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लता: सुरगाथा
उनकी आवाज़ से चेहरे बनते हैं। ढेरों चेहरे,जो अपनी पहचान को किसी रंग-रूप या नैन -नक्शे से नहीं, बल्कि सुर और रागिनी के आइनें में देखने से आकार पते हैं। एक ऐसी सलोनी निर्मिती, जिसमे सुर का चेहरा दरअसल भावनाओं का चेहरा बन जाता है। कुछ-कुछ उस तरह,जैसे बचपन में पारियों की कहानियों में मिलने वाली एक रानी परी का उदारता और प्रेम से भीगा हुआ व्यक्तित्व हमको सपनों में भी खुशियों और खिलोंनों से भर देता था। बचपन में रेडियों या ग्रामोफोन पर सुनते हुए किसी प्रणय-गीत या नृत्य की झंकार में हमें कभी यह महसूस ही नही हुआ कि इस बक्से के भीतर कुछ निराले द्गंग से मधुबाला या वहीदा रहमान पियानो और सितार कि धुन पर थिरक रही हैं, बल्कि वह एक सीधी-सादी महिला कि आवाज़ कम झीना सा पर्दा है, जिस पर फूलों का भी हरसिंगार कि पंखì
- GenresMusic
635 pages, Kindle Edition
Published January 15, 2018
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May 21, 2023
Over a period of about four years, from 2010 to 2014, Lata Mangeshkar was interviewed by the biographer Yatindra Mishra, the interviews coming together in the form of a Hindi book, Lata: Sur Gatha. The biography won a National Award, and this is its English translation.
The book is divided into two parts. The first part, The Episodes, consist of brief snippets, most only a few paragraphs long (though some are slightly longer) about Lata, written from Yatindra Mishra’s point of view. Here, he covers a wide range of subjects related to Lata: her early life, her training by her father Dinanath Mangeshkar, how she was taken under the wing of Master Vinayak (Nanda’s father) and how she found a break in cinema: as an actress, and later moving full-time into playback singing. There are Mishra’s opinions here about specific characteristics of Lata’s singing, the songs she sang for different composers or alongside other playback singers (including lists of especially stellar songs), as well as the occasional insight into something relatively personal—for example, her favourite foods (keema samosas among them).
The second part of the book, The Interview, consists of selected excerpts from the series of interviews that Mishra conducted with Lata. Here too there’s a range of topics being discussed, such as Lata’s work with various composers, lyricists, singers and classical musicians. Her opinions of these people, whom she rates as the top, as well as other ‘favourites’ lists—favourite Western singers, favourite Western composers, top songs by her contemporaries, her own favourites from among her songs, which Western actress she would have liked to sing playback for (Ingrid Bergman), thoughts on music and religion, spirituality, family, and so on. There are also questions here on other aspects: for instance, Lata’s penchant for white or pale-coloured saris, her photography, her interest in cricket, and her taste in jewellery.
I liked the way Lata comes through in this book: the interviews, in particular, offer a glimpse of her up close, and more than that, they show us what the Hindi cinema industry was like back in the good old days. Lata’s memories of the hard work that went into recording songs was, especially, an eye-opener for me. She talks, for instance, of how there were very limited recording studios, and one of them was actually a film studio that was converted, after the day’s shoot was over, into a recording studio: the heat from the blazing lights, the lack of furniture (which meant artistes ended up sitting on the floor), and the fact that they could record only at night, when the set was not needed for filming: it made me marvel at the perseverance and passion of the people who still managed to turn out songs that often outstripped the films they were part of.
Besides that, you get an idea of the people around Lata: Kishore Kumar, such a madcap; Dilip Kumar, who (though his hurtful comment about Lata’s pronunciation reeking of dal-bhaat led to her learning Urdu) was also a proper gentleman; Madan Mohan, not just a fine composer but also adept at cooking mutton curry.
True, there’s not that much here that isn’t already known. Kishore’s antics, Madan Mohan’s culinary skills, Dilip Kumar’s comment about the Maharashtrian flavour to Lata’s Urdu: these are all common knowledge among those conversant with the lore of Hindi cinema through the 50s and 60s. But there are bits and pieces here (a touching anecdote about Dilip Kumar, for instance) that are memorable.
While this is, on the whole, an interesting and insightful book, I had some issues with it. For one, the fact that it doesn’t seem to have been proof-read. Ira Pande’s English, fortunately, is impeccable, so the common gripe I have about wonky grammar doesn’t apply; but there are other problems, in particular related to the transliteration of Hindi songs and film names. Dulhan Ek Raat Ki becomes Dulhan ki ek raat, Miss Mary becomes Miss Merry, Black Cat becomes Black Coat… and there are innumerable inconsistencies in casing and spelling. In one annoying case of sheer carelessness, a poem written by a Pakistani poet in praise of Lata (written with diacritical marks, not a standard used anywhere else in the book) is shown in verse form, before being repeated all over again, this time in paragraph form rather than verse.
I will admit, though, that I tend to nit-pick about such things, so this is probably not going to be an obstacle for most other people.
What I found otherwise irritating about Lata Mangeshkar: A Life in Music generally revolves around two aspects:
1. The lack of structure
This is apparent both in the interviews and in the episodes, but because the interviews come through as more chatty and personal, it’s not quite so jarring. The Episodes, however, I found annoying in this respect: in one episode, for instance, Mishra discusses a particular song; then in the next episode, he suddenly moves to talking about Lata’s favourite foods. Then there’s a brief paragraph comparing Lata to something Rabindranath Tagore wrote of… there’s a disconcerting habit of skipping from one topic to another, with no connect between the two. This also means that it’s impossible to just refer to this book to find a piece of information. You’ll have to read through it all.
If Mishra had grouped these episodes into specific topics (Lata’s songs, Lata’s interactions with different composers, Lata’s personal life, etc), they might have been a little more useful.
2. The eulogization.
Yatindra Mishra writes, at one point:
“An astonishing fact about Lata ji’s voice is that it has never lost its freshness and youthful sweetness through all the six-odd decades of her career…”
This, to me, is enough evidence that Mishra is an utterly biased fan of Lata’s. He goes on and on, the superlatives never ceasing, never tempered by balance, or by anything that is even vaguely negative. The Episodes part is especially hagiographical, but it becomes obvious even in The Interview, where many of his questions have a distinctly laudatory tone to them. Lata, as is probably natural, basks in all that adulation, to the extent that one wonders at the honesty (or not) of much of this interview.
As it is, Mishra rarely asks her any uncomfortable questions. Her differences, sometimes long-standing, sometimes brief, with people like OP Nayyar, Mohammad Rafi, and SD Burman; her supposed elbowing out of other talent that might prove competition; her right-wing leanings, and so on. These are touched upon in passing, and Lata either skirts the issue, or is vague in her answer, or simply denies what she calls a rumour. (As it is, that bit about the right-wing leanings is only my grouse; I don’t think Lata thought this a negative thing at all).
On the whole, while this book was a quick, fairly engrossing read (especially The Interview), I would recommend it primarily to those who want an insight into Lata Mangeshkar. Not a balanced, unbiased view, and not something you can refer to unless you have the patience to go through most of the book looking for the information you need. Also, the fact that what Mishra gathers in the Interview is reflected in The Episodes, means that there’s some repetition here, and sometimes quite pointless (for instance, in The Episodes, Mishra touches upon Lata’s differences with Jaidev, and says that they were resolved—but how, he does not explain, only saying that even Lata does not explain. Which is something that is repeated all over again in The Interview).
The book is divided into two parts. The first part, The Episodes, consist of brief snippets, most only a few paragraphs long (though some are slightly longer) about Lata, written from Yatindra Mishra’s point of view. Here, he covers a wide range of subjects related to Lata: her early life, her training by her father Dinanath Mangeshkar, how she was taken under the wing of Master Vinayak (Nanda’s father) and how she found a break in cinema: as an actress, and later moving full-time into playback singing. There are Mishra’s opinions here about specific characteristics of Lata’s singing, the songs she sang for different composers or alongside other playback singers (including lists of especially stellar songs), as well as the occasional insight into something relatively personal—for example, her favourite foods (keema samosas among them).
The second part of the book, The Interview, consists of selected excerpts from the series of interviews that Mishra conducted with Lata. Here too there’s a range of topics being discussed, such as Lata’s work with various composers, lyricists, singers and classical musicians. Her opinions of these people, whom she rates as the top, as well as other ‘favourites’ lists—favourite Western singers, favourite Western composers, top songs by her contemporaries, her own favourites from among her songs, which Western actress she would have liked to sing playback for (Ingrid Bergman), thoughts on music and religion, spirituality, family, and so on. There are also questions here on other aspects: for instance, Lata’s penchant for white or pale-coloured saris, her photography, her interest in cricket, and her taste in jewellery.
I liked the way Lata comes through in this book: the interviews, in particular, offer a glimpse of her up close, and more than that, they show us what the Hindi cinema industry was like back in the good old days. Lata’s memories of the hard work that went into recording songs was, especially, an eye-opener for me. She talks, for instance, of how there were very limited recording studios, and one of them was actually a film studio that was converted, after the day’s shoot was over, into a recording studio: the heat from the blazing lights, the lack of furniture (which meant artistes ended up sitting on the floor), and the fact that they could record only at night, when the set was not needed for filming: it made me marvel at the perseverance and passion of the people who still managed to turn out songs that often outstripped the films they were part of.
Besides that, you get an idea of the people around Lata: Kishore Kumar, such a madcap; Dilip Kumar, who (though his hurtful comment about Lata’s pronunciation reeking of dal-bhaat led to her learning Urdu) was also a proper gentleman; Madan Mohan, not just a fine composer but also adept at cooking mutton curry.
True, there’s not that much here that isn’t already known. Kishore’s antics, Madan Mohan’s culinary skills, Dilip Kumar’s comment about the Maharashtrian flavour to Lata’s Urdu: these are all common knowledge among those conversant with the lore of Hindi cinema through the 50s and 60s. But there are bits and pieces here (a touching anecdote about Dilip Kumar, for instance) that are memorable.
While this is, on the whole, an interesting and insightful book, I had some issues with it. For one, the fact that it doesn’t seem to have been proof-read. Ira Pande’s English, fortunately, is impeccable, so the common gripe I have about wonky grammar doesn’t apply; but there are other problems, in particular related to the transliteration of Hindi songs and film names. Dulhan Ek Raat Ki becomes Dulhan ki ek raat, Miss Mary becomes Miss Merry, Black Cat becomes Black Coat… and there are innumerable inconsistencies in casing and spelling. In one annoying case of sheer carelessness, a poem written by a Pakistani poet in praise of Lata (written with diacritical marks, not a standard used anywhere else in the book) is shown in verse form, before being repeated all over again, this time in paragraph form rather than verse.
I will admit, though, that I tend to nit-pick about such things, so this is probably not going to be an obstacle for most other people.
What I found otherwise irritating about Lata Mangeshkar: A Life in Music generally revolves around two aspects:
1. The lack of structure
This is apparent both in the interviews and in the episodes, but because the interviews come through as more chatty and personal, it’s not quite so jarring. The Episodes, however, I found annoying in this respect: in one episode, for instance, Mishra discusses a particular song; then in the next episode, he suddenly moves to talking about Lata’s favourite foods. Then there’s a brief paragraph comparing Lata to something Rabindranath Tagore wrote of… there’s a disconcerting habit of skipping from one topic to another, with no connect between the two. This also means that it’s impossible to just refer to this book to find a piece of information. You’ll have to read through it all.
If Mishra had grouped these episodes into specific topics (Lata’s songs, Lata’s interactions with different composers, Lata’s personal life, etc), they might have been a little more useful.
2. The eulogization.
Yatindra Mishra writes, at one point:
“An astonishing fact about Lata ji’s voice is that it has never lost its freshness and youthful sweetness through all the six-odd decades of her career…”
This, to me, is enough evidence that Mishra is an utterly biased fan of Lata’s. He goes on and on, the superlatives never ceasing, never tempered by balance, or by anything that is even vaguely negative. The Episodes part is especially hagiographical, but it becomes obvious even in The Interview, where many of his questions have a distinctly laudatory tone to them. Lata, as is probably natural, basks in all that adulation, to the extent that one wonders at the honesty (or not) of much of this interview.
As it is, Mishra rarely asks her any uncomfortable questions. Her differences, sometimes long-standing, sometimes brief, with people like OP Nayyar, Mohammad Rafi, and SD Burman; her supposed elbowing out of other talent that might prove competition; her right-wing leanings, and so on. These are touched upon in passing, and Lata either skirts the issue, or is vague in her answer, or simply denies what she calls a rumour. (As it is, that bit about the right-wing leanings is only my grouse; I don’t think Lata thought this a negative thing at all).
On the whole, while this book was a quick, fairly engrossing read (especially The Interview), I would recommend it primarily to those who want an insight into Lata Mangeshkar. Not a balanced, unbiased view, and not something you can refer to unless you have the patience to go through most of the book looking for the information you need. Also, the fact that what Mishra gathers in the Interview is reflected in The Episodes, means that there’s some repetition here, and sometimes quite pointless (for instance, in The Episodes, Mishra touches upon Lata’s differences with Jaidev, and says that they were resolved—but how, he does not explain, only saying that even Lata does not explain. Which is something that is repeated all over again in The Interview).
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May 22, 2023I felt deceived buying and reading this book. It doesn't give a proper biography of Lata. The book chronicles her singing assignments only with a bunch of song titles and names of people.
Not recommended if you're looking for Lata's biography.
Not recommended if you're looking for Lata's biography.
Want to read
June 20, 2023Lata Mangeshkar: A Life in Music
Written by Yatindra Mishra
Translated from Hindi by Ira Pande
Biography
Published by Penguin Random House India
Pages: 420
MRP: Rs. 799/-
Thank you Penguin India for a media copy of the book!
Lata Mangeshkar: A Life in Music by Yatindra Mishra is a tribute to the illustrious life of one of India's greatest musical icons. The book takes the readers on an enthralling journey through Lata Mangeshkar's life, from her childhood to her reign as the queen of playback singing in Bollywood.
The original book was published before the untimely demise of Shrimati Lata Mangeshkar ji and has been written as if she were still alive, and the translator Ms Ira Pande decided to not make the change for this book as well.
Mishra's research is extensive and his writing is immersive, painting a vivid picture of the cultural and societal changes that Lata Mangeshkar witnessed during her lifetime. He explores the singer's personal and professional life, delving into her early struggles, her family, and her relationships with other artists in the industry.
What sets this biography apart is its focus on Lata Mangeshkar as a cultural exponent and an intellectual. The book sheds light on her contributions to Indian literature and her love for poetry. Mishra's decade-long conversations with the singer provide valuable insights into her thought process and her approach to music.
This book contains a comprehensive account of Lata Mangeshkar's life and career, accompanied by beautiful pictures. The author, Yatindra Mishra, has left no stone unturned in answering any questions that readers may have about Lata ji's life, from her family background and childhood to her journey as a singer. The book also features a section of questions and answers between the author and Lata ji, which provide an intimate look into her life, hobbies, family, rivalries, changes in music over the years, and her relationships with musicians and filmmakers.
As readers peruse the Q&A section, they feel as though they are getting to know Lata ji on a deeper level, connecting with her through the author's words and pictures. The book explores the world of Hindi films, singers, and musicians, evoking memories of old and new stories. It sheds light on previously unknown aspects of Lata ji's life, including a touching anecdote about how she used to wash her rationed sarees by hand and sleep with her head folded to ensure she could wear a clean saree to work.
The author's achievement lies in his thoughtful and profound questions, which Lata ji answered with complete satisfaction, providing readers with an insightful and intimate portrait of one of India's greatest musical icons.
The book also examines the impact of Lata Mangeshkar's music on Indian cinema and culture. The author provides a detailed analysis of her songs, highlighting their musical nuances and their significance in shaping Indian popular culture.
Overall, Lata Mangeshkar: A Life in Music is a must-read for fans of Indian music and cinema. It is a fitting tribute to the legendary singer and an insightful portrayal of the sociocultural changes that shaped India in the twentieth century. Mishra's writing is engaging and informative, making the book an enjoyable and enlightening read.
If you wish to support us, do purchase the book from this link, we get a small commission at no added cost to you: https://amzn.to/3LjXZg4
Written by Yatindra Mishra
Translated from Hindi by Ira Pande
Biography
Published by Penguin Random House India
Pages: 420
MRP: Rs. 799/-
Thank you Penguin India for a media copy of the book!
Lata Mangeshkar: A Life in Music by Yatindra Mishra is a tribute to the illustrious life of one of India's greatest musical icons. The book takes the readers on an enthralling journey through Lata Mangeshkar's life, from her childhood to her reign as the queen of playback singing in Bollywood.
The original book was published before the untimely demise of Shrimati Lata Mangeshkar ji and has been written as if she were still alive, and the translator Ms Ira Pande decided to not make the change for this book as well.
Mishra's research is extensive and his writing is immersive, painting a vivid picture of the cultural and societal changes that Lata Mangeshkar witnessed during her lifetime. He explores the singer's personal and professional life, delving into her early struggles, her family, and her relationships with other artists in the industry.
What sets this biography apart is its focus on Lata Mangeshkar as a cultural exponent and an intellectual. The book sheds light on her contributions to Indian literature and her love for poetry. Mishra's decade-long conversations with the singer provide valuable insights into her thought process and her approach to music.
This book contains a comprehensive account of Lata Mangeshkar's life and career, accompanied by beautiful pictures. The author, Yatindra Mishra, has left no stone unturned in answering any questions that readers may have about Lata ji's life, from her family background and childhood to her journey as a singer. The book also features a section of questions and answers between the author and Lata ji, which provide an intimate look into her life, hobbies, family, rivalries, changes in music over the years, and her relationships with musicians and filmmakers.
As readers peruse the Q&A section, they feel as though they are getting to know Lata ji on a deeper level, connecting with her through the author's words and pictures. The book explores the world of Hindi films, singers, and musicians, evoking memories of old and new stories. It sheds light on previously unknown aspects of Lata ji's life, including a touching anecdote about how she used to wash her rationed sarees by hand and sleep with her head folded to ensure she could wear a clean saree to work.
The author's achievement lies in his thoughtful and profound questions, which Lata ji answered with complete satisfaction, providing readers with an insightful and intimate portrait of one of India's greatest musical icons.
The book also examines the impact of Lata Mangeshkar's music on Indian cinema and culture. The author provides a detailed analysis of her songs, highlighting their musical nuances and their significance in shaping Indian popular culture.
Overall, Lata Mangeshkar: A Life in Music is a must-read for fans of Indian music and cinema. It is a fitting tribute to the legendary singer and an insightful portrayal of the sociocultural changes that shaped India in the twentieth century. Mishra's writing is engaging and informative, making the book an enjoyable and enlightening read.
If you wish to support us, do purchase the book from this link, we get a small commission at no added cost to you: https://amzn.to/3LjXZg4
August 28, 2023
THIS REVIEW IS OF THE AUDIOBOOK
I'm a huge Lata Mangreshkar fan and so, when I saw this book, I knew I had to get it. I got the Audiobook, and that's where I believe my mistake was. It just wasn't good.
A disclaimer -to begin with. I may come off as a bit of a pedant in this review, but that's okay with me.
First off, the way the book was arranged- in these two gigantic sections made it impossible to go back and listen to something again, if one wanted to, to say note down a fact or an incident, so that wasn't too good.
Next, the male narrator. Kudos to him for his effort, and I don't mean to take away from it, but there were some words that just didn't sit right with me. For instance, Lata Ji always sounded like Latta Ji. He said Raga and not Raag; the name Hridaynath appeared to have been mispronounced, by not stretching out the 'a' in nath as it ought to be, a raag name was repeatedly mispronounced etc. There were a few others too.
In the second part, i.e., the selected interview excerpts- the narrator for Lata Ji's parts had such an overt regional while speaking, that (and I admit, this probably is my fault) that I could not reconcile that voice essaying her part of the interview with the persona that we know- being such a clear speaker, conscious of the nuances of language, accents and expression.
For those reasons, I unfortunately could not enjoy it. Maybe after some time, when that voice and the book have been disassociated, I will pick up the book and give it a whirl.
I'm a huge Lata Mangreshkar fan and so, when I saw this book, I knew I had to get it. I got the Audiobook, and that's where I believe my mistake was. It just wasn't good.
A disclaimer -to begin with. I may come off as a bit of a pedant in this review, but that's okay with me.
First off, the way the book was arranged- in these two gigantic sections made it impossible to go back and listen to something again, if one wanted to, to say note down a fact or an incident, so that wasn't too good.
Next, the male narrator. Kudos to him for his effort, and I don't mean to take away from it, but there were some words that just didn't sit right with me. For instance, Lata Ji always sounded like Latta Ji. He said Raga and not Raag; the name Hridaynath appeared to have been mispronounced, by not stretching out the 'a' in nath as it ought to be, a raag name was repeatedly mispronounced etc. There were a few others too.
In the second part, i.e., the selected interview excerpts- the narrator for Lata Ji's parts had such an overt regional while speaking, that (and I admit, this probably is my fault) that I could not reconcile that voice essaying her part of the interview with the persona that we know- being such a clear speaker, conscious of the nuances of language, accents and expression.
For those reasons, I unfortunately could not enjoy it. Maybe after some time, when that voice and the book have been disassociated, I will pick up the book and give it a whirl.
April 6, 2025
हिंदी सिनेमा और गानों पर लिखी किताबों में काफी पोटेंशियल होता है लेकिन इस किताब ने बहुत मायूस किया। इसे बहुत बायस्ड होकर लिखा गया है।
शुरू के 200 पन्नों में लेखक सिर्फ यह बताते हैं कि लता मंगेशकर उन्हें कितनी पसंद है। इसके बाद बातचीत शुरू होती है जिसे हुबहू लिख दिया गया है, जो किताब कम और मैगज़ीन इंटरव्यू ज्यादा लग रहा था��� ज्यादातर सतही सवाल किए गए। आधी किताब में लेखक या लता मंगेशकर को उनके गाए गीत याद दिला रहे हैं या और उनसे उनकी राय, पसंद और नापसंद पूछ रहे हैं।
हालांकि इस किताब में कुछ दिलचस्प किस्से भी हैं और लता मंगेशकर के गाये गीतों पर अच्छी रिसर्च भी की गई है लेकिन यह किताब आसानी से 600 की बजाय 200 पन्नों में लिखी जा सकती थी। पढ़ते हुए लगता है कि लेखक ने यह पाठकों के लिए कम खुद के लिए ज्यादा लिखी है।
शुरू के 200 पन्नों में लेखक सिर्फ यह बताते हैं कि लता मंगेशकर उन्हें कितनी पसंद है। इसके बाद बातचीत शुरू होती है जिसे हुबहू लिख दिया गया है, जो किताब कम और मैगज़ीन इंटरव्यू ज्यादा लग रहा था��� ज्यादातर सतही सवाल किए गए। आधी किताब में लेखक या लता मंगेशकर को उनके गाए गीत याद दिला रहे हैं या और उनसे उनकी राय, पसंद और नापसंद पूछ रहे हैं।
हालांकि इस किताब में कुछ दिलचस्प किस्से भी हैं और लता मंगेशकर के गाये गीतों पर अच्छी रिसर्च भी की गई है लेकिन यह किताब आसानी से 600 की बजाय 200 पन्नों में लिखी जा सकती थी। पढ़ते हुए लगता है कि लेखक ने यह पाठकों के लिए कम खुद के लिए ज्यादा लिखी है।
March 15, 2025
It is the most comprehensive book I have ever read on a legend. Divided into three sections. The first section talks about the singer, the icon, her backstory and her journey. The second section talks about her music, all the songs, credits, music directors, lyricists, her co-singers, and little anecdotes with them. And the third section talks about Indian music and the impact on the nation particularly Lata Mangeshkar’s songs. Any way you look at it, it’s an encyclopedia and it is well researched and very passionately presented in a hard bound copy of 660 pages. If you are a lover of Lata Mangeshkar or if you are lover of Indian music, you have to have this book in your bookshelf.
November 30, 2023
Just finished the book A life in Music by Yatindra Mishra - The book is very well written and has great flow and interesting. Lata didi is nightangel of India, she has Ma Saraswati vas in her voice. However I will not go in to the details of the book because some people want to read.
As far as author- The author has done great research and has great flow and knowledge of music.
As far as author- The author has done great research and has great flow and knowledge of music.
May 15, 2023
Book Review: A Life in Music by Yatindra Mishra
In "A Life in Music" by Yatindra Mishra, readers are treated to an exquisite journey through the illustrious career of one of India's most beloved musical icons, Lata Mangeshkar. Mishra masterfully captures the essence of Lata Mangeshkar's extraordinary talent, her musical prowess, and her command over a multitude of genres, all while emphasizing the timeless relevance of her songs.
From the very first page, Mishra's profound admiration for Lata Mangeshkar's artistry shines through. He delves into her early beginnings, offering readers an intimate glimpse into the struggles, determination, and dedication that marked her path to greatness. Mishra's writing style is engaging and immersive, effortlessly transporting readers to the era when Lata Mangeshkar's voice first enchanted listeners.
What sets this book apart is its meticulous exploration of Lata Mangeshkar's versatility. Mishra expertly dissects her ability to effortlessly transition between different genres, from soulful melodies to peppy numbers, ghazals to bhajans. He dissects each genre, highlighting Lata Mangeshkar's nuanced interpretation, faultless diction, and unmatched emotional depth. Mishra's analysis showcases how she seamlessly adapted her voice to suit the essence of each song, capturing the hearts of millions and earning her rightful place as the Nightingale of India.
Furthermore, Mishra draws attention to the everlasting relevance of Lata Mangeshkar's songs. Despite the passage of time, her melodies continue to resonate with audiences of all generations. Whether it's her enchanting renditions from the golden era of Indian cinema or her soul-stirring classics that evoke profound emotions, Lata Mangeshkar's songs remain timeless. Mishra thoughtfully discusses the social and emotional themes embedded in her music, highlighting their enduring significance in today's world.
Mishra's thorough research is evident in the book's comprehensive coverage of Lata Mangeshkar's discography. He meticulously curates a collection of her iconic songs, providing insights into their creation, their impact on popular culture, and the behind-the-scenes anecdotes that add depth to the narrative. Whether one is a devoted fan or a newcomer to Lata Mangeshkar's music, this book serves as a compelling guide to her vast musical legacy.
While "A Life in Music" is primarily focused on Lata Mangeshkar, it also offers glimpses into the wider Indian music industry and its evolution over the years. Mishra provides historical context, highlighting the contributions of various composers, lyricists, and musicians who collaborated with Lata Mangeshkar, ultimately shaping the landscape of Indian music.
In conclusion, "A Life in Music" by Yatindra Mishra is a captivating tribute to the incomparable Lata Mangeshkar and her exceptional musical journey. Mishra's admiration for her shines through in every chapter, making this book a must-read for music lovers and fans alike. It beautifully encapsulates Lata Mangeshkar's mastery over diverse musical genres, highlighting the timeless relevance of her songs that continue to touch hearts even today.
In "A Life in Music" by Yatindra Mishra, readers are treated to an exquisite journey through the illustrious career of one of India's most beloved musical icons, Lata Mangeshkar. Mishra masterfully captures the essence of Lata Mangeshkar's extraordinary talent, her musical prowess, and her command over a multitude of genres, all while emphasizing the timeless relevance of her songs.
From the very first page, Mishra's profound admiration for Lata Mangeshkar's artistry shines through. He delves into her early beginnings, offering readers an intimate glimpse into the struggles, determination, and dedication that marked her path to greatness. Mishra's writing style is engaging and immersive, effortlessly transporting readers to the era when Lata Mangeshkar's voice first enchanted listeners.
What sets this book apart is its meticulous exploration of Lata Mangeshkar's versatility. Mishra expertly dissects her ability to effortlessly transition between different genres, from soulful melodies to peppy numbers, ghazals to bhajans. He dissects each genre, highlighting Lata Mangeshkar's nuanced interpretation, faultless diction, and unmatched emotional depth. Mishra's analysis showcases how she seamlessly adapted her voice to suit the essence of each song, capturing the hearts of millions and earning her rightful place as the Nightingale of India.
Furthermore, Mishra draws attention to the everlasting relevance of Lata Mangeshkar's songs. Despite the passage of time, her melodies continue to resonate with audiences of all generations. Whether it's her enchanting renditions from the golden era of Indian cinema or her soul-stirring classics that evoke profound emotions, Lata Mangeshkar's songs remain timeless. Mishra thoughtfully discusses the social and emotional themes embedded in her music, highlighting their enduring significance in today's world.
Mishra's thorough research is evident in the book's comprehensive coverage of Lata Mangeshkar's discography. He meticulously curates a collection of her iconic songs, providing insights into their creation, their impact on popular culture, and the behind-the-scenes anecdotes that add depth to the narrative. Whether one is a devoted fan or a newcomer to Lata Mangeshkar's music, this book serves as a compelling guide to her vast musical legacy.
While "A Life in Music" is primarily focused on Lata Mangeshkar, it also offers glimpses into the wider Indian music industry and its evolution over the years. Mishra provides historical context, highlighting the contributions of various composers, lyricists, and musicians who collaborated with Lata Mangeshkar, ultimately shaping the landscape of Indian music.
In conclusion, "A Life in Music" by Yatindra Mishra is a captivating tribute to the incomparable Lata Mangeshkar and her exceptional musical journey. Mishra's admiration for her shines through in every chapter, making this book a must-read for music lovers and fans alike. It beautifully encapsulates Lata Mangeshkar's mastery over diverse musical genres, highlighting the timeless relevance of her songs that continue to touch hearts even today.
February 6, 2017
Lata : Sur Gatha (Hindi, Hardcover, Yatindra Mishra)
Available from Flipkart: http://fkrt.it/QfIQp!NNNN
Language: Hindi
Binding: Hardcover
Publisher: Vani Prakashan
Genre: Others
ISBN: 9789350728413, 9350728419
Edition: 1ST, 2016
Pages: 640
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July 12, 2018A collectible!
Any Indian or rather any music lover must have this comprehensive book written by one of the best chronicler and musicologist.
Any Indian or rather any music lover must have this comprehensive book written by one of the best chronicler and musicologist.
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