SUPRIYO DUTTA , is a distinguished performer in Hindustani Vocal Classical music and has performed extensively in India as well as in the United States of America, Australia, Germany, France, Italy , Switzerland , Srilanka ,etc..He is trained under some of the finest and legendary icons of Indian classical music namely Padmasree & Sangeet Natak Academy Ratnaawardee Pandit Vijay Kichlu , Pandit RamkrishnaBasu , Vidushi Subhra Guha and many more.

He was a National Scholar under Ministry of Culture as a student and also a recipient of the Gold Medal from the Governor for securing the topmost position in Music at the Masters Level of university. Other than all these Supriyo has won many prestigious awards in his musical journey so far and also an empaneled artist of the All India Radio and ICCR ( Indian Council for Cultural Relations )Few of his performances across the globe includes Woodford festival in Australia, Filarmonica Romana ; North American Bengali Conference, Concerts for Deutsch-lndischeGesellschaft ( DIG ) Germany , Concert tour for Alliance Francaise, India International Centre -New Delhi, Horizon Series concerts for ICCR , Holi Sangeet Utsav at NZCC - Patiala , West Bengal State Music Academy's Annual festival at Kolkata , Festival dell’ Oriente – Rome , Diwali Festival at auditorium Parco dellaMusica – Rome , Conservatorio di Musica “guiseppe verde” – Torino ( Italy ) , Museodi Arte Orientale ( MAO ) , National Youth festival – Gwalior, National Integration camp – Kerala.

Supriyo is an active and eloquent crusader of music and regularly holds highly commended training classes and workshops for both in India and abroad in schools and university levels as well. He spent seven years teaching music in a reputed Higher Secondary School in India .

He has many Cds and digital releases to his credits including “Raga Reminiscence” from India , “Passionate voice” and a couple of more Cds on fusion with jazz released in Europe last year.

He conducted Conference on Indian classical music ( brief history , basics of raga – the melodic part and tala – the rhythmic part, composition , lyrics and its philosophical aspects ) at important places like Swami Gitananda Ashram with students of Universita Degli Studi di Torino at Altare , Fondazione Universita Della Terza eta Milano Duomo , Musicology Department of Universita Degli Studi di Milano , Conservatorio di Musica– Milano , Festival dell’ Orient – Rome , Organico Scena Artistica (OSA) –Locarno ( Switzerland ), Woodford Festival – Australia.

Further he also holds regular workshops and classes in various parts of the world on voice traning and breathing exercises. Instrumentalists of various genre beside vocalists also joins his workshops and classes on comparative study of basics of Occidental music and Indian classical music whichincludes as raga – the melodic part and tala – the rhythmic part ) . Beautiful lyrical and instrumental compositions of ragas relating to the science of asthetic are also a part of his lessons.

His proficiency includes KHAYAL , TARANA which are traditional pure classical form ; THUMRI , DADRA which are which are traditional semi classical form and BHAJAN & SUFI are devotional songs. All these are important subjects of North Indian Classical vocal music.

KHAYAL ( in Arabic means imagination ) as it is evident from its name allowes

the singer to fill colour in a raga drawing on his own imagination while maintaining the rigidity of the structure illustrated by its bandish (the composition) as well as the rules of melodic structure of the raga based on which the performance is presented. Khayal is another form of pure classical presentation where the extreme rigidity of the Dhrupad style got some relaxations which ultimately opened up the possibility of imaginatively emoted lyrics, malleability of voice, wondrous virtuosity of the singer and individual approach to the choosen raga . According to ability the singer is free to evoke sweetness, thrill or various aesthetic appeal. The language of the composition is basically Hindi along with various local dialects of India like Avadhi, Maithili, Bhojpuri etc..

RAGA is a tonal framework for composition and improvisation. It has a particular

scale with certain specific movements while ascending and descending within the scale. It further has strict rules of combination of notes inside like which notes to be used frequently or held for long duration and which notes to be used less frequently. Thus invoking a particular emotion and establishing a specific character of its own.Raga must consists at least five notes and maximum it can use all the twelve notes. The tonic note ( SA ) is like the home where you always return back and is a fixed place always within the raga . Few examples of Occidental scales also similar to scales of ragas are Ionian mode similar to the scale of Raga Bilawal , Phrygian mode similar to scale of Raga bhairavi , Dorian mode similar to Raga Kafi, Lydian mode – Raga Yaman , Mixolydian mode – Raga Jhinjhoti, Aeolion mode – Raga Darbari. On these context yet another most important thing to notice that in a particular scale just by changing the movements within the scale and also changing the position of the frequently used and less frequently used notes there can many more Ragas possible just within one specific scale . As for example –within Aeolian mode we have Raga Darbari , Raga kaushi kanada, Nayaki kanada , Ashavari , Jaunpuri and many more , each one of them with specific characters just like nearly same looking person but absolutely different character within them. Same is the truth for other modes as well.

TARANA Hazrat Amir Khusrau, an eminent poet, musicologist, philosopher of

the 13th century was the creater of Tarana. He found his mystic philosophy in it. It is an important part of Hindustani vocal music in which certain words and syllables (e.g. "odani", "todani", "tadeem" and "yalali") based on Persionphonemes. The legendary Ustad ( Maestro ) Ameer Khan unearthed the evolutionary background of taranas and highlighted their intrinsic meaning. He also used to add a Persian Shaers ( poem ) with deep philosophical significance at the last stanza of the tarana

THUMRI , DADRA is an idiom that was extremely popular amongst the

singing and dancing girls known as Baiji or Devi in the past. These are songs with almost same kind of language used for khayal but gets additional relaxation in the rules of the raga on which it is based, Here the singer is free to bring sometime few notes or combination of notes for additional beautification which does not fall within the rules of the raga.

BHAJAN There are devotional songs of various composers based on ragas

without the rigidity of rules. These are known as Bhajan and Sufi songs which are written in the praise and glory of Almighty.

- Few video links -

SHOWREEL – Glimpse of few concerts worldwidehttps://www.youtube.com/watch?v=lVePk2fcJC8

KHAYAL in Raga Bilashkhani Todihttps://www.youtube.com/watch?v=--LhqQWip4A

THUMRI in Raga Kirwani ( misra )https://www.youtube.com/watch?v=FHiekJSVn7g

KHAYAL in Raga Baharhttps://www.youtube.com/watch?v=OWdIRSezQSE

TARANA in Raga Darbari Kanadahttps://www.youtube.com/watch?v=wBazqY7UT9k

HORI DADRA in Raga Khamaj ( misra )https://www.youtube.com/watch?v=asZ6ji-hCpg

KHAYAL in Raga Bihaghttps://www.youtube.com/watch?v=LeJCNdBlezA

E-mail : vocalistsupriyo@gmail.com

Call – whats app : 0091 9433993918

Website : www.supriyodutta.com