Earliest mentor

D.A.D. Dharmadasa, a railway signalman at the local train station by profession, was Victor’s earliest mentor, who happened to be friends with his father.  D.A.D. Dharmadasa was known for singing and playing Indian Harmonium, despite not being a professional musician. His suggestion resulted in Victor receiving a “Foot Belo” Indian Harmonium as a present from his father.
Victor entered hometown junior school for primary education and completed his secondary education at the Central College in the same town. Under the guidance by school music teacher K.M. Sugathapala, Victor participated in All Ceylon Interschool music competition in representing his school at the individual singing category and won the award consecutively on 1958 and 1959.
Victor’s father realized, mere ability to sing or play Indian Harmonium do not acquire proper knowledge in music and enrolled Victor at M.G.P. Institute of Art, in Kandy to follow academic studies on music.

Victor recollects what followed, in his own words.

“Cyril Perera, (founder of the M.G.P. Institute of Art) educated me on Indian Harmonium not being an instrument helping master exams at that time. On his advice, Father bought me a Violin. I learned the fundamentals of classical music under my beloved teacher Cyril Perera, fond memories I cherish forever with utmost gratitude.
Since becoming his student, I let go many of my early practices such as playing the Indian Harmonium and singing and pitching without proper knowledge of music notes. Instead I mastered both classical and traditional practices on singing and playing. Those practices enlightened me and any pride or ego I had on my mind for being a natural musician, vanished with immediate effect.
Six months into the training, I was granted a full scholarship by my mentor, allowing me to pursue my studies free of charge and I consider myself an ungrateful student, if I fail to mention that at any given time.
In my journey filled with diverse sentiments and experiences, meeting master musician R.A. Chandrasena was an important landmark as he pioneered in guiding the course of my artistic path towards an amazingly successful career.
The place was Kandy Lake Social Club Hall and it was an audition for amateur singers. Examiners were, R.A. Chandrasena (Indian Harmonium), M.K. Roksami (Violin), A. J. Kareem (Clarinet) and Wimal J Ariyaratne (Dolkey). I heard my name was called after three amateurs were examined. I still have no recollection of how I moved to stand up in front of this quartet of legendary musicians.  I can only recall, R.A. Chandrasena asking me which song I was going to sing and, me replying with a name of a Hindi song called “Meri Kahani”.
I believe, on that day, my artistic career was baptized. “

That groundbreaking event marked the arrival of Victor’s musical career into a new era filled with vivid experience.
During that time, Sri Lankan audience had the luxury of a single Radio Channel, owned by Sri Lanka Broadcasting Corporation. Early 1960’s witnessed the broadcasting of number of sponsored musical competitions on Radio (SLBC – Commercial Service).
Following his application, Victor received a call to participate in “Airship Music Competition”. Victor had a previously committed engagement on the same day, and he visited SLBC with his neighbor, Udayaratne Brahmanayake to inquire about the possibility of changing the scheduled date. Dayaratne Brahmanayake was no stranger to SLBC, since he was a popular newspaper columnist and an announcer in provisional musical concerts. SLBC authorities informed Victor about the inability to change the scheduled date. Victor, always preferring to defy challenges, accepted to perform the song the same day.  “Yannata Siduwei Maranaya Ada – Maruwa Hata Na Kisiwita Bada” written by Dayaratne for the stage play “Sahodarayo” directed by himself, was that song. Original music for the song and the play was also composed by young Victor, who wasn’t even a certified artist at SLBC at that time. With this performance, Dayaratne Brahmanayake became the first lyricist for Victor.
1963 marks another landmark event in Victor’s music career as he joined State Aesthetic School (Haywood – University of Visual and Performing Arts) for higher education. Victor and his notable contemporaries ( Mervin Perera, Sarath Dassanayake, Sena Weerasekara, Sujatha Aththanayaka, Amarasiri Peiris, Punyasiri Mahawatte, Amitha Wedisinghe, Berti Ranasinghe a.k.a. Cello Berti) studied under an exceptional faculty consisting Visharad S.D.S. Jayasekera, Visharad Gunasena de Silva, Visharad Premawansha Hapuwalana, Visharad Gunapala Perera, Visharad Dharmasiri Perera during the glory days of State Aesthetic Institute, when music scholars as Pandith Amaradeva, Prof. Amara Ranatunga, Visharad D.R. Peiris, Visharad B. Victor Perera, Sangeeth Nipun Shanthi Geethadewa, were on academic staff.