Eastern Eye celebrates the singer with a heaven-sent voice on his 43rd death anniversary by collecting tributes that have been paid to him across the decades from legends
By Asjad NazirJul 28, 2023
THIS week marks the death anniversary of one of Bollywood’s greatest male-playback singers Mohammed Rafi, who sadly passed away on July 31, 1980, after suffering a heart attack.
Despite being only 55 when he died, the magically voiced icon left behind a magnificent body of work that continues to entertain audiences and inspire music artists.
The thousands of songs, including alltime classics, remain a permanent part of popular culture and why he will always be remembered globally.
With Manna Dey
Eastern Eye decided to celebrate the singer with a heaven-sent voice by collecting tributes that have been paid to him across the decades from legends, including those who have passed away.
Manna Dey: He was such a gentleman. He was a better singer than me, and I will say this, that no one came even close to him. He deserved everything he got. We had a great understanding, and it was never about one-upmanship.
Asha Bhosle: The beauty of Rafi saab is that right from the door of the studios, he would start wishing everyone, ‘aadab’. He would never fight with anyone. If anyone said something to him, he would stay quiet and would not answer. I would get irritated. I would ask him why he would not answer back. He would then tell me to let it go, there was no point in replying. Woh Allah ke aadmi the (he was a man of god). He would never praise himself – the pride of his popularity would not even show on his face.
With Kishore Kumar
Sonu Nigam: Rafi saab is god to me. I have grown up listening to him and imitating him in my early years.
Kishore Kumar: I had great regard for Rafi – a singer of a rare calibre.
Jagjit Singh: Rafi saab had immense versatility and an ability to take on the personality of the hero on whom the song was filmed. Every time you hear a Rafi song, you see the hero, you can vividly put in place the situation and correctly access the mood.
Nitin Mukesh: Among his contemporaries, my father’s (Mukesh) favourite singer was Mohammed Rafi. He loved Rafi saab’s voice and believed that nobody could replace him.
Khayyam: Rafi saab was the pride of India. His voice and memories are still with us even though his body has left us.
Amitabh Bachchan: What can one possibly say on one that possessed perfection.
OP Nayyar: I loved Mohammed Rafi. His death was a big loss to me. When I composed for Shammi Kapoor or Johnny Walker, he managed to sound like them. He sang so many wonderful songs for me. Rafi miyan was a wonderful person. Nobody can ever be compared to him.
With Asha Bhosle
Raj Kapoor: In the world of music, the uncrowned king of singing has left us.
Manmohan Desai: Mohammed Rafi – I worship this man. I’ve been his greatest fan – I should call it ‘devotee’. Ever since I was a kid, I remember I used to go to his recordings, hear him, and I used to go and touch his feet. And then, when my films started, he sang all my songs. And I personally feel he died at a very young. I feel it was the voice of a god. And the gods wanted to hear him personally, that is why they took him up so young.
Naushad: He earned respect, and his popularity touched the sky. The magic of his voice enthralled the whole world. His popularity, respect and wealth all increased tremendously, yet he always remained modest. Like a fruit-bearing tree, the more he fructified, the more he bent in front of the world. His heart was filled with fear of god and the love for truth. Generosity and altruism were part of his system. god and truth were the only sources of inspiration for him.
With Lata Mangeshkar
Lata Mangeshkar: What a voice. It could move mountains. When I sang with Rafi saab I had to be on my toes. His knowledge of the ragas and Hindustani classical sangeet made him formidable in the recording room. We took up very challenging compositions together and I’m proud to say we came out with flying colours.
Anand Bakshi: Even today when I write something I imagine how it would sound if Rafi saab had sung it. His place can never be filled again.
Laxmikant: He was a great human being. He would never ask what he was going to be paid for a song. Apart from waving off payments, he even helped producers financially. He’d help out the needy. He always gave without thinking of the returns. Once Rafi recorded six songs in a day for us. Imagine, he could memorise six songs in a day! And he could do this at live recordings and not through the easy dubbing method that’s on today.
The demand for Mohammed Rafi’s songs is phenomenal. No other singer, not even Lata Mangeshkar, has been able to attract such a tremendous following. It’s almost as if he were still alive.
Shammi Kapoor: When I was told Rafi saab had passed away, I wept. I felt like my voice had been taken away. But he was immortal, and his beautiful voice will be there forever, with the melodious songs he left us. He sang them in a way only he could. I miss him dearly.
Pankaj Udhas: I remember there was heavy rain when I heard about the passing of Rafi it was as if the sky was weeping. Whatever you say about him will never be enough. All I can say is that it was a blessing to have met Rafi saab, heard him sing many times and seen him record. I feel fortunate to have made those moments with him. I listened to him since childhood and learned a lot listening to him.
Dilip Kumar: Mohammed Rafi had the god-given ability to mould and adapt his rendering of a number according to the given situation in the film, the characters, mood of the time, the overall nature and disposition of the character in the film and the milieu of the film.
Dev Anand: Rafi saab is indeed immortal and will always be around and in our hearts and soul. I admire his voice and range immensely.
Adrian Lester, best known for his work on television and film, returns to the stage in the eponymous role of Edmond Rostand's 1898 comedy, Cyrano de Bergerac.
Rostland’s play centres around Cyrano - a little-known romantic 17th century French libertine poet, soldier, and philosopher. The play is based partly on his letters written on behalf of love rival Christian de Neuvillette as he tries to charm Cyrano’s cousin, Roxanne with whom Cyrano is also in love.
Cyrano is cursed with an overt self-consciousness in the form of a large nose. His insecurity is such that he prohibits anyone to refer to it directly or indirectly. Together with his wit, his skills as a swordsman, and the directorial splattering of our own vernacular, they provide the play with a certain infectious - albeit teenage - humour.
Despite Cyrano unexpressed love for Roxanne, the latter has fallen for Christian who is handsome, but useless when it comes to expressing his feelings in words. But then, he is also useless as a swordsman and clearly no match for Cyrano’s mastery and maturity. Realising this and being utterly selfless, Cyrano offers his help to the youthful Christian to woo Roxanne by writing for him poetic and hyperbolic proclamations of love and longing. All he wants is Roxanne to be happy even if he himself has to do with nursing a broken heart.
Christian Patterson and Levi BrownMarc Brenner
The result is a farce of the highest order and mistaken identity, coupled with threat and violence
This RSC production is directed by Simon Evans who has provided a very lively and engaging interpretation by all accounts. Apart from a skilled, highly polished ensemble of cast, there’s interesting theatricality at work. Every now and then, for instance, one gets a sense that the stage is a reflection of our own world and vice versa. Characters mingle with the audience, they break the fourth wall, and the theatre band wander around with the characters and referred to with some bemusement and fun.
In a 17th century French world – not unlike our own, 21st century – external beauty, speech, language are prized. Expression has become almost secondary. It’s a world in which fakery, deception and lies are paced above sincerity, honesty, and truth. Looks and external beauty outweigh the inner beauty of man.
Evans removes the original piece from its French setting to England, littering it with a Brummie accent, and accentuating our preconceptions about hopeless romantics and those with meaningless verbiage. The effect is one of joyous atmosphere and true entertainment.
Adrian Lester provides a magnificent performance as the wordsmith, Cyrano. His character is verbose, comedic, and sympathetic in equal measures. Lester is enticing, hilarious and – judging by the reaction of the audience –appreciated as a versatile actor who can do comedy just as well as drama. Levi Brown’s Christian is a fiery - overtly hopeless - romantic who cannot paint his feelings into words. Brown gives a very energetic and magnetic performance. Similarly, Susannah Fielding provides a sprightly Roxanne who is heart-warming and an utter pleasure to watch.
Adrian Lester (front right) and companyMarc Brenner
It’s hard not to notice but as an audience, we are invited to consider the value of language that may sound romantic, but may – in actual fact – be little more than a shallow expression of fancy. Whereas, the seemingly absence of language – though painfully inadequate - may actually embody real sincerity and the true meaning of love.
Whatever you may think, one thing is certain: you will enjoy this production. It’s a real treat.
The play started at the Swan Theatre in Stratford-upon-Avon in early September, with its run lasting until 15th November.
Rating: ***** (5 stars)
(Cyrano de Bergerac is playing at the RSC Stratford until 15th November 2025.)
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