Mangala Ranade
 | The topic of this article may not meet Wikitia's general notability guideline. |
Mangala Ranade | |
|---|---|
| Add a Photo | |
| Born | Mangala Sohoni January 4, 1951 Mumbai, Bombay State, India |
| Died | September 2, 2020 (aged 69) India |
| Citizenship | Indian |
| Education | Sangeet Visharad, Gandharva Mahavidyalaya; B.A. in Marathi and Sanskrit, Wilson College, Mumbai |
| Occupation | Classical vocalist |
| Years active | 1967–2020 |
| Known for | Hindustani classical vocal music of the Agra–Gwalior gharana |
| Style | Agra–Gwalior gharana |
| Parent(s) | R. V. Sohoni; Lila Sohoni |
Mangala Ranade (January 4, 1951 - September 2, 2020) was a vocalist of Indian Classical Music, of the Agra-Gwalior gharana.
Early life
Born as Mangala Sohoni, she was the daughter of Shri. R. V. Sohoni, (a vocalist of the Gwalior gharana, disciple of Pt. Rajarambua Paradkar) and mother, Smt. Lila Sohoni. Growing up in the Chitpavan neighborhood at Girgaon, in South Mumbai, she enjoyed a culturally vibrant environment in her foundational years. She received her early training in music from her father and earned her Sangeet Vishārad (equivalent to a B.A.) from Gandharva Mahavidyalaya in 1967, at the age of sixteen. Being a regular participant in musical events and competitions, she once had the honor of receiving her prize at the hands of Hirabai Badodekar[1]. She also completed her formal education from Wilson College, Mumbai, earning a B.A. in Marathi and Sanskrit.
Further training in music
She transitioned to learning at the feet of the illustrious exponent of the Agra-Gwalior gharana, Pt. C. R. Vyas from around 1975 and continued to learn with him for almost 25 years before his demise in 2002.
A lifelong learner, she consistently sought to enrich her knowledge by learning parallelly from other renowned vocalists such as Pt. Prabhudev Sardar and Jaymala Shiledar.
Apart from khayāl gāyaki, her repertoire included musical forms such as the dādrā, the tappā and the thumri apart from light classical forms such as the bhajan and the bhāvageet and the nātyageet.
Musical career
She was a performing artist for well over three decades.
She gave several well-received public performances between 1975 and 2007 at various prestigious fora in the country, most notably at Pt. Vishnu Digambar Paluskar Jayanti Samaroh, Delhi, Kundgol Savai Gandharva Mahotsav, Belgaon Sangeet Sammelan, Deenanath Mangeshkar Sangeet Samaroh of Goa, Gunidas Sangeet Sammelan in Mumbai and Bade Gulam Ali Khan Yaadgaar Sabha, Mumbai.
Radio provided an important alternative platform to this talented artist. She appeared for the music auditions of the music grading system of All India Radio and broadcast several recitals as B, B High and later as a national level A grade artist. Radio, (and to a lesser extent television,) were instrumental in taking her art to music lovers across the length and breadth of the country through well-conceived programs such as the National Program of Music and Sangeet Sammelan.
Columbia Broadcasting System (CBS), the recording company which had entered the Indian market in the early 1980s released an audio cassette in 1990 featuring Raag Jogkauns and Raag Ambika Sarang by Mangala Ranade.
Critical reception
Newspaper reports in the contemporary English and Marathi newspapers such as The Times of India, The Indian Express, Maharashtra Times, Loksatta, Tarun Bharat, Nav-shakti and Mumbai Sakal, document how well her performances were received year after year. There is always a special paragraph or two to praise the performance of Mangala Ranade and hail her as the star of the next generation of musicians.
Commenting in a review of the 1976 edition of Kal Ke Kalakar Sammelan organised by Sur Singar Samsad, in Mumbai, which is also when the title of Sur-mani was conferred on her, one reviewer says:
“Still in her twenties, Mangala, a disciple of the scholarly musician, C. R. Vyas, showed thorough grooming in the Gwalior “gayaki” and gripped her audience as much by the clarity and fullness of her expression as by the virtues of intelligent musicianship in the unfolding of “Khayal”, “Kaishiki-Ranjani” (a raga innovation by the late Chidanand Nagarkar) in “Vilambit” and “drut.” The exposition achieved a fine synthesis of conception, treatment and approach in the scheme of melodic improvisation.”[2]
One detailed critical review of her solo concert organized by Dadar-Matunga Cultural Centre, Mumbai under their Udayonmukh Kalakar (Upcoming Artists) series, showers praises on the quality of her voice and her mature handling of each Rag presented, in the following words: "गेली १८-१९ वर्षं सौ. रानडे या व्यासबुवांकडे तालीम घेत आहेत व ती त्यांच्या गाण्यात अनुभवास येते. मंगलाताईंचा आवाजाचा पल्ला मोठा. मध्यसप्तकात आवाज साफ खुला आणि मधुरमुलायम. तार सप्तकात तो एव्हरेस्ट शिखरा सारखा निमुळता उंच होत जातो पण माधुर्याचा गुण सोडत नाही. हे गुणविशेष जसे नोंदवण्यासारखे तसेच मंद्र सप्तकात त्याचे काहीसे बसकेपणात होणारे परिवर्तनही लक्षात राहाण्याजोगे. पण आकार असो की ईकार असो की एकार असो संपूर्ण प्रकाशमानता श्रोत्याला खेचून घेते. .. (She is training under Pt. C. R. Vyas for the last 18-19 years and one can see that in her singing. Mangalatai's voice has a massive range. In the middle octave it is clear and open...)" [3] Her forceful style of presentation and versatility were always noted.
"Mangala Ranade, a dedicated disciple of Pandit C. R. Vyas gave every evidence that she is true-to-style in her spirited singing of khayals. Her uninhibited open-throated gayaki and elan was in refreshing contrast to present-day vocalists..." says another music critic about her concert.[4]
Another newspaper report titled 'Mangala soars with Nat bhairav' showers praise on her in the following words.
"Mangala ensured that it was her day with a well-modulated khayal in Nat Bhairav, a raga usually favoured by instrumentalists. However, she did it ample justice with meticulous raagvistaar in the vilambit ('Goonj rahi'. Her confidence grew as her voice soared into the higher octave with ease. It was an unhurried note-by-note progression and she lent distinction to the piece by choosing both compositions of Pt. Gunidas. She continued to ride the wave with two compositions in the relatively rare raga Devgandhar which is derived from Asavari Thhaat (family). The variety she chose to present employed both the gandhars, which she did with the aplomb of a veteran."[5]
Awards/ Recognition
‘Creation of the Second Line of Musicians’ Scholarship, Government of Maharashtra in 1975. Suramaṇi, title conferred by Sur Singar Sansad, (organisers of Haridas Sangeet Sammelan) in 1976.
'A' Grade artist of All India Radio.
References
- ↑ Naik, Deepakali (December 22, 1990). "गुणी गायिका - मंगला रानडे (Mangala Ranade - a Gifted Singer)". Loksatta.
- ↑ "Fine melodic synthesis by Bombay vocalist". The Times of India. November 27, 1976.
- ↑ Not stated (March 21, 1990). "मंगला रानडे यांची अश्रुतपूर्व मैफल" [A Rare Melodious Concert by Mangala Ranade]. The Maharashtra Times.
- ↑ Savur, Sumit (August 30, 1992). "Spirited Singing". The Indian Express.
- ↑ Savur, Sumit (October 10, 1995). "Mangala soars with Nat bhairav". The Indian Express.
External links
This article "Mangala Ranade" is from Wikipedia. The list of its authors can be seen in its historical. Articles taken from Draft Namespace on Wikipedia could be accessed on Wikipedia's Draft Namespace.