Either in raga interpretation or demonstrative skill, Ayan Sengupta&’s recital drew warm admiration for the proper assimilation of talim of his trainers like Manilal Nag, Khushal Das, Partha Chatterjee and Ajoy Chakravarty contributing to the artistic touches of gayaki anga in his alap of Megh emerging as a convincing account of the dhrupadi form of the Mahar Seni gharana. His meend-oriented bistar in the bilambit phase reflected the mood of the rainy season melody with the use of Komol nishad and a stress of Sa and Pa. The economic use of tankirir in Jod- anga was intelligent as there was profuse scope of playing tans in the gat of jhaptal and teental in varied pattern of Bistar reflecting an artistic treatment of the melodic structure.
Subhara Guha, well- known vocalist of the Agra gharana, interpreted Mian ki mallhar, Mirabai ki mallhar and Kajri with her usual expertise, her demonstration emerging as a authentic account.
The beautiful bandish of the raga, with bistar, tankihi, bolkiri and bol-bhant, focused on the authentic expression of gharandar verve. The following kazri impressed as an artistic relief after the dhrupadi gravity of khayal.
Guha was eloquently accompanied by Ruposri Bhatacharya and Ashok Mukherjee on the harmonium and her tonal gravity went exceedingly well with the familiar form of the Agra gharana.