The Vocal Vamp of Bollywood

You take classical-music lessons and practice daily. Is it frustrating to sing film songs for a living?
In the old days, we enjoyed singing film songs because the music was wonderful. Nowadays the lyrics have no feeling, the tunes are Western, it's all rhythm—it's just boom, boom, boom. For duets, the co-singer isn't present—I'm given the words and music and have to imagine the co-singer, who records separately. It's synchronized later, so there's no interaction. My co-singer and I used to cooperate with each other, make suggestions. Now that's all gone. I still sing for films, but I prefer live shows—one has to be perfect in concert, there are no retakes. For an artist who knows her work, it is more rewarding onstage than in a studio. You're on your toes, it keeps you young, it's fulfilling. It affords interaction with audiences who are delighted to see me singing and dancing at my age. They talk to me—"How are you?" They shout out, "You look well!"

You sang with the famous Western classical group the Kronos Quartet?
Kronos chose eight of my songs that Burman had scored for 100 musicians—we recorded them with just the four of them accompanying me. They are serious musicians, they don't talk or laugh; I laugh and flirt and dance—I made David Harrington [the Kronos's founder-violinist] dance with me onstage! Singing with them was a unique experience—unlike Indian musicians they calculate beats, they sight-read, nothing is memorized. But I improvise.

And how did you happen to sing with Boy George?
I'm a big fan of his, he's beautiful, a sweet person. I went to Taboo Club in London to see him—in my sari and bindi. George came and hugged me. "I'm your fan, I love your song 'Ave Maria, Om Ganeshaya Namah'," he said. "Let's sing together." We sang an ABBA song.

How is your relationship with your famous older sister?
I've sung 90 songs with Didi. I'm very close to her. Mother had said, "When I'm gone, she is your mother." I treat her with respect; we are a traditional family.

© 2008