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<p>The bewitching arias of languishing love performed by Priyanka Barve as Anarkali present one such conundrum. For instance, in the film, the doleful ballad Bekas pe karam kijiye benefits from a compelling ‘dual persona’ of actor and playback singer. Lata Mangeshkar’s vocals are possessed of a melancholia that added volumes to Madhubala’s emoting. Anarkali as a paragon of suffering comes extravagantly alive. Yet, Mangeshkar’s beautifully straightforward singing is never given to the melodic (or even melodramatic) excesses that one might find in operatic arias in works like Verdi’s La Traviata or Puccini’s Suor Angelica, or in power ballads performed so feistily by Jennifer Hudson in Dreamgirls. Those numbers are supremely effective on the stage for which they have been conceived. Here, the song, although mellifluously performed by a resplendent Barve, stays resolutely in the realm of a good rendition, and carries little dramatic import. This isn’t completely out of order in a production perhaps meant as a homage more than anything else, yet it does beg the question of how indeed can such subtleties of film musicality be effectively transported to the stage without losing its emotional heft, or its contribution to a classic tale’s narrative arc.</p>

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