I regret not learning western classical music: Kavita Krishnamurthy Subramaniam

You performed at the NCPA's Bandish festival...

It is great to have an annual festival showcasing creations of legendary figures passed on to us through generations. It is wonderful that NCPA has thought of incorporating compositions by legendary film composers in the festival. I feel privileged to have gotten to perform some of the songs by Laxmikant-Pyarelal, RD Burman and Ismail Darbar.

And you've sung for several legendary music composers.

I feel blessed to have performed with legends like Laxmikant-Pyarelal, from who I learnt a lot, especially in the beginning of my career, RD Burman, who made complex ragas accessible to all through his songs. Think about the song Pyaar Hua Chupke Se from 1942, A Love Story. Khayyam saab, for whom I sang Kaifi Azmi's poetry, Naushadji, Usha Khanna, Bappi Lahiri, Manna Dey, Mahendra Kapoor, Hemant Kumar, AR Rahman, Jatin-Lalit (Khamoshi) and Ismail Darbar (Hum Dil De Chuke Sanam and Devdas).

Why don't we hear you as much now?

I'm not singing as much Bollywood for movies as I used to, but don't forget how for over three decades, Anuradha (Paudwal), Alka (Yagnik) and I were the singing voice of all the female actors. In fact, I'm doing a lot more in music — like shows, concerts abroad with my husband (legendary violinist, composer and conductor) Dr L Subramaniam now. He has especially written symphonies for me. Not many singers get that honour. I needed to explore more with my voice, instead of singing only for films.

Does this have to do with the nature of film music, which has changed drastically?

I think it's unfair to put the contemporary music scene out of context and simply harp on how everything was great in the past. Technically, we now have music arrangement and orchestration on par with the best in the world. Having said that, I don't know if I'd be happy singing songs where my voice is treated to a point that it is almost unrecognisable. I like the natural, minor imperfections in a voice, which makes the song seem real and organic. I feel the soul of a song is in its emotion, and that lyrics too have to stand out, not just the beats and rhythm. I haven't been offered anything like that in a long time. I don't mind waiting instead of singing what comes my way.

Which contemporary Bollywood singers do you like?

There are so many young singers, who get big opportunities now and each of them has their own style and strength. I like Sunidhi (Chauhan) and Shreya (Ghoshal) a lot. Among the male singers, I like Sonu (Nigam) and Arijit (Singh). You will notice that they all began their careers (when they were) really young.

You too began singing early on...

But that wasn't through film music shows. I began training very early in both Rabindra Sangeet and Hindustani classical in Delhi. Then I moved to Bombay and sang for Hemant Kumar's live shows. For nearly two decades, I accompanied the legend Manna Dey to every concert. His divine voice singing Sur Na Saje often moved me to tears.

But it took a long time to find a foothold as a playback singer in your own right.

That's right. When I look back, I wonder if I'd have it any other way. Both Lataji and Ashaji were reigning maestros when I began. If I was a composer, I too would've only used them for my songs since they were so good. Laxmikant of the composer duo Laxmikant-Pyarelal told me that they'd give me a chance as a dubbing artiste. I dubbed 3-4 songs a week for Lataji and Ashaji when they couldn't make it for a recording and the song was needed for a shoot. These versions were later recorded in their voices. I was happy for the opportunity since it provided me great training in the technical aspects of singing.

You had to wait until 1985 for getting a song to your credit...

Since the final recording for the dubbed version of Tum se milkar na jaane kyun (Pyaar jhukta nahin) did not happen, the song was released in my voice. This was followed by the hit Karma for which I sang the title track. Because of Karma, I got offers for songs from both regional languages (especially Kannada) and Hindi. My first big hit was Mr India where I gave playback for the then number one, Sridevi with Karte Hain Hum Pyaar Mr India Se. Though I had wanted to sing lighter, romantic, melodies after that, I'd mostly be called to sing difficult and challenging songs. I now feel that was a good thing. I then sang for Muhafiz and Bombay followed by Khamoshi, Saaz, Hum Dil De Chuke Sanam, Kuch Kuch Hota Hai and then Devdas. And I finally felt fulfilled as an artiste.

Many think Baadal ghumad badh aaaye from Sai Paranjape's Saaz is the most challenging song of your career. Do you agree?

In a way, yes. I sang two beautiful songs composed by Zakir Hussain and a lullaby by Raj Kamal. But it was Baadal ghumad badh aaaye https://youtu.be/mAk0Es0JdoU in the raga Miyan Ki Malhar that really challenged me as a singer. Senior composer Yeshwant Deo taught me the composition and left the complex taan for me to improvise on. I was so anxious that I didn't sleep the night before the recording, as seniors like him don't believe in punching in a line or phrase later as is the norm these days. They want the entire song recorded in one go.

Item songs and remixes are the in-thing now.

I think item songs have been around for a while but crass lyrics are changing them totally. So people have trouble remembering them or singing along giving them a really short shelf life. Though they have helped make many careers, I'm not a remix person at all. If the music is good, why would we need explicit videos to go with it?

The non-film albums you sang for are still a hit...

I feel fortunate to have sung Kalidasa's compositions for India's first Grammy awardee Pt Vishwa Mohan Bhatt (Meghdutam), followed by Meera Ke Ram for Shambhu Sen and Mahiya for Ghulam Ali. There's one album in which I have sung with everyone from Pt Jasraj to Sonu Nigam, which we have recently re-recorded. It is awaiting release now. The way audiences consume music has changed so much that we're still exploring how best to do this.

Do you have any regrets?

Only one. Of not pushing myself to learn western classical music formally. I suggest it to all singers. It helps if you can read and write the music. It helps not only with collaborations with musicians across the world but also find places to improvise.