The fans of Indian singer Lata Mangeshkar are remembering the “Nightingale of India” as today (28 September) is her birth anniversary, she has left a lasting legacy in the world of Indian music with her exceptional talent and unmatched versatility.
Over a career that lasted more than eight decades, she recorded thousands of songs in over 36 Indian languages. Her voice, whether through haunting melodies like Aayega Aayega from Mahal (1949) or the emotional Luka Chuppi in Rang De Basanti (2006), touched the hearts of listeners across generations.
One of Lata Mangeshkar’s most memorable later works was her collaboration with A.R. Rahman for Luka Chuppi in Rang De Basanti (2006). Filmmaker Rakyesh Omprakash Mehra shared a touching story about the recording process, highlighting Mangeshkar’s professionalism and dedication. Despite her age, she insisted on traveling to Chennai to record in Rahman’s studio instead of asking him to come to Mumbai. Mehra recalled how she arrived three days ahead of schedule and, despite being advised to rest, preferred heading straight to the studio.
During an interview, Mehra said, “After the music and Sargam was made for the song, Lata Mangeshkar called me and asked, “Son, may I go to Chennai to record?’ I told her, “AR Rahman told me he would come to Mumbai, you please don’t trouble yourself.’ She said, “No, it’s better to go to his space.’ That’s how humble she was.”
He added further, “She went three days before the recording date. And as soon as she reached the airport in Chennai, she wanted to go straight to the studio. I requested her, ‘Please go to the hotel and rest for some time’. But, no, we went to the studio where AR Rahman received her and straightaway she said, let’s hear the composition. After hearing, she said, ‘Can we rehearse it?’ She got the composition recorded in a cassette, which she could hear on her walkman and she rehearsed for three days.”
Rakyesh Om Prakash Mehra recalled, “On the fourth day, when she came to record the song, she asked, ‘Why the mic is placed so low? It should be adjusted higher.’ When we said, ‘We thought you would sit and record’, she said, ‘No, I can’t sit and sing.’ Then she started jamming with Rahman. This went on for the next 8 to 10 hours and she refused to sit on the chair this whole time. Usually what happens, when you want to sing a particular word in a particular manner, singers sing that word again, but she would sing the entire para–all the four lines or six lines. It felt like I was in the Disney World witnessing greatness on both sides.”
Mangeshkar’s work spanned generations, allowing her to remain relevant in Indian cinema and music. Her extraordinary ability to adapt her voice and style to suit evolving trends and musical landscapes made her a revered figure, not only among her contemporaries but also for younger generations of musicians and fans alike.
