nanan bhasha”, which inevitably leaves listeners pondering every word and phrase, each of which conceals a world of meaning.
The third song underlined the luxuries of babu culture, but the orchestral colours were sorely missed in this one as Ghosh tried to rise above the triteness of “Shaharer babugiri shobar tekka”. Her powerful voice did bring a sharp focus to the song, but one wishes it lingered to give a more definite sense of ending. Ghosh also brought her trademark acuity to the RamprasadSen composition, “Surapan kori na aami sudha khai”. This was possibly the best rendition of the eveningand she sounded wonderfully nippy and atmospheric without being monotonous.
A couple of other songs, such as “Noyone amar bidhi keno” (Proloygeeti) and “Tumi radhe oti saadhe” (Harthakurer gaan), were well-suited to her energetic style and seamlessly blended with the evening’s ambience.
Special mention must be made of Debashish Haldar’s skill on the sarangi which brought out the denser textures of the songs with an intensity that aided Ghosh’s singing and, yet, held its individuality. The stage had been set aesthetically and formed the perfect background for the genre.
