– by Sampada Mudgalkar Jatkar

12th April 2026

At the beginning of this year, when I heard we (GMV NA) would be hosting Ashwini Bhide-Deshpande for our annual flagship event Bahaar, I felt a quiet sense of excitement. I have long been in awe of her, an artist who has excelled not only in music but also in academics with equal distinction. I found myself wondering what she would be like in person, and how that depth would translate on stage.

Bahaar, now in its third year, has steadily grown into a cornerstone for our community, and this year’s house-full auditorium spoke volumes about the support and love for Indian classical music. True to tradition, the evening opened with “Jay Jagdish Hare,” a composition by Vishnu Digambar Paluskar. While this prayer has always been a defining feature of our concerts, this year it was presented live by the winners of the 2025 vocal competition – a meaningful evolution from the recorded versions of previous years. This was followed by performances from winners across categories, each presenting a raag of their choice with sincerity and promise.

Their felicitation by Ashwini tai was a moment of fulfillment – not just for the performers, but for everyone who has witnessed their journey. When she walked onto the stage for this, the audience rose in a spontaneous standing ovation, even before a single note had been sung. It was a powerful testament to the respect and credibility she commands. Shortly after, the Consul General of India, present as a chief guest, remarked that seeing such young talent gave him hope that this art form rests in capable hands – a sentiment that resonated deeply.

The emotional tone of the evening, however, had already been shaped earlier that day with the passing of the legendary Asha Bhosle. A sense of collective loss lingered in the air. Acknowledging this, Ashwini tai chose to dedicate her performance to Asha ji and began with Raag Marwa. The introspective and restless character of the raga made for a deeply fitting tribute. Her exploration was immersive, and for me, a
particularly striking moment was the use of “Shuddha Madhyam” in a composition set to Rupak taal – a nuanced and unexpected touch that seemed to resonate profoundly with the audience.

She followed this with Basanti Kedar, a Jaipur-Atrauli gharana specialty, presenting a composition by Mogubai Kurdikar with characteristic depth and clarity. The concert then moved into Bageshri – a rare addition, as she noted that this was the first time in her North American performances that she was presenting a third raga. The audience’s eager consent to this extension reflected the rapport she had built over the course of the evening. She concluded with a Meera bhajan composed by Shobha Gurtu, rendered in a Rajasthani style that brought a gentle, emotive close to the concert. She was supported throughout by an exceptional ensemble, Sanjay Deshpande on tabla and Siddhesh Bicholkar on harmonium – whose sensitive and responsive
accompaniment elevated the performance at every step. Alongside them, her student Avanti Patel on tanpura provided steady tonal support and thoughtful vocal reinforcement.

Bahaar 2026 was more than a concert. It was a confluence of tradition, tribute, and transition – honoring the past, celebrating the present, and nurturing the future of Indian classical music.