This Holi, the queen of hindustani classical music, Begum Parween Sultana gears up for a performance in Bengaluru

Begum Parween Sultana is a name that resonates with grandeur in the world of hindustani classical music. A child prodigy who grew into one of the most celebrated vocalists of the Patiala gharana, she is known for her effortless mastery over intricate taans, her crystal-clear voice and the emotional depth of her renditions. Born in Assam, she began her musical journey under the guidance of her father, Ikramul Majid, before training with stalwarts like pandit Chinmoy Lahiri.

Whether it’s the khayals, delicate thumris or devotional bhajans, her music exudes a blend of power and grace. With honours like the Padmashri and the Sangeet Natak Akademi Award to her name, she remains an icon, enchanting audiences across generations. Before she takes to the stage here in Bengaluru, we get chatty with her to talk about her upcoming performance, early experiences and the influences that shaped her musical journey, importance of physical expression in music and lots more…

Your upcoming performance in Bengaluru has generated a lot of excitement. Could you tell us more about the pieces you’ve selected for the concert and the message you wish to convey to the audience?

I have been to Bengaluru at least two to two-and-a-half dozen times and every visit has been memorable. The people of Bengaluru love my music and I share the same affection for them. My performances here have always been successful — by the grace of God. This time, I will be performing on the 15th of this month at a special Holi-themed event called Holi Re! The organisers have requested that, along with my khayal and thumris, I include some traditional Holi songs, devotional bhajans and folk-infused thumris. I am delighted by this opportunity, especially since it’s my first time presenting such a repertoire in Bengaluru. It’s heartening to see audiences in the South embracing this aspect of our musical heritage. I am truly excited.

Looking back at your journey in music, could you share some of your early experiences and the influences that shaped you?

There are countless memories, making it difficult to pinpoint just a few. However, one of my most cherished experiences was performing jugalbandi with my guru and husband, ustad Dilshad Khan. We toured extensively across Europe and America in the 1980s and 1990s. A jugalbandi between a husband and wife is quite rare — traditionally, it is performed by brothers or a father and son. Yet, audiences loved our performances and that appreciation remains a special memory for me. My greatest blessing has been my gurus.

My first guru was my father, janab Ikramul Majid, who laid the foundation for my training. Later, he encouraged me to learn from sangeet acharya pandit Chinmoy Lahiri of Kolkata. Though he was Bengali, he was raised in Lucknow and spoke Urdu and English, which made learning from him a unique experience. He treated me like his own daughter. Unfortunately, I could only train under him for four to five years due to his health issues. Before he passed, he directed me to ustad Dilshad Khan, who initially hesitated, saying, “You are already a talented artiste; what can I teach you?” However, my father reminded him that learning and performing are two different things and one must always remain a student. That philosophy has stayed with me.

You have been deeply influenced by the Patiala gharana. How have you incorporated elements from other gharanas into your performances?

A gharana is like a school of music. Historically, different gharanas were established in the courts of kings and noblemen, such as Baroda, Jaipur and Gwalior. Each gharana is unique and beautiful — like different flowers in a garden. My foundation is in Patiala gharana, which I inherited from my father. Later, under ustad Dilshad Khan, I also absorbed the nuances of Kirana gharana, as he had learned from ustad Niyaz Ahmed Khan and ustad Faiyaz Ahmed Khan. However, I did not confine myself to just one style. I have studied and researched various gharanas — Agra, Gwalior, Jaipur, Lucknow — and incorporated elements that resonate with my voice and artistic expression. If an artiste sings in just one gharana, it can become monotonous. Many singers claim to belong to a particular gharana, but their style subconsciously blends aspects of others. I do this intentionally — mixing influences to enhance my performance while keeping my individuality intact. It is a challenge, but one that I enjoy, especially when performing for an appreciative audience like Bengaluru’s.

You have often emphasised the importance of physical expression in music. How do you integrate this into your performances and how does it enhance your connection with the audience?

Expression in music is not something you manufacture — it comes naturally. In classical music, we call it bhaav or emotion. Different ragas evoke different moods — some are deeply emotional, others playful or solemn. As a performer, I must embody these emotions to convey the essence of the music to my listeners. Experience plays a crucial role. Having performed thousands of concerts worldwide, I have learned that everything — body language, facial expressions and gestures — must align with the music’s mood. Classical music is divine; it is like a prayer, requiring purity and sincerity. That is why audiences connect with it on a profound level.

I also believe that stage presence matters, especially for female artistes. Presentation is part of the performance. When we step on stage, we should look and feel confident. I always advise young artistes, especially women, to dress well, carry themselves gracefully and create a strong stage presence. It enhances their artistry and allows them to captivate their audience. Many young singers tell me they follow this advice, which makes me very happy.

INR 750 onwards. March 15, 6.30 pm. At Prestige Centre for Performing Arts, Konanakunte.

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