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If ever a name in Sri Lanka’s music industry could be likened to a brand, Priya Suriyasena would undoubtedly hold that distinction. In the 1970s, the names Milton Mallawarachchi and Priya Suriyasena became synonymous with musical excellence, their iconic songs such as Milton’s Me May Gaha Yata and Priya’s Heta Dawase Apa Dedena resonating with generations.
Priya Suriyasena was more than just a singer; he was a phenomenon whose contribution to the art of vocal performance remains unparalleled. His passing away on the morning of December 24, 2024, at the age of 80, while under treatment at the Colombo General Hospital, marked the end of an era.
Priya Suriyasena was a singer of national standing, a high-class performer with a gifted voice. In addition to his musical talent, he was also a respected music teacher. However, his growing success as a composer and singer led him to step away from teaching, as his busy schedule in the music industry took precedence.
Suriyasena’s career spans several decades, beginning in the 1970’s, which marked the golden era of music worldwide. His contributions to the music scene during this time solidified his place as one of the most revered figures in Sinhala popular music culture.
Timeless classics
Priya Suriyasena’s songs, including Andura Andura Mage, Aetha Ran Viman, Ratakin Eha Igili,” Sudu Parevi Rena Se, and Heta Dawase Apa Dedena, remain as fresh and poignant today as when they were first released. These enduring hits are a testament to the clarity and emotive power of his voice.
In an interview with this publication, Priya once recalled how his musical journey began: “I went to Madampe Central school to study. My music master brought me to the Sri Lanka Broadcasting Corporation to participate in a Sarala Gee singing competition. That’s what inspired me to sing in this genre. After that, I continued to pursue it with passion.”
Priya Suriyasena’s career took off when he was selected as an ‘A-grade’ Sarala Gee singer at the Sri Lanka Broadcasting Corporation. From 1978, he became a stalwart of the country’s music scene, nurturing it for almost half a century. With a repertoire of over 700 songs, including radio and cassette recordings and around ten film tracks, his contributions were immense. His first film song, Mudukkuwe Juliet Kumari marked the beginning of his journey into cinema.
His compositions such as Sarathesa Niva and Heta Dawase captivated audiences. One of his signature collaborations, Kandan Yannam Ranmal Mala with Milton Mallawarachchi for the 1980s movie Athin Aethata, remains an evergreen hit.
Music enthusiast
Born on October 27, 1944 in Nattandiya, Priya Suriyasena was the son of Jamis Appuhami and M.K.M. Podimanike. He married Tamara Kumari Weerasinghe on June 22, 1972. Tamara, a fellow music enthusiast and teacher, studied alongside him at Haywood, now the University of Visual and Performing Arts. The couple had three daughters and a son.
Before embracing music full-time, Priya worked as a cashier at the Yatakalanapattuwa Cooperative Wholesale Services in Nattandiya. Later, he became a teacher at Nattandiya Katuneriya Maha Vidyalaya (now St. Sebastian’s College) and was subsequently transferred to several other schools including Kelaniya Gurukula Vidyalaya, Sri Vijayarama Maha Vidyalaya and Dehiwala Madhya Maha Vidyalaya.
In the 1990s, he ventured into the cassette business with Lakshita Trade Centre.
Priya Suriyasena’s vocal style was far removed from the husky, whoopy delivery often associated with some singers. His voice was pure with a remarkable ear for pitch. When he sang, listeners were effortlessly carried from low to high notes and back again, often without even noticing the transitions. His vocal agility was exceptional. Suriyasena’s mixed voice was clear and seamlessly blended between his lower and higher registers, a perfect example of vocal balance and control.
His singing was straightforward and no-nonsense, characterised by a beautiful vibrato used with precision. Like all great singers, he understood exactly when and where to employ it, never overusing it. His ability to articulate a musical phrase with clarity and intent was a testament to his mastery of vocal technique.
Those who study his work can learn much from his disciplined technique. Suriyasena maintained a straight back and his singing posture was always relaxed. His jaw position and larynx movements were controlled — unlike many singers, he did not need to move his larynx up and down like a yo yo to hit notes. His singing embodied a sense of discipline and consistency, making him a true stand-and-deliver performer, one whose presence on stage was nothing short of captivating.
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