In and as Suman Kalyanpur

The story of Hindi playback music is almost always that of its most recognised voices. Excellence at the craft didn’t always mean popular recognition. Suman Kalyanpur, who passed away in Mumbai on May 31, exemplified this contradiction. Despite a silken voice, remarkable artistry and some very popular songs to her credit, Kalyanpur almost always remained outside the pantheon of the great women playback voices of her time .

Kalyanpur’s entry in the industry coincided with the firming of hierarchies in Hindi playback music. On Radio Ceylon, singer names were often not announced before and after a song. Kalyanpur was compared to Lata Mangeshkar to the extent that she was rarely heard as an artiste in her own right. But her songs —the wistful ‘Na tum humein jaano’ (Baat Ek Raat Ki), the haunting ‘Mere mehboob na ja’ (Noormahal), the flirtatious ‘Na na karte pyar’ (Jab Jab Phool Khile), the classically sound ‘Ajahun na aaye baalma’ (Saanjh aur Savera) and the delightful duet, ‘Aaj kal tere mere pyar ke charche’ (Brahmachari) with Mohammad Rafi, and many others — speak of Kalyanpur’s range, which deserved more recognition than she actually received.

Get the “other Lata”, composers would say if Mangeshkar was not available. But a keen ear to those recordings, in more than 100 films, can set the record straight. Suman Kalyanpur’s rightful place is among the more accomplished voices of the golden era of Hindi film songs.

Overall Analysis

This editorial is a tribute to legendary playback singer Suman Kalyanpur, while also highlighting the gap that often exists between artistic excellence and public recognition. The author argues that despite possessing immense talent, a distinctive voice, and an impressive body of work, Kalyanpur never received the level of acclaim that many of her contemporaries enjoyed.

The piece begins by making a broader observation about Hindi film music—that history tends to celebrate only the most famous voices, leaving several accomplished artists in the shadows. Kalyanpur is presented as one such figure whose contributions were overshadowed despite her remarkable abilities.

A significant part of the editorial focuses on how comparisons with Lata Mangeshkar shaped public perception of Kalyanpur’s career. The author suggests that instead of being appreciated on her own merits, she was frequently viewed through the lens of another singer’s success. This comparison limited recognition of her individuality as an artist.

To strengthen its argument, the editorial cites several of Kalyanpur’s memorable songs, showcasing the diversity of her repertoire—from romantic melodies to classical compositions and popular duets. The listing of songs serves as evidence of her versatility and artistic range.

The concluding section challenges the popular label of the “other Lata,” arguing that a careful listening of her recordings reveals a singer with her own identity and excellence. The editorial seeks to correct a historical oversight by placing Kalyanpur among the most accomplished voices of Hindi cinema’s golden era. Overall, it is both a tribute and an attempt to restore a deserving artist to her rightful place in cultural memory.

Important Vocabulary (5)

1. Pantheon – a group of highly respected or famous people.
2. Wistful – having a feeling of gentle sadness or longing.
3. Haunting – deeply memorable, often with an emotional effect.
4. Flirtatious – playful in a way that suggests romantic interest.
5. Accomplished – highly skilled or talented in a particular field.

Conclusion & Tone

The editorial argues that Suman Kalyanpur’s legacy deserves far greater recognition than it received during her lifetime. It emphasizes that artistic merit should not be overshadowed by comparisons with more celebrated contemporaries and calls for a reassessment of her contribution to Hindi film music.

Tone: Appreciative, reflective, respectful, and corrective.