Manohari Singh

Aavaas is a Nepali singer and composer known for his soulful musical style and creative work under the nepa~laya banner. Recognized for his thoughtful songwriting and warm vocal tone, he has contributed to Nepal’s contemporary music scene through original compositions that blend modern sensibilities with emotional depth. His work reflects a commitment to authentic storytelling, making him a distinctive voice among Nepal’s new‑generation independent artists.

Suraj Nepal, The Esraj player born in Nepal started a love affair with music since his childhood. He grew up listening to folk and religious tunes played during various festivals in Kathmandu. At the age of 10 he started playing madal (A Nepali percussion) and started singing folk songs since his school days. As years passed, his interest in eastern classical music and instruments grew. That’s when he met a musician friend of a relative that introduced him to Esraj and encouraged him to learn the instrument. He learnt Esraj from Guru Santosh Bhakta Shrestha who then was the only person in Nepal to play the instrument. He too was his only disciple. He received a diploma in Esraj and in 2007. Since then he’s won many accolades, performed with many international artists, played many projects, bands and function. He’s benchmark performances include Playing for Change Organization, Varanasi International Ashram, Udaipur Shilpgram Festival, CPI NTOK 2014 Korea and Wumeng Grassland Music Festival China 2016, Inner Mongolia China 2018 & Wilma Israel 2019 etc.

Mohan Sundar Shrestha was a distinguished Nepali sarod player who dedicated nearly five decades of his life to the art of sarod performance. Despite losing vision in both eyes, he made an extraordinary contribution to the development and promotion of sarod music in Nepal. Early Life and Musical Training He was born in Kilagal, Kathmandu, Nepal. At the age of 12, he began learning the sarod under the guidance of senior sitar and sarod maestro Narayan Prasad Shrestha. His formal musical journey began in 1970, marking the start of a lifelong devotion to classical instrumental music. Professional Career In 2026 B.S., Shrestha joined Rastriya Nachghar (National Theatre) as a staff musician. From 2037 to 2068 B.S., he worked on a contractual basis as a musician at Radio Nepal. His sarod compositions were featured in songs by singer Shiv Shankar, bringing classical depth to Nepali music. He also served as a court musician at the former Royal Palace of Nepal and officially retired in 2007. A significant milestone in his life came in 2042 B.S. (1985 A.D.), when he was granted the opportunity to perform before King Birendra. After the performance, the King praised his artistry and inquired about his well-being. Upon learning of his wish for stable employment, the King recommended him to perform regularly at the Royal Palace. As a result, Shrestha performed sarod at royal events for 22 years. Following an unexpected retirement notice from Radio Nepal without prior information, he continued his musical journey by performing regularly at Hotel Annapurna. Performances and Contributions Throughout his career, he performed at several prominent venues and religious sites including: Kirateshwar Mahadev Temple, Ram Mandir Battisputali, Yala Maya Kendra & Rastriya Nachghar. He also released instrumental albums titled Favorite and Favorite–2, which featured sarod melodies cherished by classical music enthusiasts. Passing Mohan Sundar Shrestha passed away on 24 Falgun 2077 B.S. (March 8, 2021), at 6:40 PM at Green City Hospital in Kathmandu at the age of 80. Legacy Despite the immense challenges of losing his eyesight, Mohan Sundar Shrestha remained devoted to music throughout his life. His dedication, resilience, and mastery of the sarod have left a lasting legacy in Nepal’s classical music tradition. He is remembered as one of the pioneering figures in Nepali sarod performance.

Phoebe Shrestha is a Nepali violinist known for her expressive bowing style, refined classical technique, and ability to blend Western orchestral sensibilities with contemporary Nepali music. Active in studio sessions, live ensembles, and collaborative projects, she brings a warm, lyrical tone to film scores, acoustic arrangements, and cross‑genre performances. Her growing presence in Nepal’s modern music scene reflects both technical discipline and a distinctive emotional clarity in her playing.