Kalyani Bondre

Kalyani Bondre (born 1981) is an Hindustani classical vocalist. Known for contributions to Hindustani classical music, performance, teaching, and repertoire building.

Dr Kalyani started training in Kathak dance under Guru Manisha Sathe, disciple of Natraj Pandit Gopi Krishnaji, at the tender age of six. Simultaneously, she also started taking her first lessons in vocal classical music from Ranjana Bhide, a disciple of the well-known guru, Pandit Gangadharbuwa Pimpalkhare of Pune. Following her natural bent of mind, Kalyani later on exclusively devoted herself to vocal music. However, eight years of disciplined and rigourous training in classical dance gave her a thorough grip on the intricacies of Taal (Rhythm) and that went on to become one of the highlights of her singing.

Dr Kalyani has trained in vocal classical music mainly under Guru Manisha Shrikhande of the Mewati Gharana, who earlier learnt form Leelatai and Vilasrao Khandekar of the Kirana Gharana, and later became a student of Pandit Krishnakant Parekh and Dr Shobha Abhyankar, both disciples of Padmavibhushan Pandit Jasraj. Kalyani has also received guidance in advanced music from Ustad Faiyaaz Hussain Khansaheb and Ustad Usman Khansaheb. Not confining herself to the rigid barriers of any one Gharana, her gayaki encompasses the nuances of different schools of music. She has created her own individual style, blending elements from a variety of sources. She has also learnt the basics of the Sitar.

Dr Kalyani has already started establishing her mark as an outstanding talent and has performed at prestigious platforms in India and abroad. Gifted with a rich, melodious voice, which freely flows in all the three octaves, an effortless command of rhythm, clarity of diction, originality, and versatility, she captivates audiences wherever she performs. In addition to pure classical music and natyasangeet, she presents other light forms of music like bhakti sangeet (bhajans, abhangas), bhaav sangeet, ghazals and other forms of contemporary music with equal aplomb. Her speciality lies in her detailed and intricate alaaps, which slowly unfold the structure of the Raga, forceful taans, imaginative taan patterns, and electrifying sargams. Her special interest and extensive study of the Tarana, as a separate genre of music, culminated in her developing her original style of presenting this form. She beautifully weaves together the Gayan and Vaadan Shaili (vocal and instrumental styles) of Hindustani classical music in her presentation.