Selected Press Comments
Santoor Player of Brilliance... On the Santoor
Bhajanlal uprised us with the bounce and brilliance of his utterance...
- THE TIMES OF INDIA
Top ranking Santoorist Bhajan Sopori gave a delighttul
exposition of Puriyakalan.... with the predominance of 'Gayaki Ang'. Bhajan's
innovations in the instrument includes strings for 'Meendhs' and expansion of
the octave to the full three instead of usual two and a quarter.... He shares
the credit tor giving this instrument a prestigious status in our music.
- THE HINDUSTAN TIMES
His recital at the Kamani hall was marked by a keen
sense of classicism and musical refinement. He revealed skill of exceptional
order by his deft handling of the tempting Raag Madhuvanti, when it came to the
gat, Bhajan showed his mastery of the Santoor... A fine recital by all
- THE INDIAN EXPRESS
The opening madhuvanti was effectively constructed form
the very beginning and a very high degree of virtuosity was combined with music
sense to create a very congenial atmosphere.... "Meends" were
introduced to highlight the Sitar Ang.
- THE STATESMAN
Bhajan has advanced his technique of playing to that
level where he can content freely with Sitar and Sarod in tantrakari so far as
bols are concerned. His spurts of da-dir-da-ra and da-dir-dir-dir, with their
intricate variations and delightful patterns, were executed with great nerve.
His alap and gats in Puriya kalyan were an absorbing experience. Apart from
making full use of all bol based angs of Sarod and ekhare spaat angs of Sitar,
he demonstrated some patterns totally improvised by himself.
- THE STATESMAN, CALCUTTA
A retreshingly individualistic musician Bhajan Sopori's
difference from other Santoor players does not merely inhere in his 'aasan' or
the structural uniqueness of his instrument or his production of the GAMARKS. It
is far more basic relating to his style and approach - The artist has rejected
the obvious and easier way of paying as a percussion instrument reorienting it
to the Ghayaki ang - the structural novelty of his intnument certainly
accentuates his stylistic uniqueness.
- THE TELEGRAPH
Bhajan's chief asset is his fine sense ot rhythm and 'Laykari'
from which he weaves exhilarating patterns.
- THE PATRIOT
The rendition of 'dhrupad ang' on the Sarod and Sitar
has not been an unheard of practice in the instrumental music of North india.
Ustad Hafiz Ali Khan in the yesteryears and Ustad Amjad Ali Khan in the present
generation have some times played on the Sarod to the accompaniment of pakhawaj
while Pandit Ravi Shankar has done that on the sitar. There can be no doubt that
the combination creates listeners interest when presented by such artists. It is
pleasing, rhythmically and otherwise. Santoor maestro Bhajan Sopori has also
- THE HINDUSTAN TIMES