BHAJAN SOPORI

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 standards.
- 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 experimented successfully.....
- THE HINDUSTAN TIMES

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