Growing up in the seventies in the heart of south Calcutta, in a joint family where music was part of the daily chores, Lopamudra received her first training in music from her father Pranab Mitra. With constant encouragement from her mother Sumita Mitra to pursue music the way she wanted to and exposure to poetry and theater under the tutelage of Sameer Chattopadhyay , a family friend, Lopamudra always broke the norms - climbing trees, playing 'danguli' with boys on the streets, not caring much for studies at school and searching for a 'space' and a 'voice' of her own in the process.
Never deviating from her roots, Lopamudra received training in classical music from Smt. Rita Roy and later on from Pandit Arun Badhuri, Bhajan and Nazrulgeeti from Shri Sukumar Mitra, Rabindrasangeet from Shri Subhas Chowdhury, Shri Subinoy Roy and Shri Aurobindo Biswas and won a State Music Academy scholarship. Her delivery and style, however, always transcended the typicalities associated with these forms of music and she was lucky enough to always have 'Gurus' who encouraged her to cultivate this uniqueness. As Bangla music turned round a new bend with the coming of Kabir Suman in the nineties, a bunch of fresh voices walked down his trail. They created melodies, lyrics and sound-designs that echoed the ethos of the new generation. They looked for lyrics speaking of the twists and turns of a globalized, consumerist life through a format of modern poetry . They carved out tunes and sound arrangements immersed in the essence of world music while remaining quintessentially Bengali. Lopamudra was a forbearer of this trend, sweeping the music lovers off their feet with her rendition of 'Benimadhab' , a song based on Joy Goswami's poem 'Malatibala Balika Bidyalay', put to tune by her mentor Sameer Chattopadhyay. More such songs that were poems of leading poets of Bengal like Jibananda Das, Nirendranath Chakraborty, Sunil Ganguly and Shakti Chattopadhyay followed. In essence, Lopamudra set the trend of marrying poetry that had hitherto remained in the 'adda' circles of the intelligentsia to popular culture. And with this repertoire and fire in her heart Lopamudra travelled from concert to concert with her troupe through the length and breadth of West Bengal and the rest of India. As her popularity increased, Lopamudra started singing basic numbers written and composed by contemporary lyricists and composers and they became instant hits. 'Chelebelar Brishti,' one of Lopamudra's earliest hits, was the first song to be set to tune for Lopamudra by Joy Sarkar. The song paved the way for a musical partnership in more ways than one. Lopamudra and Joy tied the knot in the year 2001. So music emerged as the 'food of love' and it still 'plays on.' Not having to look back since 1996, albums and accolades galore have come in the way. Saregama HMV the world renowned recording company has released 16 albums of Lopamudra's 'adhunik' and 'rabindrasangeet' numbers. She has sung for Bangla films, winning the prestigious BFJA award for her debut playback in the movie 'Shedin Choitramash.' Lopamudra's albums 'Bhalobaste Balo' and 'Ei Obelaay' were accorded the best puja album, best singer and album of the year Anandabazar Patrika awards in 2001 and 2003 respectively while her next album 'Jhor Hote Pari' fetched her the 'ZEE MUSIC AWARD' in 2005. Always, rearing to take up new challenges, Lopamudra forayed into folk music singing and recorded 'Chhata Dhoro,' an album which hit the top of the charts in no time. Triggered by this success, Lopamudra recorded yet another folk album 'Monfokira' in an experimental soundscape designed by Indradeep Dasgupta in 2011. 'Monfokira' too received the 'Star Jalsha' album of the year award in the same year. In between, she worked on a children's album 'P-ey poda, Pho-ey fail' with Joy Sarkar (Composer) and Saikat Kundu and Sameer Chattopadhyay (lyrics), singing with and for children. Released by Big Music in 2008, it was the highest selling album of the year. Lopamudra has now travelled across continents with her music, singing in Singapore, USA, Canada, UK, Qatar, Kuwait, Hongkong and Australia. Apart from her musical tours and travels, Lopamudra is an avid traveler, trekker and a lover of books. She believes that a 'performer becomes successful when she and her music cannot be separated from each other.' This is borne out by the fact that Lopamudra Mitra is now a household name among Bengali audiences across the world. In many ways, her relationship with her audience evolves from an involved partnership between the listener and the singer during her stage performances where she creates an enthralling body language through which she 'speaks', 'lives,' and 'becomes' the song. And the music plays on and the show goes on.