She is called the Nightingale of Tibet, but like many of her brethren, she has never seen her Motherland. Based in the Netherlands, where she runs a vegetarian restaurant, Namgyal Lhamo is an exponent of Tibetan Opera music, but her versatility has led to some exhilarating music, loved across the globe. Having lent her vocals for the soundtrack of Brad Pitt-starer Seven Years in Tibet, Lhamo, who was trained in music at Dharamshala’s Tibetan Institute of Performing Arts (TIPA), has just acted in a short film Karma, directed by Mumbai-based Arvind Iyer. Lhamo, who is readying her new album Anthology, comprising music from the lofty Himalayas, speaks to Utpal Borpujari of Deccan Herald in the backdrop of the recent release of The Enchanted Land and Pure, her new albums, in India. Excerpts:

As someone who has never seen her motherland, how do you interpret Tibet musically?
Though I have never had a chance to visit Tibet, I have been greatly rooted in my culture since childhood. My mother influenced me greatly by exposing me to sound at a very young age. My understanding and interpretation of Tibetan music assumed strong disciplinary form and turned into a strong passion at TIPA, where I was selected as a young girl in the 1970s. His Holiness The Dalai Lama is entirely responsible for creating such a wonderful institution that plays such a vital and engaging role in cultural and aesthetic conservation.

Are the albums Enchanted Land and Pure a kind of tribute to Tibet and its culture?
Both albums are a result of a strong drive to explore new musical territory. Enchanted Land is more popular in genre and my composer Arnav Srivastava’s musical score lent it that perfect blend of the old and the new, thereby turning it into a real joy. Some songs would make you hit the dance floor instantly and some would make you want to stare outside the window and dream. It is a tribute to the modern and young Tibetans, who often interpret their music as being something very classical or very popular. It is intended at breaking language barriers and moving onto a surreal listening level. I am glad to be working for both the projects with a great publisher like Achille Forler of Deep Emotions. Pure is more an experimentation of my own form of classical/traditional singing and my signature style of tone texturing. It is more scientific. My next album Anthology, however, will be a personal dedication to Dalai Lama and to the people of Tibet, their spirit and their ongoing aspirations.

Do you think Tibetan culture is being properly preserved by the government there under the prevailing political situation? What about the generation that has grown up in India?
The best ongoing efforts are underway by the international community and the government in exile. As far as the generation that has grown up in India, they have blended well and are finding their own identity. This is an ongoing and a constant process. The influence of popular culture on youth worldwide is inevitable. Nothing can be done about it. However, certain awareness about one’s own roots will help prevent an absolute disintegration of tradition and culture.

As a genre, what are the specialties of Tibetan Opera singing that you specialise in? How much of it draws from traditional Tibetan music?
Often in Tibet, operatic music extends its boundaries to assume an integral role in the portrayal of theatrics and story telling. The basic principles draw parallels to that of traditional classical Tibetan singing. Multi layering within songs is of particular interest to me. I am passionate of exploring and stretching layers as I sing to bring about a beautiful marriage of overtone, mid-tone and undertone singing, all in one motion, to create a loop. Indian legend Asha Bhonsale is a great exponent of this.

As someone who grew up in India, have you ever thought of collaborating with some musician from the country?
I would love to collaborate with Shankar, Ehsaan and Loy. They are very interesting. Shankar with his strong classical background, Ehsaan with his contemporary riffs and Loy with his genius would be fantastic to work with. Incidentally, Loy’s son Shane is the background music director of Karma. He is also the creative consultant for both the albums.

How were you involved with Seven Years in Tibet? How did Karma happen? Are you open to more cinematic experiences as an artiste?
The Seven years in Tibet experience was a great one in different capacities. From lending sound bytes into the track to travelling to Argentina to be on the sets of such an epic to meeting Brad Pitt in person. It was an exhilarating experience. Karma was not planned. Arvind, who also manages my work and produces my music, and I were planning to do a music video last year when the idea suddenly came about. And yes, I will be acting in Arvind’s next film Train to Tahiti, which will start sometime later this year. It is a cracker of a role, a fictitious adaptation from history and a huge challenge. I eagerly await it.

Are you involved with any work aimed at preserving the culture and music of Tibet?
My next compilation Anthology will comprise mountain songs from Tibet along with traditional songs. Tibetan culture is highly endangered. It needs to be conserved and archived for future generations as its very ethos and spirit is a testimony to our heritage.