Begum Akhtar (1914–1974), born Akhtari Bai Faizabadi, remains the definitive voice of the Hindustani semi-classical tradition. Universally hailed as Malika-e-Ghazal (Queen of Ghazals), she revolutionised the aesthetic standards of ghazal, thumri, and dadra. Born in Faizabad to Mushtari Begum, a professional singer, Akhtari was raised in modest circumstances after her father, a lawyer named Asghar Hussain, disowned the family. Her musical spark was ignited at age seven by a touring theatre troupe, leading to a rigorous education under several masters.
Her primary training came from Ustad Ata Mohammed Khan of the Patiala gharana, who lived with the family to ground her in khayal and lower-register voice development. She later became a disciple of the legendary Ustad Abdul Wahid Khan of the Kirana gharana, an association that conferred immense classical authority on her. By age fifteen, Akhtari gave her first public performance. Her fame skyrocketed following a 1934 benefit concert for earthquake victims, and the 1938 release of her iconic ghazal, “Deewana banana hai toh deewana bana de,” made her a household name. Throughout the 1930s and 40s, she was a fixture in the elite salons of Lucknow, Bombay, and Calcutta, and even transitioned to the silver screen in films like Mehboob Khan’s Roti (1942).
Transition to Begum Akhtar
A pivotal shift occurred in 1945 when she married Ishtiaq Ahmed Abbasi, a Lucknow barrister. Following the social norms of the time, she ceased singing for five years. It was only after the death of her mother—and with her husband’s permission—that she returned to the microphone in 1949 at All India Radio. Now performing as “Begum Akhtar,” her style matured into a sophisticated blend of salon intimacy and stage-ready classicism. Her voice deepened into a resonant, flexible alto, famous for a signature “break” that added profound emotional weight to her interpretations of Ghalib and other Urdu poets.
Beyond her performances, Akhtar was a dedicated mentor to a small group of students, including Shanti Hiranand and Rita Ganguly, who knew her affectionately as “Ammi.” She taught in the traditional guru-shishya manner without accepting payment, ensuring her stylistic lineage survived. In the 1960s, she served as a cultural ambassador for India, travelling to the Soviet Union, Afghanistan, and Pakistan.
Legacy and Late Honours
The Indian government recognised her unparalleled contributions with the Padma Shri in 1968 and the Sangeet Natak Akademi Award in 1972. Begum Akhtar passed away on October 30, 1974, shortly after a final performance in Ahmedabad. In 1975, she became the first person to be posthumously awarded the Padma Bhushan. Her grave in Lucknow remains a pilgrimage site for music lovers. Today, her legacy is preserved through nearly 400 recordings and extensive digitisation projects by the Indira Gandhi National Centre for the Arts, ensuring that the “Queen of Ghazals” continues to inspire new generations of vocalists.