Sagar Sharad Adhikari

Hiranya Bhojpure is a respected Nepali singer, musician, and writer, known for his contributions to folk and modern Nepali music. He was born in Deurali, Bhojpur and became a household name through his work with the Lekali music group, alongside artists like Ganesh Rasik and Urmila Shrestha. His music often reflects themes of Nepali identity, nature, and social issues. Some of his popular songs include: Rato Bhale (with Ganesh Rasik) Lahara Pahara Chhahara Ko Desh Tyamka Daanda Hara Hara Mahadev Paani De Mero Atit Ek Anjuli Ghaam (Album) Bhojpure was also a poet and writer, incorporating his hometown into his artistic identity. His work helped shape Nepali music by blending traditional elements with modern storytelling.

Subash Mandal is a rising voice in Nepal’s modern music scene, known for his expressive vocals and heartfelt performances. Hailing from Biratnagar, he gained national recognition after winning first place in the Radio Nepal Modern Singing Competition in 2077 B.S. (2020 A.D.)—a prestigious platform that has launched the careers of many celebrated Nepali artists. Musical Journey Subash’s passion for music began at an early age, and his dedication led him to participate in local competitions and cultural events. His breakthrough came with the Radio Nepal win, where his performance stood out for its clarity, emotion, and technical finesse

Rimla Moktan is a beloved Nepali singer known for the sweetness and clarity of her voice, heard in memorable songs such as “Mirmire Bihan Surya Ko Darshan Tiger Hillai Ma,” “Phalelungma Hiu Paryo Danphe Jharyo Sirikhola,” and others. Born in Darjeeling, she studied at Nepali Kanya Higher Secondary School (Boarding School), where she later returned as a teacher. Her musical journey began remarkably early—at just five or six years old—when she started learning classical music under Guru Madhu Singh.Her formal artistic path took shape under the guidance of Chandan Lomjel, who provided her special training and introduced her to competitive performance. Under his mentorship, she participated in the Darjeeling Gorkha Dukha Nivarak Sammelan Music Competition around 1981, performing songs composed by Chandan Lomjel with lyrics by P. Arjun and Puran Giri. She also sang a duet with Lakpa Sherpa, winning awards in both duet and group categories, and securing first place in the Lok‑Adhunik category—a milestone that marked her full entry into the musical field.Rimla continued her classical training with Guru Chittaranjan Mishra, and after he returned to Odisha, she studied under renowned sitar maestro Tri Ratna Tuladhar, with whom she still consults whenever she seeks deeper musical refinement. Through Chandan Lomjel, she also met composer Manikamal Chhetri, who offered her the opportunity to sing in Pratap Subba’s musical drama “Mrigtishna,” where she performed classical raga‑based compositions.With her grounding in classical discipline, her Darjeeling musical heritage, and her naturally melodious voice, Rimla Moktan remains a respected and cherished figure in Nepali folk‑adhunik music.

Manohari Singh (1931–2010), born in Kolkata to a Nepalese Bhusal family, is celebrated as one of South Asia’s finest woodwind and orchestral arrangers. Though globally known for his work with R.D. Burman, his Nepali heritage and musical upbringing in a Nepali household shaped his tonal sensibility, melodic phrasing, and emotional depth — qualities that strongly resonated with Nepali film composers.His mastery of alto saxophone, flute, piccolo, clarinet, mandolin, and bansuri made him a sought‑after session musician whose sound influenced the orchestral palette of Nepali film music in the 1980s–1990s. Many Nepali composers — especially those working in Mumbai and Kolkata studios — relied on his phrasing style, brass‑woodwind layering, and melodic counterlines as a reference point.Although he did not score many Nepali films directly, his arrangement style, brass band roots, and Nepali musical lineage helped shape the cross‑border sound that Nepali cinema adopted during its modern era. His work as part of the Basu–Manohari duo also inspired Nepali arrangers who studied Indian studio orchestration.