Nightingale will always croon!

The National Academy of Performing Arts (NAPA) paid a befitting tribute to Bulbul-e-Pakistan Nayyara Noor

The famous Pakistani singer, Nayyara Noor, aptly remembered as the Bulbul-e-Pakistan (Nightingale of Pakistan), was a musical queen for Pakistan and was also adored across the border for her moving melodies. Tragically her life was cut short earlier this month after she lost her battle to cancer.

Passing away at the age of 71, her musical legacy continues to light up our homes and theatres with her treasure trove of mellifluous renditions. She was a legendary singer who understood poetry profoundly and personalized the form.

The National Academy of Performing Arts (NAPA), staying true to its vision of furthering the arts and culture in the country, recently paid a musical tribute to her. Junaid Zuberi, the CEO of NAPA, took the stage for an opening address, talking about the recent tributes paid to our legends, such as Alamgir. Continuing on the same tangent, he said that NAPA has begun Continuing Education Programme for working professionals, who would like to pursue their hobbies and passions outside the corporate world. He added that NAPA has recently started the Sindh Cultural Outreach Programme in collaboration with the Government of Sindh to promote local theatre groups and artistes. However, he insisted that the state is not the only responsible entity for the promotion and continuity of arts and culture and the community needs to come to the forefront.

He made a special mention of Zia Mohyeddin and Arshad Mahmood, without whom NAPA would have been an impossible feat to achieve. “I wait for many more initiatives that are in the pipeline to materialize in the coming months,” Junaid Zuberi said. He further thanked the board of directors, without whose vision these initiatives wouldn’t have been possible, and of course, the musicians, whom he called the assets of NAPA.

The stage then opened for Sabeen Nawab, a NAPA graduate, who beautifully encapsulated Noor’s version of ‘Aaj Bazaar Meim Pa Ba Jaulan Chalo’ and ‘Phir Sawan Rut Ki Pawan Chali’. Next to light up the stage was Kainat Jung for the evergreen ‘Tera Saya Jahan Bhi Ho Sajna’ and ‘Roothay Ho Tum’. ‘Mujhe Apnay Zubt Pe Naaz Tha’ and ‘Har Chund Sahara Hai’ was taken over by Imrana Naeem. The richly tuneful Rose-Mary sang ‘Ae Jazba-e-Dil’ and ‘Khwab Marte Nahin’.

In his address, Sultan Arshad, who is the author of the book ‘101 Melody Makers of India and Pakistan and Their Representative Work’ reminisced about his time with Nayyara Noor. According to him, she was “named Noor and she voiced Noor”. He mentioned her unique, sedentary style of singing, which was a novelty at that time. Many wondered if she was physically disable or blind, as she was always looking down in humility. A graduate of the well-regarded National College of Arts in Lahore, she had spent many instances entertaining her friends and teachers at various musical functions. At one of these events, Professor Asrar Ahmad of Islamia College recognised her escalating talent and soon, she was singing for the coveted Radio Pakistan programmes. She debuted in 1971, through Pakistan Television and then effortlessly progressed to films like Gharana (for which she also won the Nigar Award for the best female playback singer) and Aas.

“She drew the audience towards her. Her persona and outlook exuded purity, which could be seen and heard in her songs. Soon, she became a sensation and moved on to films, going from strength to strength. At the peak of her career, she decided to step back from her career as her husband Sheheryar Zaidi was posted in Karachi. Noor was my little sister. We lived in the same house for nearly two years,” Sultan Arshad said. He shared a memory where he said that he had never come across a more ‘domesticated celebrity’ like Nayyara Noor, who was humble and modest in demeanour and personified simplicity outwardly as well.

“There was never a day when she wasn’t out of the kitchen. She always took care of her primary priorities. She had recently sung a cover version of ‘Unka Ishara Jaan Se Piyara’. When I was the regional manager of EMI, a friend wrote a note for her through me, saying, “My dear child Noor: Today I heard your voice. I wish you were the original singer of this composition of mine”. The Electric and Musical Industries (EMI), India, officially wrote a letter to her, inviting her for concerts in Bombay and Calcutta. Such was the magic in her voice.”

One would be surprised to know that Nayyara Noor had no formal training in music. So her only connection with music was her fondness of Begum Akhtar’s ghazals, her all-time favourites, and Kanan Bala’s bhajans, since childhood.

The next to take the stage were Zara Madni for ‘Woh Jo Hum Mein Tum Mein Qarar Tha’ and ‘Cha Rahi Kali Ghata’, and Sabeen Nawab (again) for ‘Ye Haath Salamat Hain’ and ‘Hum Ke Tehray Ajnabi’, which developed a befitting narrative for the Fall of Dhaka while ‘Watan Ki Mitti Gawah Rehna’ inspired generations of children all over the country. She also performed at mehfils, boasting of admiration from ghazal-lovers in Pakistan as well as in India.

Nayyara Noor sang ghazals written by the likes of Ghalib and Faiz Ahmed Faiz, one of the most popular ghazal versions remained ‘Ae Jazba-e-Dil Ghar Main Chahoon’. She has also performed alongside Mehdi Hassan. Faiz’s poetry became the national hymns of the youth when they took her voice. ‘Nayyara sings Faiz’ must be one of the most popular albums ever sold in Pakistan; such was her magic and stature. Throughout her career, she recorded the works of many famous Urdu poets, including Momin Khan Momin, Ibn-e-Insha, Nasir Kazmi and Akhtar Sheerani.

Perhaps, the most memorable work of Nayyara Noor that is etched in my mind was ‘Barkha Barse Chat Per’, a rare Hindi poem by Faiz, which she rendered with her husband in 1976. This imprinted her achievements as classy and graceful like her, and free of any timeline. Another marked event was when her reputation peaked as everybody hummed the songs of Aaina, a film from 1977 that touched the hearts of countless Pakistanis.

When she was at the pinnacle of her career, Nayyara chose to marry Sheharyar Zaidi after which her live performances could be seen few and far between.  She was also the mother of Naad-e-Ali Zaidi and Jaffer Zaidi, both talented musicians and singers in their own rights. Known for her heart-wrenching melodies, in 2006, Nayyara Noor was awarded the “Pride of Performance”. She was also awarded the Gold Medal Awards at the annual All Pakistan Music Conference concerts, and by 2012, she bid adieu to her illustrious singing career.

Sheheryar Zaidi, also took the stage where he reminisced about his days with her in college when they met for the first time at a singing contest amongst students. “She spoke and sang from the heart, with complete command on pronunciation and diction. More than a wife, she was a friend. Today, these singers have sung her with equal passion. And I would like to pay tribute to them.” Teary-eyed, Zaidi also said, “I braved to come here, though with a heavy heart.” The beautiful evening came to a close when all the singers took the stage in chorus for ‘Watan Ki Mitti Gawah Rehna’. All of them had a lovely tone to their voice, with great control and projection throughout.

An irreparable damage to the music industry, the whole nation partook in expressing grief over her sad demise. She sang from 1971 to 2012. Her work is immortal and her departure unfortunate. Artists like Nayyara Noor are not born again. Hers are shoes that are too large to fill. Pakistan is proud to boast of such a name; her melodies will remain an influence for all generations to come. Though the nightingale has gone silent, her voice will always croon.

Rest in peace, Nayyara Noor!