On February 14, singer Laboni Chakraborty captivated the audience at Yalamaya Kendra with her soulful rendition of Vilambit and Madhya Khayal in Raag Todi during the Yalamaya Classic. As she concluded her hour-long performance, the mesmerized audience erupted in applause, rising to their feet in a standing ovation. Their admiration was evident—they wanted more.
But with the program tightly scheduled, their wish remained unfulfilled. Such a response, however, is nothing new for Chakraborty, whose performances consistently leave listeners longing for an encore. Laboni Chakraborty, a native of Kolkata, India, is currently one of the most renowned singers in Nepal’s contemporary classical music scene.
She contributes to the Nepali music fraternity not only through her singing and compositions but also by teaching students, ranging from teenagers to middle-aged individuals, who aspire to make a mark in classical music and the broader music industry at her music school, Raagrup. She also teaches music at Lalit Kala Campus, Tribhuvan University.
Learning music
Chakraborty began learning music at the age of five under the guidance of her guru, Baishali Juardhar. Growing up in a musical family, where her father and other relatives were also singers, she was naturally influenced and developed a passion for music from an early age.
Later, she had the opportunity to learn from Ajoy Chakrabarty, a veteran Hindustani classical vocalist. For an aspiring singer, the chance to train under Ajoy Chakrabarty is a significant achievement, as only a few among many are given such an opportunity. To become his student, one must already possess a strong musical foundation and pass a rigorous audition.
“During my audition, Guruji (Ajoy Chakrabarty) sang a palta and asked me to repeat it. I did, and later, I was selected as his student,” Laboni Chakraborty recalls. She learnt with Ajoy Chakrabarty for 10 years. “The discipline required among disciples of music and the ability to sing a single bandish in various ways are the key lessons I learned from Guruji,” says Chakraborty.
Later, to pursue her academic degree in music, she attended Rabindra Bharati University, where she completed her bachelor’s and master’s degrees. In her master’s program, she was a gold medalist.
From Kolkata to Kathmandu
Despite being born and raised in India, receiving training from a renowned guru, and studying at a prestigious university, Chakraborty chose to work in Nepal, even though she could have pursued bigger opportunities in India. There is an interesting side behind it.
During her university days, she met singer/composer Pramod Prasai, and they fell in love. In 2017, they decided to get married, and since then, she has been actively involved in Nepal’s music scene. She expresses her desire to contribute even more to the Nepali music industry.
In addition to teaching, singing, and composing, Chakraborty, who was once a contestant in a singing reality show, has recently been appointed as a judge for Mero Voice Universe. She says she is excited about this new journey.
Speaking to Onlinekhabar, Chakraborty shared her observations about the music learning culture in Nepal. According to her, learning music in Nepal is still seen as a leisure activity. Many students begin learning music after completing their Secondary Education Examination (SEE), where they get holidays for around three months.
“Music should be learned from an early age,” she says. “The earlier one starts learning music, the better they will become at it.”
Most people in Nepal start learning music either during their teenage years or later. This is a time when they also have to juggle other responsibilities and face pressure to earn an income. Under such circumstances, it becomes difficult to focus on learning music properly.
Chakraborty has also encountered students who want to learn music and become famous overnight, which she identifies as one of the major challenges among learners. “Patience is the key to becoming a better musician,” she says. “And becoming a good person is also equally important to be a good musician.” It is very important for the musician to be down to the earth, she adds.
Nepal’s classical music scene
Similarly, regarding the backgrounds of those learning classical music in Nepal, she says there are two types of classical music learners. First, those who want to devote their careers to classical music, and second, those who want to pursue musical careers in other genres, such as playback singing, bhajan, ghazal, pop, rock, and others.
Once a person learns classical music, they discover a pleasure that cannot be defined. Likewise, classical music strengthens the sense of sur and taal, which is why individuals interested in various other genres also prefer to learn it. Classical music also builds a strong foundation in music, she says.
As of now, the current Nepali music scene is dominated by pop. Younger generations are relatively less interested in classical music, and programs related to classical music are also comparatively fewer. In this context, when asked about the contemporary scenario of classical music, Laboni Chakraborty says the classical music scene is progressive.
Many young artists who have learned classical music are doing well in the overall music scene. However, on the other hand, there are also situations where classical music is not taken seriously. She says that many times during classical music shows, she has seen performers making mistakes, with incorrect sur and taal, which is disappointing.
This happens due to incorrect teaching or learning approaches, as well as a lack of practice and seriousness. While discussing this, she also shared her teaching approach with Onlinekhabar. She takes at least six months to teach a single raag.
When teaching songs or bhajans, she also emphasises improvising the piece without distorting its originality. “Besides the technical elements of music, I also teach students the importance of patience in music,” she says.
As someone who has been devoting her life to classical music for a long time, Chakraborty has also observed the challenges that practitioners of classical music face in Nepal. The first challenge, according to her, is financial.
“It is still difficult to achieve financial stability solely by depending on classical music,” she says. “However, through classical music, one can explore various other opportunities that can help an individual become financially independent.”
Another challenge, according to Chakraborty, is that people in Nepal still do not recognize the potential of classical music. Many still believe that classical music has no connection to becoming a good singer or musician.
Likewise, she says, many composers do not understand classical music well, making it difficult to work with them during recordings. Despite these challenges, Laboni Chakraborty remains optimistic about the future of classical music in Nepal. She believes that with growing awareness, better teaching approaches, and an evolving music industry, classical music will continue to thrive.
“Classical music is the root of all musical forms,” she says. “It takes time, patience, and dedication, but those who embrace it will always find a deeper connection to music.”
As she continues to teach, perform, and inspire the next generation of musicians, Laboni Chakraborty is not just preserving a tradition—she is shaping the future of Nepal’s classical music scene.
