Keeping classical music pure: Prince Rama Varma

“Hamare desh ka dil aap jaise shashtriya sangeet karne waale log ke paas hai!” exclaimed a taxi driver with pride. Puzzled, Prince Rama Varma asked, “Desh?” The driver elaborated, “Bharat — ‘bhaav, ras, taal’ — this is classical music.” And he shared this insight after attending only one concert by Prince Varma. What a beautiful way to define Bharat, right?

This experience was shared by Aswathi Thirunal Rama Varma, widely known as Prince Rama Varma — a member of the erstwhile Royal Family of Travancore — during his recent performance at the 66th Art Festival of the South Indian Cultural Association (SICA) at Ravindra Bharathi.

Prince Varma, a renowned Carnatic vocalist and exponent of the Saraswati Veena, is also a distinguished music teacher, musicologist, writer and orator. His concerts and music workshops have captivated audiences across India and internationally, in countries like the United States, UK, Netherlands, France, UAE, Malaysia and Singapore. On this occasion, he was also honoured with the Sangeetha Chakravarthy award by SICA.

Excerpts.

Do you have any special compositions planned for the diverse audience in Hyderabad?

I perform in Hyderabad fairly often, but it’s been a while since I last performed here for SICA. My last concert here was in 2016, so it’s exciting to return, especially to such a diverse audience. I’m now 56, and it’s heartening that while classical music audiences used to be mostly senior citizens when I was young, my audience has grown younger over the years. Teaching online has brought students from all over — places like Kakinada, Hyderabad, Bengaluru, and as far as Australia and America. Some even travel to India just to attend a live concert. My students include children as young as three or four.

I like to think of my concert as a buffet at a five-star hotel — a spread offering Indian, Chinese, continental, South Indian, North Indian, vegetarian, health-conscious, and indulgent options. My concert menu has something for everyone. If you want something serious and profound, it’s there. If you prefer something light-hearted and sweet, you’ll find that too. There’s a little something for everyone.

Could you tell us about your journey in music?

I didn’t come from a musical family, and initially, they weren’t keen on me performing in public. I began learning Sa Re Ga Ma around age 13, never imagining I’d perform publicly. Then one day, the renowned musician Dr TV Gopalakrishnan (who is still performing at the age of 93), heard me sing at 16 or 17 and saw potential in me.

It took him years to convince both my family and me to consider performing — I didn’t like the idea of singing publicly; I just enjoyed singing and listening privately. After nearly four years of persuasion, in May 1990, I gave my first public performance. What we thought would be a one-time event opened the door to more opportunities, beginning with Chennai.

Between 1990 and 2010, I had relatively few concerts, but after YouTube emerged in 2010, my career took a new turn. During the pandemic, I made videos to pass the time, sharing insights into popular compositions like Endaro Mahanubhavulu and explaining the meanings behind the lyrics. Many people sing these pieces without fully understanding them, so it became a way to educate and connect with audiences. This online presence helped me reach listeners of all ages, from children to senior citizens.

I had two major starts — my debut in 1990, encouraged by my guruTVG sir, who helped me overcome my family’s initial hesitation, and then YouTube in 2010, which allowed me to share classical music more broadly.

You mentioned that you prefer listening more than singing. Who are some of your favourites?

I love listening to old Hindi film songs, particularly from the black-and-white era of the 1950s and 60s, featuring singers like Kishore Kumar and Mohammad Rafi. I also enjoy Western Classical music and music from countries like Greece, Turkey, Hungary, and the Philippines. There’s a Belgian songwriter, Jacques Brel, whose lyrics are so powerful they can bring one to tears. Listening to him taught me the significance of lyrics, and it has deeply influenced my own singing.

You’re quite fond of Hindustani music, aren’t you? Have you learned Hindustani Classical?

Oh, absolutely! I love it immensely. I never formally studied with an ustad, but Pandit Ajoy Chakrabarty — father of the now-famous Kaushiki Chakraborty — studied with my guruji, Dr Mangalampalli Balamuralikrishna sir, for about 20–25 years. We would often go out together and informally exchange musical material. I wouldn’t call it teaching or learning exactly, but more of an exchange of ideas. I’ve taught him some Carnatic concepts, and he’s shared some Hindustani insights with me. That was through direct interaction, though I also listen to a lot of Hindustani recordings of the greats. I love it beyond words.

I began learning music at around the age of 13 or 14, but old Hindi songs had always drawn me in. Later, I realised that some songs I loved were in Raag Bihag, though I didn’t even know it was Bihag at the time! KL Saigal, for instance, was India’s first mega superstar and never did playback singing; he would appear on screen and sing himself.

Kishore Kumar, Mohammed Rafi, and Lata Mangeshkar all named him as their favourite. I discovered Saigal when i was 18 or 19 years and became incredibly fond of him. Later, as YouTube grew in popularity, I uploaded videos of KL Saigal. I even have fans over 80 who know me as the person who uploaded Saigal’s songs. They bless me, saying, “Oh my God, I used to listen to this song back in school in 1938.”

Any memorable moments?

One unforgettable moment was in Vijayawada, waiting in line at the famous Kanaka Durga temple. My guru, Dr Balamuralikrishna, who taught me but had never performed with me, suddenly turned and said, “Sing with me.” So there we were, singing together in this sacred place — it was surreal and profoundly impactful.

There have been challenges too. Initially, my family was hesitant, and later I found that fusion or film music often received more attention than pure classical music. But I’ve always held onto my belief in keeping classical music pure, even if that meant fewer concerts. Over time, people came to appreciate the clarity with which I present lyrics, drawing a new audience — people like taxi drivers, tech professionals, and others outside the classical music sphere.

Recently, there have been rewarding moments. People from around the world have connected with me, and I’m blessed with a dedicated audience that values my work. It’s been a journey full of challenges, yes, but also rich with meaningful rewards.

(Written by Vennapusala Ramya)