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Haimanti Shukla

A classically trained and very experienced singer, Haimanti Shukla has a solid reputation in Bengal. Her repertoire is vast, and she is a popular concert singer who travels abroad frequently. She possesses an excellent voice capable of tackling diverse compositions. However, performing Salil Chowdhury's intricate works presented a unique challenge. While she recorded several songs for the maestro, including her notable 1990 Puja album, many critics observed her struggle with the high notes and technical complexities that Salil demanded, particularly when compared to the effortless delivery of Lata Mangeshkar in similar raag-based compositions.

ID	Song Title	Year	Cross-Ref / Variations
HS1	Bhaalobaasi bolei bhaalobaasi boli na	1983	Mal: TK1/TK4
HS2	Eibaar sapner bandhan khullaam	1983	-
HS3	Jetey daao nodi hoye	1990	-
HS4	Sedin aar kato durey	1990	Hnd: OB18 Bng: MS42
HS5	Sajano bondhu bhool bujhonaa	1990	Hnd: RJ2
HS6	Dey dey re sokhi chokhey nilaanjan	1990	Hnd: PV1
HS7	Chanchal jhilmil pakhnaay	1990	Mal: TB1
HS8	Mon bon paakhi chandana	1990	-
HS9	Mon paakhirey	1990	-
HS10	Aar naa, e bhaabe bhiruur moto	1990	Bng: OS61

Musical Insights & Critique

Salil Chowdhury’s compositions are notorious among trained singers for their difficulty. One prominent example is "Dey dey re sokhi chokhey nilaanjan". Based on Raag Hamsadhwani, the original Hindi version ("Jaa jaa tose bolun kanhaiyaa") was a masterclass in vocal agility by Lata Mangeshkar. When Haimanti performed the Bengali and Hindi versions on Doordarshan, the difficulty in hitting the precise notes in Salil’s preferred high keys was evident. Salil himself once privately remarked on the tendency of contemporary singers to attempt the "Lata-didi style" without realizing the sheer technical demand of such keys.

Similar challenges were noted in "Mon bon pakhi chandana" from her 1990 album. In contrast, her earlier work from 1983, such as "Eibaar sapner bandhan khullaam", showed her handling complex structures with more comfort, perhaps indicating the evolving nature of her vocal range or the specific demands of Salil's later, more experimental orchestrations.