Deshpande sings Raag Vibhavati in this concert, followed by Aliya Bilawal and a Kabir Bhajan. The meends of the upper-octave dominant Vibhavati are delivered with astounding clarity followed by a deeply soulful Aliya Bilawal. Her elaboration of the Ragas with bol-ang (lyric-centric) improvisations is rich with an impeccable diction. Subhankar Banerjee and Jyoti Goho provide dazzling support throughout the performance. In a short, articulate interview, she also speaks about her value-system as a musician.

Deshpande studied Biochemistry, did her doctoral degree in Microbiology and is a great admirer of Madame Curie. She has published two books on self-composed bandishes and also translated and published Madame Curie’s biography into her mother tongue. And that is the scientific, analytical side to her which entwines inseparably with the musician that is Ashwini. A leading exponent of the Jaipur-Atrauli gharana, Ashwini has studied vocal music under her mother Manik Bhide. She also draws influences from other styles and has developed a multi-hued repertoire of her own.

Tabla virtuoso Banerjee started learning music when he was 4. He was first placed under the Benares gharana style and later shifted to the Farrukhabad gharana under the tutelage of Pandit Swapan Shiva. Subhankar is one of the most acclaimed tabla accompanists and a soloist who plays simple and complex rhythms with equal ease.

Goho is one of the senior-most harmonium players in the Indian classical music scene. He is known for his subtle and ornamented accompaniment - a trait that embellishes concerts and makes him a harmonium player of great demand by most artists.

Ashwini Bhide-Deshpande (khayal)
Subhankar Banerjee (tabla)
Jyoti Goho (harmonium)
Raag Vibhavati, Raag Aliya Bilawal and a Kabir Bhajan