Farida Parveen passed away in Dhaka, Bangladesh at 10:15 pm (BST) on Saturday, 13 September 2025. She had been admitted to Universal Medical College Hospital in Mohakhali, where she was under intensive medical care. In her final days, she was placed in the intensive care unit (ICU) and supported by a ventilator. She is survived by her husband and four children.
Her health had deteriorated significantly after suffering from chronic kidney disease for years. In recent weeks, she required dialysis twice weekly. After one of these sessions on 2 September, her condition worsened, leading to emergency hospitalization. Despite ongoing treatment, which included ventilator support when her respiratory function declined, she succumbed to multiple organ failure.
Early Life and Musical Training
Farida Parveen was born on 31 December 1954 in Shawl village, under Singra in Natore District. She grew up in Kushtia. Her father worked in the health service, and from a young age, she showed interest and talent in music, often playing the harmonium.
Her formal musical training began early. She initially learned from Komal Chakrabarti. Later, she studied classical music under Ustad Ibrahim Khan, Ustad Rabindranath Ray, Ustad Osman Goni, and Ustad Motaleb Biswas. For Nazrul Sangeet, she trained under Ustad Mir Muzaffar Ali and Ustad Abdul Qadir. Her deep connection with Lalon music was nurtured by Moksed Ali Shah, who introduced her to Lalon songs and philosophy.
She completed her education at Kushtia Government College, which comes under Rajshahi University.
Career and Major Contributions
Farida Parveen’s musical career began in 1968 when she joined Rajshahi Betar (radio) as a Nazrul Sangeet artist. She first gained widespread public recognition in 1973 with patriotic songs and early performances of Lalon songs, including the patriotic “Ei Padma Ei Meghna.”
Over the years, she became best known as an exponent of Lalon songs, sometimes called Lalon Geeti. Her voice, style, and musical presence made her one of the foremost performers of mystic and folk traditions in Bangladesh. She released many albums, performed both at home and abroad, and played a key role in preserving the folk and spiritual heritage of Lalon culture.
Some of her notable songs include:
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“Ei Padma Ei Meghna”
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“Shatyo Bol Shupothey Chol”
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“Tomra Bhulei Gechho Mallikader Naam”
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“Nindar Kanta Jodi”
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“Barir Kache Arshi Nogor”
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“Porga Namaz Jene Shune”
Her albums include “Khachar Vitor Ochin Pakhi,” “Kishoree Bou,” “Milon Hobe Koto Dine,” “Nindar Kata,” “Pap Punner Kotha,” “Shomoi Gele Shodhan Hobena,” and “Tomra Vule Gacho.”
She performed internationally in many countries, including India, Japan, Belgium, UK, USA, Germany, Canada, and others, promoting Lalon and folk music far beyond Bangladesh’s borders.
Awards, Recognition, and Cultural Impact
Farida Parveen was widely honored for her contributions to music and culture. Major awards include:
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Ekushey Padak in 1987, one of Bangladesh’s highest civilian honors.
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Bangladesh National Film Award for Best Female Playback Singer in 1993.
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Fukuoka Asian Culture Prize in 2008 (Arts & Culture Prize), awarded by Japan, for her work in preserving and raising the global status of folk religious music and Baul/Lalon songs.
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Other accolades include the Anannya Top Ten Awards (2008), Feroza Begum Memorial Gold Medal (2019), and additional honors from Bengal Foundation and other cultural bodies.
Her contribution was not only through performance but also through preservation: she helped collect and classify Lalon songs, worked to maintain authentic renditions of folk lyrics and tunes, and served as a mentor or influence for younger musicians. She helped keep alive the philosophical and mystic tradition of Lalon Shah’s teachings through her music.
Personal Life
Farida Parveen was married to lyricist and composer Abu Zafar, who passed away in 2024. She had four children. Her life was deeply intertwined with her musical pursuits, and she remained committed to disciplined training in music traditions, classical vocal techniques, and devotion to her folk roots.
She often spoke about the importance of sincerity, long-term learning, and preserving folk heritage. She resisted commercial shortcuts and emphasized the role of Gurus in developing artistic integrity.
Final Illness and Legacy
In her final weeks, Farida Parveen’s condition was critical. The chronic kidney disease she lived with for years worsened, leading to frequent hospital visits and increasing medical complications. Dialysis twice a week became necessary until her health no longer permitted it safely due to lowered blood pressure and involvement of multiple organs.
Her voice and presence had already become iconic in Bangladesh’s cultural landscape. Known affectionately as the “Queen of Lalon songs,” her interpretations of folk, Lalon, and mystic songs helped popularize a musical tradition and spiritual heritage that may otherwise have faded for younger generations.
Her passing marks the end of an era, but her recordings, her teaching, her albums, and the cultural institutions she supported leave behind a deep legacy. She showed that folk music can be both deeply traditional and widely felt across borders.
